SVC + Sondheim = Sensational
by Christopher Key

Put Skagit Valley College director Donald Drummond together with music director Diane Johnson, add one of Stephen Sondheim’s most challenging scores, multiply by a cast of wildly talented performers and you have a winning formula. Into the Woods is a production that can scare the pants off many professional theatres. The SVC production opening tonight at Mt. Vernon’s McIntyre Hall neatly refutes mathematics by demonstrating a whole that is greater than the sum of its parts.

James Lapine wrote the book that inspired Sondheim to take on the Brothers Grimm and give the world a new paradigm for some well-worn folk tales. You’ll immediately recognize Cinderella, Red Riding Hood, Rapunzel, Jack and the Beanstalk and others. The genius lies in intertwining all of their stories, adding some subtle social commentary and making 2 + 2 = 5. Since I am a liberal arts graduate, I have no problem with that.

I have witnessed a number of recitals by vocal coach Rob Viens’ talented students and have been wondering why the enormously gifted Sonia Alexis hasn’t appeared in theatrical productions. Her stage presence is magnificent and now we finally get to see that potential unleashed as she portrays The Baker’s Wife. I want to see much more.

Sonia Alexis, Joel Cummings and Carolyn Travis star in Skagit Valley College's production of Into The Woods. Photo credit - Christopher Key

The Baker is portrayed by Joel Cummings, whose angelic voice and gawky physicality perfectly suit this character who makes Hamlet look decisive. The story centers around their wish to have a child and a curse that is more effective than The Pill. Together, they are enormously charming.

Carolyn Travis is one of those actors who can seemingly do anything and make it look easy. She plays The Witch with a dominant stage presence that will make you forget Bernadette Whatsername who originated the role on Broadway. Her touching relationship with daughter Rapunzel, played to ditzy perfection by Mary Witt, humanizes both characters. Rapunzel’s Prince is Josh Ray, who totally understands the etiology of testosterone poisoning.

Rapunzel (Mary Witt) commiserates with her mother (Carolyn Travis) over her serious case of split ends. Photo credit - Christopher Key

Cinderella is given new life by Clara Johnson, whose lovely voice and enchanting naïveté are pitch-perfect. Her Prince, Yun Sun Lee, has the requisite bravado and the most thrilling voice of all the male characters. Mandi Hoffmeyer is seriously imposing as the Step-Mom. Step-sisters Lucinda and Florinda are given a wildly funny ride by Darcy Pickett and Jenna Stollberg.

Susie Pollino is smashingly snarky as Red Riding Hood and Ernest Tutt is as sleazy as a politician as her lupine nemesis. Anne Will does a remarkable job of playing Red’s Granny, along with an ethereal role as Cinderella’s Mom and the terrifying voice of The Giant.

Jack, of beanstalk fame, is played by Jared Plang, whose endearing dorkiness makes him the perfect Mama’s Boy. Mama is a classic passive-aggressive and Beth Tingey captures that character with frightening accuracy.

None of this chaos would make any sense at all if not tied together by The Narrator, Mark Johnson. His warmth takes some of the sting out of the occasionally pointed social commentary.

The cast and crew list I was given did not, unfortunately, include the designer of the stunning set that makes this show seriously rock. That, along with the wizard techies at McIntyre Hall, makes astounding theatrical magic. You know who you are and I am in awe of what you do.

Into the Woods performs February 24 – March 4 at McIntyre Hall in Mt. Vernon. See the site: http://www.mcintyrehall.org/scheduled_event.asp?month=2&year=2012&sid=925 for exact dates and times. Tickets are $15 – $25 with the usual discounts applicable. Reservations are seriously recommended and can be made at the site listed above or by calling the McIntyre box office at 360.416.7727, Ex. 2, or Toll Free 866.624.6897 Ex. 2.

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Powerful drama from Claire vg
by Judith Owens-Lancaster

Based on the story of a 13-year-old, The Diary of Anne Frank was first made into a book. The play, written by Frances Goodrich and Albert Hackett, dramatizes the story of the Frank family’s two years in hiding from the Nazis during World War II. Anne chronicles her experiences and teenage emotional reactions to the day-to-day existence in the family’s secret annex. Sometimes hungry, often sleep deprived due to air raids, she still has hope and believes people are really good at heart. We know and love Anne’s story. You will love this production.

Director Ruth Posthuma has taken great care and paid attention to the finest detail in evoking the time and setting in which this drama takes place. Not only has she assembled a fine acting ensemble but she has gathered a dream team of designers. The set is designed by Wayne Vogel, the props assembled by Carole May, the scenic artistry is by Cindy Moe, the costumes are by Susan Duncan, to name but a few of many who contributed their varied and awesome talents to make this production really special.

All of the actors are fine and Director Posthuma has led this very talented group to the most sensitive places, allowing their interactions to show a broad range of emotions and true feeling. We believe them. We are drawn into their living space as voyeurs to their lives. The ensemble is well matched and balanced.

Larie Nelson, Corinne Charboneau and Erin Chase star in The Diary of Anne Frank at Claire vg Thomas Theatre in Lynden. Photo credit - Lisa Litchfield

I was very touched by Christopher Jones as Otto Frank, Anne’s father. From the moment he walks on stage you know his pain and feel his loss. His wife Edith Frank, played by Larie Nelson, makes you believe they are truly married and united for all time. Young Corinne Charbonneau adroitly shows Anne’s teenage egocentricity, energy, curiosity and yet she is at times a vulnerable child experiencing the nightmares of the grey shirts coming to get them.

The Diary of Anne Frank is presented by the Lynden Performing Arts beginning Wednesday, February 15, through March 4, at Claire vg Thomas Theatre, in Dutch Village Mall, 655 Front St. February 15, 15, 17, 18, 23, 24, and March 1, 2 at 7:30 p.m.; February 25, 26 and March 3, 4 at 2:00 p.m. Tickets for adults are $12, seniors and students $10, and children $8. Reservations and more information at 360-354-4425.

Posthuma’s direction is well paced and tight. There are no false steps nor empty spaces and our attention never flags. See this fine production. You will not be disappointed.

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Rep delivers perfect valentine
by Christopher Key

Every aficionado of American musical theatre knows the statistics: the world’s longest running musical, spanning 42 years and over 17,000 performances. The Fantasticks opened in 1960, a time when Rodgers and Hammerstein had owned Broadway for years. The Fantasticks was a horse of a very different feather, but it’s hard to explain without resorting to metaphor. That’s OK. I never metaphor I didn’t like.

If R & H musicals were a Norman Rockwell painting, The Fantasticks was Salvador Dali. If R & H musicals were milk chocolate, The Fantasticks was dark chocolate. I could go on, but there’s a review to write and I’d better get after it.

The book was written by Tom Jones, who also wrote the lyrics to Harvey Schmidt’s innovative music. It’s loosely based on Les Romanesques, by Edmond Rostand. Like any good theatrical production, it steals from the best: Shakespeare. Those who were fortunate enough to witness the recent Skagit Opera production of Donazetti’s L’elisir d’Amore will also notice some similarities.

Director Maureen O’Reilly delivers a sensitive interpretation of the classic, enhanced greatly by Mark Kuntz’s stunning set and Joe Wagner’s lovely lighting design. O’Reilly has also done a superb job of casting both familiar and unfamiliar faces in this valentine confection.

The ubiquitous TJ Anderson delivers another stellar performance as Matt, the idealistic Romeo, and also wins praise for his musical direction. Playing his Juliet, Hannah Reclam is perfectly princessy as Luisa. Their fathers build a wall between their adjoining properties and fake a feud so their rebellious offspring won’t think they’re trying to arrange a marriage.

Hannah Reclam and TJ Anderson shine as the young lovers in the Winter Rep production of The Fantasticks at Mount Baker Theatre. Photo credit - Christopher Key

When the wall proves inadequate, they contract with a swashbuckling snake-oil salesman named El Gallo to stage an abduction wherein Matt will be able to rescue Juliet and everyone will live happily ever after. Noel Barbutto channels Fernando Lamas to perfection and, of course, gets to sing the iconic “Try to Remember.” He swashes when he should, buckles when he should and teaches the young lovers a thing or three about reality along the way.

The two fathers commit grand theatrical larceny with their roles, as well they should. Jim Lortz, who can do no wrong in my book, plays Luisa’s father with devastating charm. Jerry McGarrity, whom I have not had the pleasure of seeing before, has the chops to play with Lortz every step of the way and that’s no mean feat.

Aiding and abetting the madness surrounding the abduction is Henry, a rather dotty old ham actor who misquotes Shakespeare with every breath. Earl Reid was born to play this role and that’s from someone who also played this evocative character. Mario Orallo is Henry’s sidekick, Mortimer, a Native American with a Cockney accent who specializes in death scenes. Orallo is to die for.

Serving as a silent Greek chorus is The Mute. Karee Wardrop’s expressive face and graceful sign language provide a running commentary on the action. This is a very difficult challenge for an actor and Wardrop handles it with aplomb. Take the time to watch her because she adds the je ne sais quoi that makes this production sing.

The Fantasticks opens, appropriately enough, on Valentine’s Day and plays through March 18 in the Walton Theatre space at Mount Baker Theatre. See http://www.mountbakertheatre.com/events/2012/mbt-winter-repertory-theatre-fantasticks for the precise days and times. Tickets range from $10 to $20 and can be purchased online at the above site or by calling the MBT box office at (360) 734-6080.

Trust me, gentlemen, if you want to win a valentine, The Fantasticks beats the hell out of greeting cards, roses and even chocolate. Although, a combination of all of the above…

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Enchanting Eleanor at the BTG
by Christopher Key

Combine the ambition of Hillary Clinton, the wit of Dorothy Parker and the irreverence of Lady Gaga and you might have something close to Eleanor of Aquitaine. John Gonzales, the director of Becoming Eleanor at the Bellingham Theatre Guild, admits to having developed a crush on this fascinating woman in college. We are all richer for his having shared his crush with a wider audience. If playwright Marsha Lee Sheiness had been teaching us history, we not only might have stayed awake in class, but we might actually have learned something.

Don’t let the fact that Becoming Eleanor is a history lesson deter you from seeing this production. It is loud, brash and wildly funny. I haven’t laughed so hard in a long time and that is a very healthy thing.

As Gonzales points out in his terrific director’s notes, “…this highly educated, tenacious, vibrant and amazing woman inherited the one of the largest feudal holdings in the western world at age 15, went toe-to-toe with some of the most powerful men in the world while managing to live out much of her 82 years on her own terms in an era when few women were able to exercise any autonomy at all.” No wonder he has a crush.

BTG newcomer Kendra Pasma delivers nothing short of a tour-de-force performance in the title role. She is onstage throughout the two-hour production and handles a massive line load with complete aplomb. Pasma brings an elegant and confident stage presence along with a subtle sexiness that makes the role sing.

Kendra Pasma delivers a definitive performance as Eleanor of Aquitaine in the Bellingham Theatre Guild production of Becoming Eleanor. Photo credit - David Cohn

Most of the other actors in the show play multiple roles and serve as a delightfully goony Greek Chorus while managing multiple onstage costume changes and manipulating the clever set.

Canny stage veteran Joan Prinz may play relatively minor roles, but she manages to steal the show as everybody from Louis the Fat to Pope Innocent. M. Tristan McDaniel, another BTG newcomer, is perfectly pious as Louis Capet, who is carnally challenged. He makes Eleanor Queen of France, but is unable to warm the marriage bed. To put it as discreetly as possible.

Tony Gallina graduated from Western with a degree in psychology and brings that insight to his roles ranging from a troubadour to an abbott. The dependably wonderful Zoe Schackel gets to strut her stuff as both Eleanor’s sister and the forbiddingly Germanic Empress Irene.

David Bolden last delighted audiences as the demented vice-principal in The 25th Annual Putnam County Spelling Bee earlier this season at the BTG. He brings that same slightly unhinged energy to his multiple roles in this show. I last reviewed Brad McArtor in the smashing Days of Future Passed at the iDiOM last year. He is very busy in this show as everybody from a Pope to Henry Plantagenet and displays both a gift for physicality and wicked comic timing.

Yet another BTG newcomer, McKenna Vallee, is gifted with a wonderfully expressive face that she uses to great effect in her multiple roles. Christy Ham deliciously deadpans her way through her roles while juggling multiple props for the other actors. A not inconsiderable achievement.

Becoming Eleanor plays January 27 through February 12 at the BTG Playhouse, 1600 H Street. Consult the site, www.bellinghamtheatreguild.com for precise dates and times. Tickets are $12 for adults, $10 for students and seniors, $8 for children under 12. Call the box office at (360) 733-1811 to make reservations.

I promise that you will also develop a crush on this remarkable woman while having a rollicking good time.

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Holiday nuts are back
by Christopher Key

Wut would the holiday season be like without Drue Robinson and the Bellingham Childrens Theatre? It would be totally sub, dude! If you think that’s a groaner, just wait until you hear some of the horrendous puns strewn about the stage like rats in the second annual production of The Wutcraker.

After several years fermenting in Robinson’s mental wine cellar, The Wutcraker made an astonishing comeback last year and ‘Hamsters couldn’t get enough. Many who didn’t get their tickets early found that there was no room at the inn and had to rely on my review to find out wut went down. No false modesty here, but my review comes in a distant second compared to seeing this bit of Bedlam brought to life.

Political Correctness demands that I note newcomers to Bellingham won’t get a lot of the inside jokes that make this show rock. If you want to get hip to this small town with delusions of grandeur, this is a good place to start. You’ll want to find out about the Bikmans’ legendary New Year’s parties with The Walrus and what happened in the recent elections.

The whole thing, of course, is an inspired takeoff on The Nutcracker. Having performed in the original this year gives me a new appreciation for what Robinson has done. She has written fiendishly clever lyrics to Tchaikovsky’s familiar themes and has recruited actors who truly understand satire.

One of the things Robinson does better than almost anyone is teaching young actors how to enunciate and project. When the jokes fly as thick and fast as they do in this show, it is vital. It’s also refreshing if you’re as frustrated as I am when you can’t understand what the kids are saying in lesser shows.

There are dozens of young actors in this cast and they all perform above and beyond expectations. Several of them deserve special mention. Lauren Valenti is both bratty and beautiful as Clara. Oskar Sjostrom demonstrates outstanding physicality as The Dummy. Genevieve Dunn channels Betty Boop to perfection. Lauren Pittis is delightfully dumb as Duhwhera.

As the Prince Formerly Known as the Artist Formerly Known as Prince, Aaron Helms delivers another confident performance that adds to his already solid stage cred. All of the Snowflakes give meltingly hot performances in their rap number.

There are also some adults in this show and they acquit themselves remarkably well given the young talent that they’re competing with. Vicky Reardon truly gets her Lady Gaga on as Ice. Robert Muzzy reprises his role as the supremely snotty Sugah, King of the Booger Flung Scaries. Deb Currier is devastating as Mrs. Middlecamp.

As both Mr. Middlecamp and The Rat King, Brian Watson owns the stage. Michael Spinale is both endearing and perfectly befuddled as the occasionally magical Uncle Doppelganger.

As usual in The Wutcraker, certain Bellebrities are involved. In this production, they are The Politician Formerly Known as Mayor (Dan Pike) and The Politician Formerly Known as County Executive (Pete Kremen). Only in Bellingham would such characters be willing to humiliate themselves onstage by trying to dance and remember lines.

The three narrators couldn’t have been more perfectly cast. Leon Charbonneau as Grandpa Sheridan, Judith Owens-Lancaster as Grandma Grace, and Miska Marker as Annabelle tie the whole performance together with exquisite style.

I wasn’t given a crew list, but the lighting, set and costume designers all deserve a standing ovation. You know who you are.

A word to the wise: a lot of people got turned away last year because they didn’t score their tickets in time. The Wutcraker performs December 15, 16 and 17 at 7:00 p.m. and December 18 at 2:00 p.m. The venue is the wonderful second stage at Western Washington University’s Performing Arts Center. Tickets are available at Village Books, the Community Food Co-ops and the WWU box office. Call 360-650-6146 or order online at http://www.tickets.wwu.edu.

Good luck trying to score $15 tickets at the door.

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Perfect present from Claire vg
by Christopher Key

Sometimes the sheer sentimentality of Christmas theatre productions can be a bit overwhelming. Claire vg Thomas Theatre director Shelley Jefferson has done us all a favor by finding a show with some edgy humor and gentle social commentary that helps avoid the diabetic shock that usually endangers us this time of year. It’s called The Christmas Toy Shop and it’s a delight.

The script was written by Michelle Vacca and the themes are timeless. The humor could have been derived from today’s headlines. Or at least Black Friday’s headlines. That gentle social commentary I mentioned could well be applied to the competitive shoppers who threaten to pepper spray what’s left of the Christmas spirit. There are a pair of orphans, toys that come alive, crazed elves, spoiled brats, Christmas carolers and enough energy to light the National Christmas Tree.

One of the highlights of the production actually occurs during the pre-show as the audience waits to be admitted to the theatre. Suddenly, an excess of elves transforms the Dutch Village Mall into a scene reminiscent of one of legendary cartoonist Rube Goldberg’s wacky contraptions. Scores of presents are dropped off balconies, tossed seven ways from Sunday and delivered back to the start only to repeat the frantic daisy-chain. There are also hints here of the production line insanity depicted in Modern Times. Yes, I know my references are dated. Look ‘em up, kiddies.

Photo credit - Christopher Key

If you think that things will settle down a bit once you enter the theatre, think again. This shop is filled with toys who, when they come to life, are serious anarchists. Trying to impose some order on this Bedlamic scene is Nix, the CEO (Chief Elf Officer) of the shop. Corey Anderson is perfectly stuffy as the anal-retentive, clipboard-carrying supervisor.

Carole May is typically over-the-top as Mrs. Wellington, a charter member of the one percent. Her offspring, two of the snottiest snowflakes you hope never to meet, are played to perfection by Maia Jensen and Samantha Nokes. Two of those subversive animated toys are particularly notable. Kristin Hoekema inhabits the toybox with an angelic smile that belies a nasty sense of humor. As the dancing doll, Kennedy Rainer demonstrates outstanding physicality with her robotic movement.

Presiding over the chaos is Ed Marantette as shop owner Nicholas S. Claus. He is gloriously goofy as the guy who will go to any lengths to keep the whole thing on schedule and avoid harshing his mellow.

Some of the toys who arrive later in the show include some serious scene-stealers. Chief among these is Alex Gardipe as the neurotic jack-in-the-box who is afraid of everything, especially the idea of commitment to Trudi. Played by Lisa Litchfield, Trudi proves that “Ya sure, ya betcha” isn’t confined to Ballard.

Evan Duncan, whose theatrical genes are impeccable, delivers a fine French accent and sneeringly superior Gallic sensibility as General Lafitte. His nemesis is the gypsy doll Esmerelda, played by Corinne Charbonneau with pointed patooey.

The relatively unsung hero of the plot is Mr. Thompkins, manically portrayed by Dave Duncan. He inherits the toy shop, the orphans and everybody lives happily ever after.

Director Jefferson and several of her talented technical compatriots from Western Washington University are responsible for the set, lighting and sound. They are submitting this production as their senior project and I’m giving it an A-plus.

The Christmas Toy Shop plays November 30 through December 17 at the Claire vg Thomas Theatre, 655 Front Street, in Lynden. November 30 and December 1 performances are dinner theatre shows at 6:30 p.m. with the show starting at 7:30. For the complete schedule, see http://sites.google.com/site/lyndenperformingartsguild/. The box office is open Tuesday – Saturday 1:00 p.m. to 3:00 p.m. For reservations, call (360) 354-4425.

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Plaid Tidings rocks the BTG
by Christopher Key

Having endured more lame theatrical sequels that any mortal should be subject to, I have a rather jaundiced view of the genre. Occasionally, however, someone brings forth a reprise that is as good as the original. Such is the case with Plaid Tidings, sequel to last year’s hands-down Bellingham Theatre Guild favorite, Forever Plaid. Playwright Stuart Ross makes it work by being unashamed to apply high schmaltz and sly humor to those holiday specials we used to watch year after year on TV.

Teri Grimes and Mish Kriz direct this production with an obvious love for all those cheesy guy groups that made us swoon in a in a kinder, gentler era. The cast from last year’s wildly funny production returns with one exception. That exception, Jinx, is played by the amazing Brad Anderson, who obviously groks the whole guy group scene and fits in as though he played in the original.

Plaid Tidings, like its predecessor, relies on close vocal harmonies that are a challenge for any group. Brad Anderson’s voice fits in perfectly with those of Colin Weiss, Andy Reinhardt and TJ Anderson. Helping to make that happen is the inevitable Steve Barnes, who returns as both Music Director and himself. Marcel Ardans also reprises his role as the slightly sleazy Uncle Chester, who happens to play a rockin’ acoustic bass.

I have reviewed Weiss, Reinhardt and TJ Anderson so many times that I am at something of a loss to come up with adequate adjectives to describe their talent. Not only do they have superb voices, but they have the acting chops that would frighten performers with far more experience.

Photo credit - David Cohn

The guy groups of that time usually just sang. The thing that makes Ross’ productions stand out is that he incorporates dance moves from the Motown era. Plaid Tidings goes a step or two further by adding tap dancing, among other things. When the four go into one of their tap numbers, it makes you realize just how multi-talented these actors are. Weiss does a Moonwalk that would make MJ envious. Choreographer Michelle Vanleeuwen deserves enormous credit.

Since this is a holiday show, the Plaids incorporate some Christmas/Hanukkah/Kwanzaa influences that are both politically correct and hysterically funny. For those of us who view certain Christmas standards as akin to waterboarding, these twisted arrangements are very refreshing.

Perry Como is the icon that the Plaids worship above all others. Not only did he bequeath them a Como Cardigan, he is present onstage in a nifty bit of special effects that allows the Plaids to sing backup to one of his Christmas performances. Our fave mad scientists Steve Barnes and Andy Backus are responsible for that bit of theatrical magic.

One of the scenes repeated almost intact from the original is the three-minute-and-eleven-second reenactment of The Ed Sullivan Show. Deservedly so. This is one of those theatrical moments that will make liquid come out of your nose if you take a sip at the wrong time. Provided, of course, that you are old enough to remember the original.

Plaid Tidings is a holiday show that will ease the pain of suffering through the multitudinous incarnations of A Christmas Carol. It plays November 25 through December 11 at the BTG Playhouse at 1600 H Street. Tickets are $12 for adults, $10 for seniors and students, and $8 for children. The box office is open Tuesdays through Saturdays from 1:00 to 6:00 p.m. Call (360) 733-1811 to make reservations and do it soon because this is a sure sellout. For more information on specific times and dates, see http://bellinghamtheatreguild.com/playbill/.

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Stirring season opener at WCC
by Christopher Key

St. Augustine is perhaps most famous for his (possibly apocryphal) prayer, “God grant me celibacy…but not yet.” Those warring instincts inform Augustine’s Confessions: Scenes from American Life, the opening production of the season at Whatcom Community College. It’s a series of fourteen short plays by New York actor and playwright John Augustine that focus on the agony and ecstasy of Generation X.

As one of the actors points out, X represents the unknown factor. Struggling to resolve that unknown in the equation of life is what drives the characters in these vignettes. Generation X got stuck with one of those labels that society, or at least the media, insists on imposing in order to pigeonhole people. Part of the genius of this production lies in exploding the myth that labeling a generation leads us to some kind of understanding when all it leads us to is simplistic stereotypes. I should know. I’m a Boomer.

Augustine (the playwright, not the saint), makes his point by recognizing the archetypal angst that every generation, regardless of label, experiences in the eternal search for identity. It transcends generations and labels.

WCC drama guru Gerry Large has a proven gift for recognizing and developing young talent. He directs with a sure hand and gives his actors room to be creative. That is a precious gift and the actors in this production respond with élan.

Sandi Coughlin, as Rebecca Ruth, ties the production together as one of the Temporary People. In this case, she is both a worker who can find employment only as a temp and as the eternal bridesmaid. Coughlin, who is seen mostly in projected videos, can do more with her expressive eyes than many actors can do with their entire bodies.

Two of the female actors in this production deliver nothing short of tour-de-force performances. Erika Olson and Emily Dickson play multiple characters ranging from over-the-top comedy to heart-wrenching poignancy and I can’t wait to see where they go from here. I have reviewed Selena Flannery before and continue to be impressed by her gifts for subtlety and understatement, something rare in young actors.

Selena Flannery and Emily Dickson are among the many stars of Augustine's Confessions opening this weekend at Whatcom Community College. Photo credit - Christopher Key

Cecilee Beck gets only one shot at the spotlight, but makes the most of it as a dementedly self-centered yuppie whose overweening insensitivity also transcends generational labels. Quite frankly, the women dominate this show, partly because the script focuses on their struggles to choose between emergent feminism and more traditional values.

That’s not say that the male actors are any less talented. Michael Grab and Kyle J. Musilek demonstrate this with sensitive performances as a pair of gay playwrights trying to express their love for each other by putting their words into the mouths of heterosexual characters. Marc Broyles demonstrates impressive range as both a stereotypically victimized Vietnam vet and an immensely insecure geek.

As usual, space and time limitations interfere with giving credit to all the actors who make this production live up to the standards I have come to expect from the WCC program. My apologies to Amanda Thorton, Viet Ha, Katie Dec, Khandsuren, Amanda Molsee and Phillip Kaltenbach for not giving you the kudos you deserve.

The technological Einstein of local theatre, Russ Nelson, delivers a simple and imaginative set and lighting design that contribute enormously to the effectiveness of this production. Not to mention the dynamic projected videos.

Augustine’s Confessions will make you laugh and make you cry and make you realize that our struggles to define ourselves are universal, regardless of our generational identities. The show runs for only three performances, November 17 – 19, 7:30 p.m., at the Syre Student Center Theatre. Tickets are $6 across the board. Call (360) 383-3532 or take your chances at the door.

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TAG’s timing terrific
by Christopher Key

Given the parlous economic times and the viral “occupations” that have spread from the Wall Street epicenter, Skagit’s Theatre Arts Group could hardly have chosen a more propitious time to bring the rock musical Rent to the Lincoln Theatre in Mount Vernon. Jonathan Larson’s Pulitzer Prize-winning music and lyrics give life to the eternal struggle of starving artists to hit the big time. I use the word eternal advisedly, since Rent is based on Giacomo Puccini’s opera La Boheme, which documented the same artistic struggles more than a century ago.

Director Jane Skinner has an authentic rock ‘n roll soul and that is evident in every moment of this sizzling production. She has recruited a bulletproof cast that sells this show the way Steve Jobs sold technology. It’s all about belief and commitment.

Mikel Armstrong leads the way as Angel, the drag queen who is dying of AIDS. His gender-bending performance shines with an authenticity that will leave you limp. He is paired with Troy Johnson, whose portrayal of Tom Collins is both joyous and wrenching.

Roger and Mark, the aspiring songwriter and filmmaker respectively, are played by fraternal twins Brett and Brock Madden. They share a gift for intensity that is often overwhelming. Leisha Madden, who is married to Brett, plays heroin junkie Mimi with frightening power. The truly magical chemistry between the two reflects that offstage relationship.

All of the cast members have outstanding voices, but Korey Foss, as Maureen, is a genuine giver of goosebumps. Combine Janis Joplin with Tina Turner and that may give you some idea of what she can do. Her paramour Joanne is the definition of anal-retentive and Lauren Leer gives it a 2×4 up the rectum ride that is pitch-perfect.

Photo credit - Ricardo Cook

Benny, the formerly bohemian roommate of Roger and Mark, married into money and lost his soul in the bargain. Tim Brown plays the role to yuppified perfection. Brown also provided the sensational choreography that will leave you gasping. With that smooth segue, let’s give credit to the techies who put the rock in the roll.

Dave Lyon, who seems to be on and offstage in more productions than should be humanly possible, leads a band that could rock any venue in the Northwest. The set is a marvelously detailed evocation of the mean streets of New York. Thank designer Steve Craig for that. Cathy Pfahl’s costuming is as good as it gets.

Director Skinner obviously has a feel for the grittiness and grinding poverty that informs Rent. She pulls no punches in this production and that gives it a power that will move you to laughter and tears. It also means that the production is not appropriate for children or the easily offended.

Since I rarely review theatre in Mt. Vernon, I must give credit to my lovely date, Shelly Lyon, for providing some of the backstories without which this review would be seriously impoverished.

If there is any justice in this world, Rent should sell out beginning to end. Order your tickets now by calling (360) 336-8955. Rent performs October 7 – 22 at Mt. Vernon’s lovely Lincoln Theatre. See the site, http://www.lincolntheatre.org, for precise dates and times.

The word rent can also mean torn apart. This production honors that meaning, but then heals the rent with exquisite compassion.

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Into the Woods is spectacular
by Christopher Key

Chutzpah is a wonderful Yiddish word that can be loosely translated as having brass…well, you know. Ubiquitous director Mark Kuntz has ‘em. Producing a Stephen Sondheim musical is a challenge under any circumstances, but doing it at the Mount Baker Theatre where you need to fill 1500 seats requires some belief in magic. Magic is just what our resident theatrical wizard specializes in and he has cast his most serious spell to date. Of course, there is a lot of wizardry that can be accomplished when you have the resources of the MBT behind you.

First of all, Into the Woods is a visual and aural spectacular. Kuntz has recruited some terrific young talent from Seattle, but the local actors in this production more than hold their own with the pros. And they’re the ones who will help fill all those seats. The story, an amalgamation of familiar Grimm fairy tales set to Sondheim’s enchanting music and dazzling lyrics, is also a spellbinder.

The role of The Witch was pretty well defined by Bernadette Peters in the Broadway production, but Danielle Barnum gives Peters a serious run for the money. Her serious acting chops are vividly demonstrated when she proves to be just as scary without the witch mask as with it. Heather Dudenbostel is a Bellingham favorite, having played several roles in Kuntz’s Summer Rep series. She is delightfully ditzy as Rapunzel, the girl with a truly cosmic case of split ends.

Heather Dudenbostel and Danielle Barnum are literally and figuratively fantastic in Into the Woods opening today at the Mount Baker Theatre. Photo credit - Mount Baker Theatre

Those two would own the show under most circumstances, but there are two young actors who commit grand theatrical larceny. I have not had the pleasure of seeing Catherine McCool before, but she delivers a Red Riding Hood that would put the Fear of God into any self-respecting wolf. Kaleb Van Rijswijck, on the other hand, has been drawing raves from me since his days at Bellingham Arts Academy for Youth. His performance as Jack is nothing short of breathtaking. Beth Wallace plays his overprotective mother with total commitment.

The men in this show, as may have become obvious, are defined by their women. Cinderella’s Prince is played to melodramatic perfection by Jordan Melin. Rapunzel’s Prince is portrayed with mucho macho by Quinn Wiebe. Both actors have superb voices. Molli Corcoran, another Summer Rep star, brings a whole new dimension to Cinderella when she gets disenchanted with her prince. Her incompetently evil step-sisters are portrayed by another pair of stellar BAAY graduates, Abrah Friburg and Candice Lundy. Sara Mountjoy-Pepka is delicious as Cinderella’s step-mom.

Bob Simmons has created a new adage in the Bellingham theatrical community: life begins at 80. He is totally endearing as The Narrator. One of the best voices in the show is owned by Tristan Carruthers as The Baker and his acting skills are defined by the word sensitive. He and his wife have infertility issues that drive the plot. Katherine Strohmaier delivers a powerhouse performance as The Baker’s Wife.

The supporting roles are just as strong as the leads, but I need to save some space for the magic that is created by the techies. Chief Wizard Kuntz is responsible for a set design that is simply stunning. He uses a raked stage that gives a wonderful dimensional depth but must be challenging for the actors. The MBT techies, who are aces in my book, come through with some back-projection magic that will blow you away. Bob Monniol and Travis Mouffe are the mad geniuses responsible for that.

Costuming queen Shannon Murray has outdone herself with a dazzling display that may be hard for her to top given her tender years. Hair, of which there was an excess, and makeup, of which there was perfection, are the responsibility of Kelsey Bujacich. Evan Ritter’s lighting design perfectly complements the set.

Music? Well, Music Director Ryan Dudenbostel has assembled an astounding group of players, ably assisted by associates Michael Nutting and John French.

So the cast and crew of Into the Woods have performed astounding feats of magic to bring you into those 1500 seats. I’ve done my bit, so now it’s up to you. This production deserves to be sold out wall-to-wall. There are only six performances: October 5 and 6 at 7:30 p.m.; October 7 at 8:00 p.m.; October 8 at 3:00 p.m. and 8:00 p.m.; and October 9 at 3:00 p.m. Tickets range from $10 to $45 and can be reserved by calling the MBT box office at (360) 734-6080 or by reserving online at www.mountbakertheatre.com.

Did I mention that everybody lives happily ever after? Oh, except for the second act.

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