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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It’s all about authenticity
by Christopher Key

As those of you who have followed this blog for a while know, it has grown rather organically from what was originally imagined. I started with theatrical reviews, soon added music, then ballet and opera, even a ride in a World War II airplane. Once again, I intend to boldly split infinitives that have never been split before. Welcome to my first restaurant review.

I am on somewhat safer ground here than when I ventured into reviewing ballet and opera since I have a somewhat deeper appreciation for good food than most. During a catastrophic illness some years ago, I took my nutrition through a stomach tube for several months. Trust me, food takes on a whole new meaning after an experience like that.

So when my long-time barber Wally Whaley asked me to review his wife’s new restaurant and deli in Lynden, I didn’t turn a hair. So to speak.

Renate’s German Deli is located at 312 Front Street in Lynden and brings a new level of authenticity to German cuisine in this area. Not that there’s much competition. While there are Mexican, Chinese, Italian and Thai restaurants by the dozen, those who know and appreciate German food have usually had to go to Vancouver, BC, or Seattle to satisfy their cravings.

Renate and Wally have done an outstanding job converting the storefront space into a welcoming and comfortable environment. The beer and wine license had not quite come through when I was there last week, but the lovely granite-topped bar just screams gemütlichkeit.

As much as I was tempted by the various wurst dishes on the menu, I knew that schnitzel was the true test. The pork schnitzel was as good as I’ve had anywhere, with a perfectly crisp breaded outside and tender meat inside. It comes with some snappy stone ground mustard in the best German tradition.

But the true test of a good German restaurant, for me, is warmer kartoffelsalat. That’s the iconic German hot potato salad that is one of the greatest comfort foods ever conceived. Renate’s version has a subtle tang of vinegar and lots of bacon. Real bacon, not the kind that comes in bottles. Jawohl!

Also very traditional is rotkohl, red cabbage, and it should be redolent of cloves and bay leaves. Renate scores again. Some substantial rye bread accompanies the meal and, again, it’s the real deal.

The word “hearty” is probably overused when it comes to describing German food and it’s something of an understatement. It’s filling, fattening, high in carbs and cholesterol, and completely wonderful. Renate’s makes no pretensions toward serving food that will appeal to vegans or dieters and that is refreshing in a world that seems devoted to gastronomic political correctness.

Renate’s is open for breakfast, lunch and dinner, and also offers a deli case full of meats, cheeses and other delights that are not to be found anywhere else between Vancouver and Seattle. She even has marzipan, which ranks right up there with chocolate in my food pantheon. As a Bellinghamster, it takes a lot of motivation for me to drive to Lynden for dinner.

You vill go to Renate’s und you vill like it!

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Whatcom County Association of Realtors is hosting the 3rd Annual Whatcom Giveathon on December 2nd from 1-7 pm. Open to the public.

Stop by for some cookies and coffee. Meet Santa and listen to several talented local musicians and choirs. Participate in the raffle and silent auction. Complete your Christmas shopping with items for sale from the non-profits.

40+ non-profits will have booths set up with educational materials and will be accepting donations of items from their wish list or cash. Give a gift to charity this season. Check us out at www.WhatcomGive.org.

Address is 3990 Meridian, Bellingham, 98226, the old Value Village site.

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Midori plays on
by Christopher Key

For those of you who may think the sensational Japanese violinist Midori has anything in common with a certain melon liqueur, think again. The violinist packs considerably more punch, if you’ll excuse the expression. The diminutive dynamo brought down the house at today’s Whatcom Symphony Orchestra season opener and she’ll be a tough act to follow.

As a musician, I was never in any danger of being invited to a master class. Imagine my delight when the WSO offered me the opportunity to attend Midori’s session Saturday afternoon with some extraordinarily talented young musicians. It was a rare glimpse of a superstar in something other than a concert setting. She proved to be both very personable and an enormously gifted teacher. There are three young violinists who will never forget that day.

Our wonderful local orchestra led off the first concert of the year, as is traditional, with the National Anthem. WSO audiences being somewhat more musically attuned than sports fans, the crowd participation was gratifying. There were actually quite a few voices that could handle the horrendous range and those who couldn’t had the sense to drop out and lip sync for a while.

Gioacchino Rossini’s Overture to The Barber of Seville always brings a big smile to my face and not just because it was used frequently in the TV cartoons I watched as a kid. The WSO opened with it today and I was grinning like a fool. Maestro Roger Briggs led the orchestra through it with galloping gusto and great good humor. It provided a delicious contrast to the serious stuff about to go down.

Benjamin Britten’s Concerto for Violin, Op. 15, brilliantly depicts the turmoil leading up to World War II. It is so dauntingly difficult that few musicians attempt it until they are at least in their mid- to late-twenties. Midori is of the generation that believes musicianship and performance art are not mutually exclusive. Her body language and expressive face captured the audience as much as her stunning technique. She tore at her Guarneri, determined to wrest every possible nuance of tone of which the violin is capable. The audience simply levitated at the end and brought Midori back for three well-deserved bows.

Photo countesy Whatcom Symphony Orchestra.

Following an abbreviated intermission, the audience was treated to an onstage interview conducted by Northwest Public Radio. Midori chairs the string department at the University of Southern California and runs a handful of non-profits that help bring classical music to underserved populations in addition to her international concert schedule. So the big question involved what she did in her spare time. It should probably come as no surprise that she spends her off-hours thinking up new projects for herself. Midori makes most over-achievers look lame.

Johannes Brahms spent much of his early career trying to emerge from the shadow of one Ludwig van Beethoven. By the time he got to his fourth, and final, symphony, Brahms was basking in the sun of his hard-won self-confidence. The WSO concluded the opening concert with Symphony No. 4 in E minor, Op. 98. Brahms’ self-confidence is manifest in the first movement, which almost sounds like it starts in the middle. The first, third and fourth movements all conclude with passages that sound like the end of a symphony. Most of the rather sophisticated WSO audience was hip enough to wait until the fourth before applauding. The orchestra earned that applause with a sparkling performance that featured outstanding work from the strings.

If this opening performance was any indication, WSO’s season should be a rouser. The next performance, on Saturday, November 19, at 7:30 p.m., stars the Mount Baker Theatre’s Mighty Wurlitzer (Mighty Wurlitzer is always capitalized). Saint-Saëns stirring Organ Symphony will be the centerpiece.

It’s gratifying to see the Mount Baker Theatre packed once again for the WSO after a couple shaky economic years. That means you need to get your tickets soon for future concerts. Call the MBT Box Office at (360) 734-6080 or order online at www.mountbakertheatre.com. For a complete season schedule, see www.whatcomsymphony.com.

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Skagit Opera sings again
by Christopher Key

Anyone familiar with opera expects high drama on the stage. Skagit Opera has starred in an offstage drama that had some people wondering if it was about to sing its death aria. Fortunately for everyone, Skagit Opera has Dr. Mitchell Kahn, whose persistence, tenacity and refusal to take no for an answer have resulted in a triumphant resurrection. In these desperate economic times, lots of smaller arts organizations are biting the dust. That makes Skagit Opera’s comeback even more impressive. The current production of Giacomo Puccini’s Tosca bears eloquent witness to Kahn’s dogged determination.

If you’re going to see and hear an opera, it helps to have a venue that is acoustically attuned. Mt. Vernon’s wonderful McIntyre Hall is about as good as it gets. It’s also designed so that there isn’t a bad seat in the house. More of them need to be filled.

I will be the first to admit that I am not as knowledgeable about opera as I should be and there are probably many others better qualified than I am to write a review. However, I seem to be the only game in town, so I frequently rush in where angels fear to tread.

Regular readers of this blog will undoubtedly know how many times I have mentioned that this rather obscure upper left hand corner of the nation has far more than its share of extraordinary artistic talent. Skagit Opera would be impressive in a community many times this size.

The legendary Maria Callas owned the role of Tosca for many years. It’s unfortunate for subsequent performers that they may be expected to measure up to those standards. I’m not laboring under that handicap since I’m far too young to have seen Callas. If Callas was anything like as spectacular as Skagit Opera’s Christina Kowalski, she deserved her rep. Floria Tosca demands a fiery interpretation and Kowalski simply burned the place down. Her spectacular soprano voice carries a rare richness even into the highest registers. What makes it even more astounding is that this huge voice emanates from a very petite singer. Her chops are such that even when she in engaged in some very realistic struggles with the villain Scarpia, she never misses a note.

Christina Kowalski and Anthony Kalil play the lead roles in Skagit Opera's production of Puccini's Tosca. Photo credit - StageImages.com

Baron Scarpia is one of the iconic villains in opera, having not a single redeeming quality. Korean-born baritone Yu Seok Oh could have taken the easy way out and blustered his way through the role. Instead, Oh gives a much more subtle interpretation that makes Scarpia akin to certain contemporary political figures who justify police state tactics and torture with a matter-of-fact manner. His well-chosen approach helps make the opera a very cogent comment on the kind of evils that the human race never seems to outgrow, in Puccini’s time or ours.

Tosca’s paramour is both an artist and a reluctant revolutionary. The two often seem to go hand-in-hand. Tenor Anthony Kalil not only possesses a thrilling voice, but is thoroughly convincing as the painter who simply wants to complete his portrait of the Magdalena and fool around with Tosca. For me, the most hair-raising moments in the show come when he and she raise their voices together in the third act. There is really nothing quite like a superb tenor, which is why you see so many recordings from Caruso, Pavarotti, Domingo, Carreras, et al, and the baritones and basses languish in the remainder bins. Kalil deserves to be in that elite company.

The supporting roles are as solid as the leads, but Steve Tachell, as The Sacristan, stands out by delivering a cagey performance suggesting that the Sacristan may be hitting the communion wine on the sly.

This Tosca deserves to fill the house at McIntyre and you only have three chances to accomplish that: October 9 at 2:00 p.m., October 21 at 7:30 p.m. and October 23 at 2:00 p.m. Tickets can be reserved by calling toll-free 866.624.6897 Ex. 2 or online at https://ticketing.mcintyrehall.org/TheatreManager/1/login&event=0.

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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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Claire vg completes hat trick
by Christopher Key

There was a time when Bellinghamsters who needed a Shakespeare fix were forced to travel to Vancouver, BC, or Mount Vernon to satisfy their jones. No more. Three superb productions in the past year have laid to rest the notion that Whatcom audiences won’t turn out for The Bard. Bellingham Theatre Guild led the way with MacBeth, Stone Town Theatre Works followed with The Tempest, and Lynden’s Clare vg Thomas Theatre finishes off the hat trick in fine style with Much Ado About Nothing.

I am told that Much Ado is the first Shakespearean production in that theatre’s rather impressive history and, if there is any justice at all, there will be many to follow. Director John Gonzales knows his Bard and it is evident in every aspect of this show. He not only has a gift for casting the right people in the right roles, but understands how to evoke top-notch performances from actors who have varied experience with Elizabethan English. The cast of Much Ado handles that challenge with aplomb and that makes the audience, which may also have varied experience with Elizabethan, much more receptive.

Of course, Much Ado is such a universally appealing comedy that even Bardophobics are quickly won over. Good choices, all around.

The centerpiece of Much Ado is the iconic battle of wits between the acerbic Benedick and the astringent Beatrice. It demands a level of commitment and versatility from the actors that is truly daunting. Ben Williamson, as Benedick, and Angela Mills-Watson, as Beatrice, bring a chemistry to their roles that is like unto nitric acid and glycerine. Explosive is the operative word.

Angela Mills-Watson and Ben Williamson, as Beatrice and Benedick shine in the Claire vg Thomas Theatre production of Much Ado About Nothing. Photo credit - Christopher Key

That epic confrontation is set against the more traditionally romantic relationship between Hero and Claudio. Sarah Miller brings both a lovely stage presence and a luminous innocence to her Heroic role. In Shakespeare’s time, male actors played women. Director Gonzales neatly reverses that tradition by casting Gillian Dodson as Claudio. Dodson obviously groks male physicality and infuses the role with mucho macho.

Much Ado offers some truly delicious roles for villains. Leon Charbonneau emphasizes the buffoonish nature of criminality with his wildly funny take on Don John. His henchmen are Borachio and Conrade. Brian Watson is a wonder to behold as the alternately greedy and remorseful Borachio. Conrade, the character with no discernable redemptive qualities, is given a glowering ride by Riley Penaluma.

It’s hard to imagine Claire vg without the ubiquitous presence of Chris Jones. I’ve long since lost count of the roles he’s played and he is perfectly curmudgeonly as Hero’s constantly outraged Dad, Leonato. The imposing Mark Miller demonstrates an unusual subtlety as Don Pedro.

Dogberry is probably the least subtle of Shakespeare’s clowns and who better to take that role over the top than Alan Birdsall? The man has no fear. The supporting cast is rock-solid and deserves a mention before I run out of time and space. In no particular order, they are Sandy Brewer, Jen Clevenger, Sue Dodson, Laurel Johnson, Dorothy Hopkins, Tom Weinheimer, Elizabeth Russell, Laura Williams and Kit Vonnegut.

Costumer Michael Watters has burst on the local theatrical scene like a supernova and provides another noisy and delightful demonstration of his extraordinary talents. The enchanting set owes much of its charm to painters Kamarie Chapman and Riley Penaluna. Music is an intrinsic part of any Shakespearean comedy. Elizabeth Russell, Laura Williams and director Gonzales are responsible for an evocative score. Choreographer Gayle Staker makes the movement magical.

Much Ado About Nothing performs September 28 – October 16 at the Claire vg Thomas Theatre, 655 Front Street in Lynden. Dinner Theatre performances September 28 and 29, catered by Jake’s Western Grill are $30. Regular performance tickets are $12 for adults, $10 for students and seniors, $8 for children ages 3-8 and can be reserved by calling (360) 354-4425. For precise information on dates and times, see http://sites.google.com/site/lyndenperformingartsguild/theatre-information/tickets.

Much Ado is a rollicking good time and if you want to hear how our public discourse could be improved, enjoy a couple of hours of English as she is spoke.

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There is no question
by Christopher Key

Those of us who had the good news/bad news situation of being brought up by teachers won a few spelling bees in school. Then we grew up to be writers, editors and Grammar Nazis who irritate the hell out of normal people and have difficulty finding gainful employment. If you want to see how this sort of thing comes to pass, you must see The 25th Annual Putnam County Spelling Bee opening this week at the Bellingham Theatre Guild.

Putnam County is a rollicking evening of fun and music directed by Marla Bronstein, who clearly understands how spelling bees can warp young minds. She has assembled a gifted cast of misfits who are instantly recognizable to anyone who has ever been to school. I not only recognized them, I was most of them.

This show demands an ensemble performance, meaning it should be synergetic: the whole is greater than the sum of the parts. Given that the parts are pretty sensational to start with, the whole is a thing of beauty. When reviewing an ensemble like this, the only fair way to do it is to take the cast in alphabetical order.

The cast of The 25th Annual Putnam County Spelling Bee delivers a rockin' performance at the Bellingham Theatre Guild. Photo credit - David Cohn

David Bolden is totally cubic. That means he’s a square any way you look at him and he gives Vice Principal Doug Panch a slightly demented twist that is delicious. Pay particular attention to his definition of the word “fandango.” One of the continuing delights on local stages is the marvelously expressive face of Alec Chunn. He plays Eagle Scout Chip Tarantino with his usual verve and a small hormonal challenge.

We have seen far too little of Evan Crane lately. He plays William Barfée with a geekiness that makes Bill Gates look like a matinee idol and winning the bee takes second place to finally having his name pronounced correctly. Adam Drake continues to expand his already impressive range with a loony portrayal of Leaf Honeybear. Drake brings a physicality to the role that will blow you away.

One of the reasons Paul Henderson seems to be everywhere on the local theatre scene is because he is astonishingly versatile and always makes it look easy. He plays the slightly freaky Mitch Mahoney and triples a couple of small roles with panache. Hey, aren’t there any women in this show? Yes, but their names fall later in the alphabet.

Angela Lee is genuinely frightening as Marcy Park, a charter member of Future Tiger Moms of America. Her moment of triumph comes when she chooses not to live up to expectations. Along with the laughs, there are some truly poignant moments of adolescent angst in the show. Megann Schmidt, as Olive Ostrovsky, delivers the best of these in “The I Love You Song.”

As Logainne Schwartzandgrubenierre, Leigh Toltz is charmingly lispy. The child of two gay Dads, Logainne brings a bit of consciousness-raising to the ensemble. Toltz pulls it off with a velvet glove. Last only by virtue of her surname, Jenny Woods demonstrates what winning spelling bees does to former students: they become real estate agents. Her rich voice gives life to an otherwise strait-laced role as Rona Lisa Peretti.

TJ Anderson has lighted up the stage in several roles and now brings his multifarious talents to the task of Music Director. Is there anything TJ can’t do? His bandmates, Marcel Ardans and Josh Grantham, deliver stellar backing to the vocal shenanigans of the cast. Director Bronstein collaborated with Amy Lee Brewster on the set design, which perfectly captures a high school gym. Except, perhaps, for the smell.

The devious Russ Nelson is responsible for the sound design, which includes such gems as G-L-O-R-I-A and B-I-N-G-O in the pre-show music. Costumer Michael Watters takes it perfectly over-the-top.

The 25th Annual Putnam County Spelling Bee performs September 23 through October 9 at the Bellingham Theatre Guild Playhouse, 1600 H Street. Tickets are $12 for adults, $10 for students and seniors (over 62) and $8 for children (under 12). That said, there is some strong language and sexual innuendo that may be inappropriate for younger children. The BTG box office is open Tuesdays – Saturdays 1:00 – 6:00 p.m. Call (360) 733-1811 to make your reservations and do it soon. BTG’s season opener is a sure sellout. For more information: www.bellinghamtheatreguild.com.

My favorite word: logodaedalian.

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Leave your preconceptions by the door
by Judith Owens-Lancaster

Directed by Pam Kuntz, Leave My Shoes by the Door is the tenth in a series of pieces exploring a wide range of social and personal issues regarding death and dying. Engaging community members, Kuntz uses dance as a vehicle for their stories. This evening is truly poetry in movement and visual art which takes us on an interesting and provocative journey exploring death as a part of life and our struggles to come to terms with its inevitability.

Kuntz’s imaginative rendering takes us through a door where we end up witnessing death, dying and grieving; by dreaming of it, dancing with it, going kicking and screaming toward it, and sometimes welcoming it by surrendering to it. Take comfort, for in all these possible scenarios, we are not left in fear. Rather, death is seen as a seductive shadow, partnering us, promising our eventual rendezvous, sometimes sneaking up on us, taking us unaware, but despite that, never becoming our enemy.

You could see more than one performance and come away with entirely different emotions than the first time. One feels the commitment of the ensemble and they draw us into their vignettes. Their honesty is so engaging, we want to see more.

This talented ensemble of performers not only dance, but sing and play various instruments. The visual artist Ruthie V. has used a very simple set to enhance the performances. There is a white backdrop upon which we see projected drawings much like finger paintings and there is one large white drop which covers the entire stage. Sometimes this drop is a curtain, a cloud, a shroud, a blanket, a robe, but always part of the drama. Further support to the montage is the music of Spencer Thun and lighting design by Mark Kuntz.

The ensemble is Alona Christman, Angela Kiser, Ella Mahler, Nathan Scarborough, Brooke Friswold, Ben Scholtz, Linda Allen, Spencer Thun, Brittaney Schunzel and Marie Eaton.

Leave Your Shoes by the Door can be seen at the Firehouse Performing Arts Center, 1214 Harris Avenue. Performances are Friday – Sunday, September 16-18, 23-15, and September 30-October 2. Evening performances are at 7:30 p.m.; Sunday performances at 5:00 p.m. Saturday nights, there will be a post-show discussion where the audience will be invited to ask questions and share thoughts. Tickets are $15 and available at the Food Co-op downtown, Village Books, www.brownpapertickets.com, and at the door. Donations to Whatcom Hospice are welcomed.

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