A fixture in the Bellingham arts community for 13 years, Morrison Glass Art is moving to a new studio. All of the art at the studio at 122 Ohio Street must be sold.
Please come and purchase art February 27th 10am-4:30pm. Celebrate the art and history of Morrison Glass Art. The event is family friendly and free.

Christopher Morrison created the glass sculpture that hangs in Village Books. His professional affiliations include Vice Chairperson of the Bellingham Arts Commission and a member of the Whatcom Museum Board. In March of 2005, he was honored to be the recipient of the Mayor’s Arts Award, which recognized him as an outstanding individual artist in Bellingham, Washington.

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If you are looking for a fun way to help the Red Cross with their relief efforts in Haiti or an excuse to eat out on Saturday night, come to the Grand Opening at the New Slo Pitch Sports Grill on Saturday the 30th. All of the proceeds from the restaurant will go to the Haiti relief efforts through the American Red Cross. So, if you spend $20 on a meal, they will donate the whole amount to the Red Cross. Please invite all of our friends to take part and give a little to help make the world a better place. They also have numerous prizes and cash giveaways throughout the day.

Ensemble cast rocks
by Christopher Key

There is nothing that quite compares to the magic that happens onstage when a group of immensely talented actors comes together and performs as an ensemble rather than individuals. That is what goes down at the Bellingham Theatre Guild’s production of Alan Ayckbourn’s Taking Steps. And it goes down like Black Velvet.

Evoking that kind of performance from actors requires a sure hand at the directorial helm and BTG veteran Dennis Cattrell has what it takes. He also has an affinity for Ayckbourn’s brand of British farce. Remember, if you will, the wickedly funny Revolving Doors from a couple years ago.

Cattrell’s genius is nowhere more evident in his casting choices. With two old pros like Robert Muzzy and Leon Charbonneau, there is enough ham to keep Hormel in business for another century or two. When playing farce, ham is the perfect entrée and the other cast members are more than strong enough to give the veterans a serious run for their money.

Muzzy is a shadow of his former self, having apparently sworn off pork chops since I saw him last onstage. Fortunately, he hasn’t lost any of his acting chops and those who have delighted in his many performances over the years won’t be even slightly disappointed. In fact, the weight loss seems to have added a good bit of energy to his performance.

There are few actors whose versatility can match that of Charbonneau. In the past few years he has played everybody from Malvolio to Mark Twain and done it with a style and professionalism that make him one of the leading luminaries on the local theatrical scene. It couldn’t happen to a nicer guy.

Just because I gave those two hambones the lead paragraphs doesn’t mean that the other actors don’t deserve equal space. The delightful Jen McQuaide is utterly charming as Charbonneau’s sister. Since I forced her to wear a fat suit in The Boys from Syracuse, it’s important to note that she’s incredibly svelte and sexy in this show. Her comic gifts are prodigious and her portrayal is dead-on.

Jen McQuaide and Leon Charbonneau star in Taking Steps at the Bellingham Theatre Guild. Photo credit - David Cohn

Ben Stahl is a newcomer to the BTG stage and let’s hope we see a lot more of him. He portrays a veddy British solicitor with a demented Pythonesque energy that is a joy to behold. It is a timely reminder that being compared to someone named Palin is not always pejorative. He’s a theatre major at Western and only adds luster to that program.

J. D. Merris is perhaps better known for his directorial efforts at BTG, but he really should get out in front of the lights more often. His acting is perfectly understated and that’s not easy to do in a farce. He also looks pretty damn good in motorcycle leathers for an old man. I’m obviously envious.

It’s not easy to be a vital part of an ensemble when you spend much of the play being locked up in a closet, but Jessica Martin is more than up to the task. BTG audiences may remember her from Lend Me a Tenor, and she makes the most of her unfortunately brief stage time. You have to admire any actor who can bring that kind of patience to a relatively thankless role.

As I have mentioned before, I hold the BTG to pretty high standards and there are a couple of weak spots in this production. The first act is too long and that is a problem with the script. If Shakespeare can be whacked for excessive exposition, so can Ayckbourn. Some judicious editing could knock about 15 minutes off the show and that would be a good thing. There were a lot of theatre people in the audience and many of them were yawning when it dragged a bit.

What can I say about the ending? It was peculiar, to say the least. I am trying to be diplomatic here. Ah, well. Minor quibbles, at best. Taking Steps is a marvelous farce and not to be missed. God knows, we could use some laughs right now.

Taking Steps performs at the Bellingham Theatre Guild January 22 – February 7. Thursday – Saturday performances at 8:00 p.m. and Sunday matinees at 2:00 p.m. Tickets are $11 for adults, $9 for seniors (over 62) and students, $7 for children. Reservations are highly recommended and can be made by calling the box office at 733-1811. For more information, see www.bellinghamtheatreguild.com.

The Bellingham Theatre Guild offers more entertainment bang for the buck than almost anybody. What higher compliment can be paid in these parlous times?

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Soprano sensation soars
by Christopher Key

There are a number of reasons why many of us get humbugged by Christmas music at this time of year. First, it seems to start sometime in September and by the time the holidays arrive, it’s wearing thin. Second, those insipid elevator arrangements are enough to drive Santa Claus up the wall. Third, it’s because we don’t get to hear Lynden’s Katie Van Kooten sing them. Her astonishing voice would bring new life to the most annoying commercial jingle and make you want to shout, “Bravo!” I don’t use exclamation points lightly.

Van Kooten enthralled an audience with carols familiar and unfamiliar at Western Washington University’s Performing Arts Center this evening. It was a fundraiser for the Bellingham Festival of Music and it was nothing short of thrilling. Van Kooten’s voice has been compared to that of Kiri Te Kanawa and it’s not even remotely hyperbolic. There is a richness of tone that is normally associated with contraltos, but Van Kooten maintains it even when soaring in the soprano stratosphere.

Photo credit: Sussie Ahlburg

She was accompanied by Brett Strader at the concert grand and Krista Strader on the harp. These musicians are definitely playing in Van Kooten’s league and were consummately professional. My only gripe was that the concert grand often overwhelmed the harp and that was a grave disservice. Krista Strader is one of the top harpists in the world and during the one number she did with Van Kooten without the piano, her playing was nothing less than angelic. That is in no way meant to be a criticism of her hubby’s prodigious talents as an arranger and accompanist. The harp should have been miked.

Speaking of angelic, Van Kooten was backed on several numbers by the Celestial Voices, a group of eight- to ten-year- old young ladies who are part of the music program at Bellingham Arts Academy for Youth. If they were nervous about sharing the stage with a performer of Van Kooten’s status, it didn’t show. However, I am willing to bet that not one of them will ever forget it. Their professionalism is a tribute to BAAY impresario David Post, who conducted them. I hope no one will ever take for granted the miracles that Post accomplishes with his young charges.

Van Kooten performed many holiday favorites with the grace and warmth that have made her an international star. Toward the end of the concert, she also demonstrated that she is equally at home in the jazz idiom. Her take on “The Christmas Song,” and “White Christmas” must have made Tormé and Berlin very proud.

I recently performed “I’ll Be Home for Christmas” in a program of Christmas songs and stories and am seriously contemplating retirement after hearing Van Kooten’s version. It is very humbling to hear a true superstar make that number her own. There were times during the concert when her voice made every hair on my body stand on end and I expect that my goosebumps may be permanent.

One of the few disappointments about last summer’s Bellingham Festival of Music was that Van Kooten only had a very brief solo in Brahms’ Requiem. This concert made up for that by letting us hear our homegrown diva in all her glory.

Since this was all about the Bellingham Festival of Music, it’s important to know that they’ve announced their 2010 season. You can check it out at www.bellinghamfestival.org and you’d better get your tickets now. The BFOM was sold out for most of last season and deservedly so.

And if you ever miss a chance to hear Katie Van Kooten, just shoot yourself.

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Northwest Ballet production soars
by Christopher Key

My companion at The Nutcracker this evening asked me how I review a performance like this, assuming that I have some knowledge of ballet. I don’t and I admitted it to her and to you. That’s why I end up talking about the backdrops and the costumes a lot. But I will make some small claim to theatrical wisdom. Ballet is just musical theatre without speaking parts, so I can usually fake my way through a review.

Frankly, Northwest Ballet deserves better. However, since I seem to be the only one writing reviews regularly, they have to settle for me and I do what I can. One of the things I have learned since starting to review ballet is that no two productions are alike. Don’t assume that because you’ve seen The Nutcracker before, you don’t need to see it again. This Northwest Ballet production is a fresh experience every year and we could all profit from a bit of fantasy at this time of year.

Artistic Director John Bishop told me that the opening backdrop is new this year and it sets the mood perfectly, portraying winter in an old English town as the dancers swirl in the snow. Bishop got to step into the spotlight this evening as The Cossack and his obvious joy in performing is thoroughly infectious.

The costumes are spectacular, as always. Beth Sanchez and Holly Bennett have obviously spent countless hours on this project and it shows. There. I’ve talked about the backdrops and costumes and have exhausted my ballet expertise. Now, let’s move on to the performers.

Guest artist for this production is Mahomi Endoh, a dancer with the Alberta Ballet. She began her training at age five with the Mami Ballet in Kyoto, Japan, and joined the Alberta School of Ballet in 2006. She is totally enchanting and obviously has a stellar future ahead of her. The only photo of her that I could access on very short notice comes from her Facebook page and conveys her charm the way no professional photo could. I hope she doesn’t mind that I stole it.

Playing the title role is Meridian High School senior Seth Weatherby. I have now seen him in several productions and am blown away by his athleticism and stage presence. His talent is prodigious, evidenced by his ability to pair with a professional like Endoh and look completely at home. This young dancer began training with Bishop in 2005, but he comes off as a seasoned veteran. Bravo!

There are far too many people in the cast to mention in this space, but they are all amazingly talented and deserve full houses at every performance. Theatrical Renaissance Man Angus McLane repeats his role as Herr Drosselmeyer and is always a treat to watch. The young dancers are especially enchanting and lend credence to the old W. C. Fields saw about never sharing the stage with a child. They steal the show every time.

I never cease to be amazed by the level of talent we are blessed with in this fourth corner of the nation and Northwest Ballet is one of the main reasons.

The Nutcracker performs Friday and Saturday, 7:30 p.m., at the Mount Baker Theatre with a matinee on Sunday at 2:00 p.m.. Call (360) 734-6080 for tickets or go to www.mountbakertheatre.com. Your holiday season won’t be complete without it.

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Cole weather at BAAY
by Christopher Key

If there is anything that can drive Christmas music out of your head for a while, it’s Cole Porter songs. Anything Goes is perhaps the quintessential Porter musical and it’s quite a challenge for actors of any age. Bellingham Arts Academy for Youth has no fear when it comes to such challenges and their production of this classic will have you humming something other than White Christmas for at least a day or two.

You absolutely must see a stunning performance by Abrah Friberg as Reno Sweeney. Her astonishing voice and luminous stage presence make it very difficult to believe that she’s a teenager. I’ve seen professional performers who don’t own the stage the way she does. There are some very solid BAAY veterans backing her up, but just try to take your eyes and ears off her when she’s onstage.

Abrah Friberg stars in Anything Goes at the BAAY Actors Studio.

That said, Jack Eiford gives her a run for her money as Moonface Martin, a gangster anxious to move up on the Most Wanted list. He’s got a streak of ham as wide as West Virginia and that’s a high compliment in my book. Brad Anderson, who gave a star turn as Curly in Oklahoma!, proves that his performance was no fluke. As Sir Evelyn Oakleigh, he delivers a very authentic Brit accent and a definitive version of the Upper-Class Twit.

The character of Billy Crocker is extraordinarily demanding, with constant costume and accent changes. Zoe Schackel comes through like a champ. Ellen Clark is all dewy innocence as Hope Harcourt and has a very sweet singing voice. As Bonnie, Maegan Covell charmingly channels Betty Boop.

Mrs. Evangeline Harcourt, Hope’s mother, is a formidable British matron and Melanie Cahill made the part her own. Saila Bonk is completely convincing as the American tycoon Elisha J. Whitney.

BAAY always tries to get as many actors onstage as possible and there is a second cast that will be performing next weekend. I recognize a lot of the actors in that cast and expect it will be as solid as this weekend’s performers.

There is a true hero in a smaller role that I want to recognize. You may not even have a clue that Rachel Snodgrass as the ship’s captain has a minor speech impediment. It may be politically incorrect for me to have noticed this, but I want to salute her for her courage. Theatre is often a means of curing stuttering and I’m betting that Rachel will be an award-winning orator before long.

There are a lot of talented kids who play smaller roles and that is nowhere more evident than during the big production numbers where the chorus sounds like Broadway professionals. That, of course, is due to the influence of Musical Director Extraordinare Steve Barnes.

Mary Evans is to dancing as Bill Gates is to computers. She has worked wonders with her young students and the choreography will amaze you. The intricate set was designed by Bill Eiford and that leads me to my only gripe. The complexity of the set changes resulted in delays that were very distracting. I trust that things will go more smoothly once those problems have been addressed. It will also cut about 15 minutes off the run time.

David Post, the mad genius who created BAAY, directs the show and the fact that I saved him for last is no reflection on his skills. What he has done is nothing short of astounding and he needs to be recognized for the community treasure that he is.

Anything Goes plays at the BAAY Actors Studio, 1059 North State Street, on December 11, 12, 18 and 19 at 7:00 p.m. Matinees are at 2:00 p.m. on December 12, 13, 19 and 20. Tickets are $10 and can be reserved at www.brownpapertickets.com.

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WSO flourishes surprises
by Kathryn Murray

The Whatcom Symphony Orchestra’s Holiday Treasures concert at the Mount Baker Theatre Sunday, December 6th, surely brought surprises as promised. Members of Western Washington University’s Concert Choir, directed by Leslie Guelker-Cone, slowly promenaded down the aisles with illuminated candles to a stirring rendition of The Boar’s Head Carol in Latin and English.

Artistic Director Roger Briggs conducted the orchestra in two dreamy Ralph Vaughn Williams selections, Wassail Song and a Fantasia on Greensleeves arranged by Greaves. All donning Santa hats, Jacob Scherr, guest conductor, and the symphony skillfully performed three popular traditional Christmas tunes: Have Yourself a Merry Little Christmas, The Christmas Song and White Christmas, which enthralled the packed theatre and set some to humming. The lighting design on stage and in the house added another dimension to the holiday concert. Beautiful reds, greens and blues lit the musicians and audience fairly undulated with the beat under Scherr’s direction.

A delightful dance interlude from Northwest Ballet with company members Amber Johnson, Jordan Assink and Marley Keel was one of the surprises of the concert. Splendidly choreographed selections from Tchaikovsky’s Nutcracker Suite fully captured the essence and mood of his dances. One wonders how they had enough room to dance on stage alongside 75 orchestra members and 43 choir members.

Conrad Susa’s A Christmas Garland conducted by Guelker-Cone and performed beautifully by the WWU Concert Choir and the Whatcom Symphony orchestra added a fresh sound to a potpourri of traditional Christmas songs. The new arrangements and intricate rhythms (particularly We Three Kings in 7/8) by Susa are challenging, but the musicians pulled it off magnificently. This work featured not only the choir and orchestra, but the audience had a part as well. Scripted lyrics in the program allowed the audience to sing along with the musicians. A rousing Joy to the World rounded out the first half of the concert.

Photo courtesy Whatcom Symphony Orchestra.

Opening the second half of the concert, Maestro Briggs conducted the WSO in Dona Nobis Pacem, another Ralph Vaughn Williams selection. The Cantata featured talented soloists, soprano Annie Kruger, baritone James Reynolds, and baritone Colin Ward. Although the piece was stirring, moving and beautiful, and the musicians and singers were exceptional, the audience may have been expecting lighter entertainment at this holiday season. Listening to the work brought on tears to some and may have prompted others to go out and purchase a recording as it was so magnificently performed. However, in light of what’s happening in the world, it wasn’t a piece that would brighten the holiday season nor could one go home humming. Reading up on the work, reviewers describe the piece as Vaughn Williams’ “optimistic plea for peace.” So in support of Briggs choice, that plea is certainly something we could covet this holiday season. The WSO and vocalists are to be applauded for their exceptional performance of this Vaughn Williams work.

Lo, How a Rose serenely performed by a WSO quartet was a beautiful segué as the WWU Concert Choir with candles surrounded the audience. As Guelker-Cone directed from the back, the choir sang a beautiful arrangement of Silent Night sung in German and English, ending the concert with an emotional and moving tribute to the Holiday Treasures.

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BAAY steals The Grinch
by Christopher Key

How can you not love a show that makes Larry King look like even more of a fool than he manages to do on his own? Bellingham Arts Academy for Youth has taken Dr. Seuss’ classic How the Grinch Stole Christmas, refreshed it a bit with updated pop-cultural references, and made it a complete holiday treat.

Much of the credit goes to first-time director Lisa Markowitz, who obviously buys the BAAY philosophy that handing challenging material to young actors is a good thing. BAAY has proved repeatedly that this approach evokes performances far beyond what would be expected of eight- to ten-year-olds. That’s the age range of this fabulous all-female cast and they demonstrate the stage presence of far more mature performers. Markowitz also created the dazzling choreography that makes this show rock.

Since Larry King is probably the only person on earth who might not be familiar with the story, I’ll use the space to pass out some well-deserved kudos. As The Grinch, Ellie Baader mugs and grimaces her way through the role with obvious glee and her portrayal is a total delight.

The character of Cindy Lou embodies all of the negative connotations that have come to be associated with the word “princess.” Olivia Ferguson plays the older incarnation of Cindy Lou with an eye-rolling snottiness that is a joy to behold. The younger version of the character is portrayed by Linnea DeVange with equal verve and charm.

This production features two narrators that are played with Grinchy geekiness by Marina Purdie and Raynie Perona. Both those names will be familiar to BAAY audiences who have witnessed performances by their gifted older siblings. The younger ones only add more luster to those theatrical traditions.

Isabel Davies, Olivia Ferguson and Ellie Baader star in How the Grinch Stole Christmas, now playing at the BAAY Actors Studio.

Isabel Davies delivers a hysterically funny portrayal of the aforementioned TV personality and does Larry King better than Larry King does. As Max the Dog, Nina Walsh is totally endearing and had the audience wagging their tails in approval. Allison Kaneshige nearly steals the show with an amazingly subtle performance as the slightly sleazy showbiz promoter Tim Gunn. She spouts celebrity clichés with complete aplomb and a perfectly deadpan delivery.

As the Christmas Fairy Who, Zoe Taylor prances about the stage with great energy, strewing literal and figurative glitter in her wake. Olivia Hampton portrays the Camera Man as though born to the role and makes the most of a relatively minor part.

The Whoville Whos all sing and dance like far more mature actors while still retaining their childlike charm. They are Annika Reiss, Callis Christante, Lily Gould, Olivia Hampton and Indigo Bruno-Hopps.

Two of the things about young actors that often drive me up the wall are their tendencies to speak far too fast and not project their voices. I rarely see this at BAAY and that’s a tribute to the professionalism of the instructors. All the actors in Grinch can not only be heard, but understood. I’ve seen college-level productions that didn’t do as well.

I’ve run out of superlatives for Musical Director Steve Barnes, so you’ll have to come up with your own. BAAY CEO David Post filled in for him as pianist at the dress rehearsal and did a remarkable job reading the score in the dark. Krystyn Bitner gets a huge shout-out as both Assistant Director and Stage Manager. The very Suessian set design was done by George Pine. Yoni Marker assembled the costumes, which couldn’t be more perfect. Tina Perona is credited as the Princess of Hair and epitomizes the good things about a princess. Marina Purdie’s older sisters are the hard-working stagehands.

How the Grinch Stole Christmas plays at the BAAY Actors Studio, 1059 North State Street, at 7:00 p.m. December 3, 4, and 5, with 2:00 p.m. matinees on December 5 and 6. Tickets are $10 and can be reserved at www.brownpapertickets.com. Don’t make the mistake of assuming they’ll be available at the door. BAAY shows often sell out and deservedly so.

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Badass bunny at the BTG
by Christopher Key

How do you create a story for children about vampires without scaring the little ankle-biters out of their wits? Try making the vampire a bunny. That’s what James Howe and his late wife Deborah did with their popular series of tales about Bunnicula. Seattle Children’s Theatre commissioned Jon Klein to adapt it for the stage and added music by Chris Jeffries and lyrics by Klein. The result is a show that appeals to kids of all ages opening this week at the Bellingham Theatre Guild.

Yes, it’s a children’s show, but there is enough snappy dialogue and atrocious puns to keep the big kids chuckling and groaning throughout. Director Shelley Jefferson has recruited a stellar cast and crew to make it happen. Set designer Russ Nelson has created an evocative environment that envisions things from the point of view of family pets. Those pets are the stars of the show. The superb makeup was created by Julie Zavala-Marantette and equally wonderful costumes by Bryan Harthorne.

Harold, the dog, and Chester, the cat, rule the Monroe family home like (mostly) benign tyrants and are not entirely pleased by the addition of a rather suspicious bunny. Katherine Roos perfectly characterizes the dog as one who is pathetically anxious to please. As the intellectually snobbish cat, Cassidy Young is charmingly cynical. Both of these actors have strong voices and use them to great effect in the musical numbers.

The title role is very challenging because Bunnicula doesn’t speak. Jasmine Chang, who plays the part, has to convey her character entirely through body language, with the exception of an occasional hiss. Beautifully done.

Those of us who have been around for a while will find the humans in the Monroe household to be perfect TV sitcom archetypes. Mr. and Mrs. Monroe make Ozzie and Harriet look like hipsters. Dale Sharp is delightfully geeky as the father, a college professor who couldn’t pour water out of a boot with instructions on the heel. Emily Lester is absolutely smashing as the ditzy mother who makes Edith Bunker look like a towering intellectual. Yeah, I know, the references are dated. So sue me.

Any sitcom family worthy of the name needs a couple of bratty kids. In the Monroe family, they are Pete and Toby, played by Aaron Helms and Ashlyn Cearns. Both young actors demonstrate amazing stage presence and prodigious acting skills. These two will be worth keeping an eye on to see what worlds they will conquer next.

There is one rather ominous personage in the play and that is the Puppeteer, whose skeletal presence makes Bunnicula move. Frankly, I feel the character is extraneous and rather distracting, but that’s a flaw in the script and not the fault of Grace Pyles who acquits herself gracefully in a somewhat thankless role. Fortunately, she gets to throw off the dark duds and play the Veterinarian at the end.

The BTG has wisely stuck by their policy, initiated last year, of earlier curtain times and added matinees for children’s shows. 7:00 p.m. shows are on November 27, December 4, 5, 11 and 12. 2:00 p.m. matinees are on November 28 and 29, December 5, 6, 12 and 13. Tickets are $11 for adults, $9 for students and seniors (62+), and $7 for children age 12 and younger. Reservations are highly recommended and can be made by calling the BTG box office at (360) 733-1811 Tuesdays through Saturdays from 1:00 to 6:00 p.m.

For further information, see the BTG Web site: http://www.bellinghamtheatreguild.com/.

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Squalicum tackles a tough one
by Christopher Key

When I was in high school, back during the administration of Millard Fillmore, the plays that were chosen for us were carefully screened to exclude anything that might be considered an acting challenge. Fortunately for all of us, high schools are made of somewhat sterner stuff these days.

Case in point: The Curious Savage at Squalicum High School. John Patrick’s 1950 play was rather daring in those days because it dared to question the societal definitions of insanity. It does this with a velvet glove rather than an iron fist, with enormous sensitivity and with tongue firmly planted in cheek.

The story revolves around Ethel P. Savage, a wealthy widow whose greedy step-children commit her to a private mental institution in order to get their hands on her money. Her only mental illness is that she is a free spirit and wants to do something worthwhile with her money. She leads the step-kids on a merry, and ultimately unsuccessful, chase after the money with the help of the friends she makes at The Cloisters.

Those friends are the residents of the mental institution whose main problem is that they are too kind, loving and sensitive to handle the dog-eat-dog world that exists outside the walls of The Cloisters. For that, they are judged to be insane and that is the genius of Patrick’s script. It dares to ask if the real loonies are the ones outside the walls. Don’t get me wrong. This is a wildly funny comedy and that makes its message devastatingly effective.

The acting challenges are enormous because the residents of The Cloisters have to be a bit off-center while still conveying that they are ultimately sane. Director Elizabeth Lathrop is to be congratulated for tackling a script this difficult and for guiding her students through this emotional roller-coaster.

Mady Gold plays Ethel P. Savage with a wonderful verve and a twinkle in her eye. This is her show to win or lose as the central character. She wins convincingly. Her fellow inmates are all well-portrayed, but one of the more minor characters stands out in my mind. Mrs. Paddy, as played by Courtney Blatz, nearly steals the show with her dead-on delivery of some very difficult lines and an amazing physicality. This is an actor to watch for.

Another stellar performance is delivered by Katy Witherington as Fairy May, whose geeky appearance and desperate need for love are totally endearing. Hannibal, a would-be violinist, is played with amazing subtlety by Aidan Woods. I once played this role and know how difficult it is. He’s a far better violinist than I am.

Mrs. Savage gives a lesson in current events to the residents of The Cloisters in Squalicum High School's production of The Curious Savage.

Jeffrey, a scarred veteran of World War II, is given vibrant life by Monroe Freeman. Kaitlyn Turner is totally sympathetic as the nurse who protects her patients with fierce resolve. Florence lost her child and invests a rag doll with his presence. Josephine Vorenkamp makes that character completely believable. Dr. Emmet, the director of The Cloisters, has to be professionally objective, but still compassionate. Taylor Blatz conveys that dichotomy beautifully.

Those sleazy Savage step-children don’t get much stage time, but they make the most of it. Andrew Ponder portrays Sen. Titus Savage with true political sleaziness. His sister Lily Belle is played with gold-digger sluttiness by Celestia Gonzales. Their brother Samuel, a judge who is on sale to the highest bidder, is played by Korey Tiderington, the only freshman in the cast and a talent that has great potential.

The Curious Savage plays November 21 at 7:30 p.m. and November 22 at 2:00 p.m. at the Squalicum High School Forum on McLeod Road. Admission is $8 at the door.

It’s a bargain to see the play that inspired One Flew Over the Cuckoo’s Nest.

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