Out and About

I usually devote a whole entry to the American Heartland Theatre productions I see, but frankly I have been busy and thus have had insufficient time to sit down and review. A chance to see the Kansas City Chamber Orchestra followed this past Monday. So, with a few minutes of down time before the demands begin, I submit my combined review of these two shows.

American Heartland Theatre's "Maybe Baby it's You" succeeded due to two fine actors and some subtle and sometimes not so subtly witty dialog. This is a light hearted work, as usual no real plot except the exploration of male/female relationships from dating through an elderly divorced couple realizing there is still some affection there. Of course, anything with the amazing Jesslyn Kincaid is worth the effort to see. As usual she was in fine form as the woman (the characters have no names), especially her brilliant channeling of Medea, the blind date of an unfortunate fellow. Newcomer Chase Ashurst made a splash in his AHT debut as the man with his physical comedy and fluid changes of character. As usual, not an earth shattering, life changing, disturbing or controversial evening of theatre, just a fine time with some fine actors giving us a break from all the above. "Maybe Baby It's You" runs through this weekend.

The Kansas City Chamber Orchestra is celebrating its 25 season next year, bringing chamber music to more intimate settings around town. This concert, at the grand Old Mission United Methodist Church in Mission, KS, was a new and quite satisfying venue for me. The previous KCCS performances I heard were in the horrible space that is Visitation Catholic Church, ugly, too open and "live" a space for concerts in my opinion. At Old Mission, the small strings only ensemble sounded warmer and larger, with better balance between the basses and the rest of the orchestra. This was a more varied and more "romantic" program than past encounters which leaned mostly on the baroque repertoire.

A finely done Finzi "Eclogue"(we do need to hear more of the wonderful and intimate music of Finzi) with KCCS Conductor and founder Bruce Sorrell on the piano, a lively early Divertimento (K138) from Mozart and a couple of chestnuts the "An Irish Melody: Londonderry Air)" by Frank Bridge (a kind of diffuse arrangement that did not come off well, the evening's only disappointment) and the Nocturne movement arranged for strings from Borodin's 2nd String quartet (known to Broadway musical fans as "This is my Beloved" from "Kismet") comprised the first half. The second half was comprised of Dvorak's wonderful Serenade for Strings in E op.22. Normally heard in a bit larger ensemble, the spacious and warm sound of the church worked well, making the small ensemble seem larger. The candlelit sanctuary of the church contributed to a fine evening of romantic chamber music, fitting for Valentine's day.

American Heartland Theatre: "The Love List"

It is the start of the new season at Kansas City's best theatre venue, The American Heartland Theatre. As usual the play was funny, Mark the bartender made some great scotches to have before, during the show and at intermission and the local restaurant Streetcar Named Desire made us fine pork tenderloins. Greg and I are creatures of habit if nothing else.

For its opening show this season, AHT chose the KC premiere of "The Love List" by Norm Foster. Veterans Scott Cordes and Sean Grennan star along with newcomer Shanara Gabrielle and her wardrobe of incredible shoes.

The play is short on plot, as usual for a comic romp, and a little slow to get started. I was thinking "this will be a leave during intermission evening" but as the show progressed and the gags rolled on, it became a light and amusing entertainment.

Needing a 50th birthday present for Bill, his long divorced, terminally boring number-cruncher of a friend (Grennan), Leon (Cordes) buys him a "love list" from an unseen gypsy. This seemingly harmless list of ten qualities that define the perfect woman soon turns mysterious when Leon leaves and the gorgeous dream woman named Justine appears (Gabrielle).

We all soon figure out what is going on. As Leon puts it in the shows best line "a tear in the cosmic pie crust" makes their perfect woman come to life, endowed with the 10 traits they ascribe on the "Love List". The fun begins when they start changing the list, and Justine instantly reflects the new personality. Here is where the play takes off as Gabrielle is amazing working through the lightning quick mood and costume changes.

It all kind of ends with everyone getting basically what they deserve and learning to be careful what you wish for.

Deep, emotional, riveting, topical theatre? Nah, for that read the paper. To escape the trauma of the end days of the US empire, see a play like this... and have a drink or two.

"The Love List" now through October 24th.

AHT: "The Dixie Swim Club"

Greg and I are creatures of habit, especially when it comes to the regular American Heartland Theatre productions we have attended for the last few years. Greg picks me up at 6, and off we go to the Crown Center for the evening. We park in almost the same spot right by the theatre level door and head off to the Streetcar Named Desire for dinner. There we both order the pork tenderloin with extra mayo and fries (I get onions he doesn't), scotch and water to drink and sit at the same table with usually the same waitress. Greg always gives me his pickle. A stroll to the theatre upstairs, order scotch and water from our favorite bartender Mark, and wait for whatever we are going to see. Last night was no exception but we were hatching plans to escape at intermission if "The Dixie Swim Club" (billed ominously as the "Next Steel Magnolias") was more than we could handle.

"Chick" plays or "Chick Flicks" usually are crashing bores for almost any member of the male population. Greg and I are hardly the most typical of men, neither of us are big fans of loud, obnoxious, boorish films or whatever and we both say please and thank-you a lot. Nevertheless, we considered if we were going to order an intermission drink in case we fled the show. We decided what the heck and planned for the whole evening.

Danm glad we did.

"The Dixie Swim Club" is a typical AHT play, breezy, light hearted, intimate (the theatre is small and it is easy to feel right on stage with the actors, plus we feel we know most of them through their regular appearances) and well paced. The plot is simple: 5 North Carolina ladies from a college swim club get together each August at a beach house for a reunion.

Sheree (the wonderful Cathy Barnett) is an annoying hyper-organizer who gags her friends each year with inedible health food snacks. Cheryl Weaver is Lexie, a Blanche Du Bois type with a husband-du-jour. Accident prone Vernadette (the fabulous Debra Bluford) lives a trailer-trash life with a no-good husband and a kid with a mile long rap sheet. The irrepressible Missy Koonce plays Dinah, an aggressive, martini drinking lawyer with no time for a social life. Finally there is Jeri Neal (Jennifer Mays), who became a nun but decided a worldly life was more her style completes the group.

The knee slapping one liners and silly situations fly like mosquitoes in the Okefenokee Swamp and frankly a less talented and looser ensemble would soon send "Dixie" into a proverbial comic swamp. But these ladies have impeccable timing, talent to burn from subtle glances and raised eyebrows (Koonce is a master at this, even when she was not speaking, her eyes, posture and gestures spoke volumes) to over the top theatrics (Vernadette's hilarious paean to the biscuit is a show stopper) which elevates the simple material to an outstanding comic production.

As the play takes the ladies from their 40s into their 70s, a bit of drama creeps in as regrets, illness and death take their toll. But thankfully it does not descend too far or get as sticky sweet as a Georgia peach and leaves the audience with a light hearted exploration of friendship.

Keeping the feeling of an intimate, friendly theatre, the actors in each show assemble to greet the audience. Since Greg knew Missy Koonce well and I had met her, we decided to drop in. I guess I made an impression on the cast as I laughed my ass off in my front row seat. I was treated to an impression by Cathy Barnett of my reactions. She was dead on.

A real treat, so we were glad we stayed and recommend "The Dixie Swim Club" for y'all to see, including the menfolk.

Dixie Swim Club through June 27 AHT

American Heartland Theatre: "I Love You, You're Perfect, Now Change"

For some reason I can not explain, maybe it was the title, I was not really looking forward to the latest American Heartland Theatre (Kansas City's best theatre venue) production of "I Love You, You're Perfect, Now Change." I was expecting the same, tired marriage and relationship farce that has been done over and over. "I Love You.." is a musical face about love, marriage, dating, sex, relationships, growing old and all that. But the songs are so witty, the music so catching and this minimalist production (spare set, solo piano and 4 actors) so sparkling and well paced that I found myself laughing out loud all evening while reflecting on how difficult and heartbreaking we humans can be.

The show succeeds on the strengths of the 4 actors, favorite Jesslyn Kincaid, Natalie Weaver, Jon Daugharthy and Adam Branson. All have fine voices, a great sense of timing and comic ability and the versatility to assume multiple roles. The always wonderful Anthony Edwards was on stage doing his usual bang up job as accompanist. As I mentioned, the sets were stark simple, but not looking cheap, just the minimum to set the mood. The scene of the 4 actors and husband and wife with two kids in a car was a masterpiece of clever use of props; each actor was in a rolling office chair and sat in formation as in a car and then spun all over the stage as the inevitable argument ensued.

Easily the best scene was "The Very First Dating Video of Rose Ritz, featuring Kincaid as an older divorced woman recording her first dating video. Kincaid sat before a live camera and delivered a poignant monologue on the cruelties and heartbreaks of relationships and love. Her image was projected above the stage as we voyeuristically watched her pour her heart out. When the unseen recorder tells her it was "kind of depressing, should we do it all over again", Rose states, "no, I said what I needed to say." Like the rest of the show, book and lyricist Joe DiPietro, didn't hit us over the head but allowed us to reflect and, yes laugh too, about our attempts to find love.

Runs through April 25.

Glorious!

The name Florence Foster Jenkins still has the ability to ignite a discussion more than 65 years after her death. Was she serious? Did she really think she could sing? Or was she just an elaborate joke?

Born in Pennsylvania in 1868, Florence took music lessons as a child, but apparently did not seem worthy enough for her father to pay for them further. Thus she eloped with a Doctor to Philadelphia and eventually on to New York, worming her way in to society by using her family money to start and fund ladies' music societies plus give the occasional, also self funded and promoted, recital.

From her recorded legacy, it is obvious she had little musical ability, especially in the basics of pitch and diction. Maybe it was an early manifestation of "camp", but for some reason she became quite popular. If she heard laughter or a bad review, she tossed it off as professional jealousy from less talented individuals. Florence died in 1944, one month after a self funded but highly successful sold out Carnegie Hall recital.

English playwright Peter Quilter has captured some scenes from Foster's last years in New York leading up to the Carnegie Hall recital in his successful comedy "Glorious!" now playing at KC's best theatre venue, the American Heartland Theatre.

Although blessed with a strong cast, the play rambles with some silly, almost slapstick side episodes which frankly get in the way of a good story. The recurring entrance and funeral of Florence's friend Dorothy's dead poodle is simply distracting and inane. Marilyn Lynch as Dorothy, who shares Florence's delusion that she is great, has some great lines and scenes, but this is not one of them. The nasty Mexican maid "Maria" is another side distraction that provides some comedy, but certainly adds nothing to the overall story. Maria's gutter slang Spanish is frequently lost to those who do not understand the language, such as when she yells "screw you" at Florence in a distinctively South American way, or calls Florence's pianist a "mariposa", Mexican slang for a "fag".

The main characters carry the show. Debra Bluford, as Florence, has a great presence, a strong voice (?) and the flexibility to camp it up just enough to make us think Florence is just a joke, but just as passionately can portray Florence as a serious character. Jonas Cohen is remarkable as Florence's last accompanist Cosme McMoon (the story and mystery of the real Cosme McMoon is worthy of a story itself). Cosme is obviously talented, closeted gay (providing many a joke, some also lost on the audience such as when he is asked if he is a "friend of Dorothy too", referring to the character of Dorothy but also invoking the old code phrase for "are you gay" common in the 40's-60's) and needing money and an outlet for his art. Florence pays well so he relents, falling in to her world and ultimately coming to love and admire Florence for her.... talent, as it were. Brilliant actor Bruce Roach (who did the slimiest, most evil Iago in "Othello" a few seasons ago), portrayed Florence's long time "friend" StClair Bayfield, but his sardonic comments frankly just sounded absurd, doing little to establish his role.

But the singing (?) was of a type rarely heard in theatre; it must be difficult to really sing that bad. Bluford looked positively absurd in the costumes, as well she should.. so did Florence. Cosme's final reflections changed the whole mood of the show, causing us to leave wondering a-new; was Florence Foster Jenkins a joke or a woman with balls doing things her way and living her dream as few of us ever do.

Cosme was not laughing.

American Heartland Theatre through 2/21

American Heartland Theatre: "It's A Wonderful Life"

Mention the 1940's film classic "It's a Wonderful Life" and you immediately envision happy endings, Christmas, angels, Jimmy Stewart and the sweet, simple experience of a small community.

Not to me.

"It's a Wonderful Life" is a bitter story about having your dreams shattered, being trapped, of compromising with the enemy, frustrated that friends and family get ahead and move away, living the life you dreamed. Frustration like this fills men (especially men) with rage that drives them to alcoholism, abuse, suicide. Today, George would be dead... just another casualty of the American Dream.

If you would look at Bedford Falls in 2009 you'd soon notice nothing seems to have changed from the 40s. Big Business treats people like a disposable rag as they plunder and profit for the sake of a few "stakeholders". Those few with a true concern for the disenfranchised and broken souls work with limited resources and seem to be under constant attack from the powerful. Even when caught stealing or being hypocritical, the powerful never apologize and go on Fux News to blame the victim and Obama. Remove George and we see a world starkly like the one I fear is coming soon when tea baggers and birthers reign. Yes, in the tale George wins, sort of. He doesn't defeat the evil, he just endures it one more time with the help of a few souls who are grateful.

No, I did not see a rebroadcast of the Frank Capra classic on TV or on disc, Greg and I went to the current production of "It's a Wonderful Life, A Live Radio Play" at Kansas City's best theatre venue, the American Heartland Theatre.

The whole play is pretty straight forward, a 1946 live broadcast of "It's a Wonderful Life" from WDAF radio studio 4 in Kansas City. Not only a fine retelling of the familiar story, but a fascinating glimpse behind the scenes of live radio. Even as the audience is settling in, the actors are on stage setting things up, talking to us (Greg was offered a cup of coffee from the studio's break room), the actors go on and off grabbing a close microphone when it is their turn to read, a pianist is on stage playing and occasionally taking a minor role. A child used to play George's children now and then sat at the break room table amusing herself quietly until summoned to read, just as she would in a live studio. The sound effects were as much fun to watch as to hear.

The cast, Ken Remmert, Tim Scott, Lauren Braton, Natalie Weaver, Kevin Albert, Colleen Grate and Michael Dragen were all excellent, with special kudos to Tim Scott and Kevin Albert for their dramatic and spot on readings of George and the evil Mr. Potter.

The stripped down reading and almost mechanical efficiency of the recreation of live radio were the catalyst for my darker experience of this tale. Remove the sights and sounds of 1940's films and the dramatic elements emerge, revealing "It's a Wonderful Life" as a cautioning tale for our time as well. At the American Heartland Theatre through December 27th.

American Heartland Theatre: "I'll be Back Before Midnight"

Yawn... "who done it" murder mysteries... one of my least favorite theatre or movie genres. I guess it is my impatience or maybe the knowledge that I am being manipulated that makes these shows a tedium for me.

But, the American Heartland Theatre's (why does Blogger spell check think "theatre" is wrong, I happen to like that way of spelling it) production of "I'll be Back Before Midnight" actually was humorous, fast paced and featured a fine cast and effective sets and lighting.

There was a bit of psychodrama and twisted, sick relationships to keep one involved, but not so much as to repulse and block the forward motion of the plot. The plot is pretty simple, as most of these things tend to be, Jan is a young woman who apparently has just been released from a long stay in a mental hospital. Her husband, Greg, who studies rocks and ancient stone tools at a college under the direction of Jan's father, has rented a farmhouse so that he and Jan can resume their lives. George, the landlord, introduces himself and despite being a simple looking bumpkin, begins to plant the seeds of murderous mayhem by telling tales of murders in the farmhouse, buried bodies and ghosts. Adding to Jan's growing dread, Greg announces his sister Laura will be coming to help out as she travels to a new life out west. Jan and Laura are not the best of friends, to put it mildly.

As the play progresses, the twisted relationships and menacing personalities emerge. George has a lot of secrets to keep, there is a hint that manipulative, cold Laura and very submissive Greg were more than just brother and sister. Jan sends cassettes to her therapist fearing she is about to lose it all again.

The two short acts come to a climax early as the secrets are revealed, motives become clear and the body count rises. The excellent cast (Vanessa Severo as Jan, Darren Kennedy as Greg, James Wright as George and Jan Chapman as Laura) are brilliant as their initial personas fade and their true selves emerge. At the end no one is as they initially seemed, making "I'll be Back Before Midnight" more of a "who are they" rather than a simple "who done it".

The show continues through October 25th.

Unnecessary Farce: American Heartland Theatre

I have blogged before about the jewel of Kansas City Theatre, the American Heartland Theatre. Great venue, relaxed staff, full lobby bar allowing you to take drinks in with you (they will even have one waiting for you at intermission), fun shows, great casts.... it just adds up to a fun evening. You will not see high drama, the latest in Broadway, mega stars or high prices. Just wonderful theatre and dare I say it again, a fun evening!

Tonight's fare running through June 21st is the slapstick farce perfectly titled as "Unnecessary Farce". Some of the great AHT favorites, Jessalyn Kincaid, Craig Benton and my Lyric Opera Ingram Room colleague Kevin Albert are joined by some new faces in this hilarious romp.

Plot?? As with most AHT shows, plots are thin and pretty easy to follow. No complex psycho-drama here. Two of the city's most inept cops ( new comers John Wilson and Jill Szoo) are ensconced in a motel room waiting to videotape a meeting in the next room between the city mayor (Albert) and a new accountant (Jessalyn Kincaid). They are hoping to catch the mayor embezzling city funds, but run smack into a bigger crime ring, a mafia ring known as the Scottish Clan (that is clan with a C not a K, a running joke), led by the dreaded "Big Mac" and enforced by the feared killer Todd. As befitting a motel room with adjoining doors, the characters seem to catch each other in various stages of undress (this is not the Unicorn so no wangs or boobs flopping around), compromising positions, in closets, bathrooms, wrong rooms, wrong times and wrong places. Even the Mayor's sweetie little wife comes tottering in.. but we soon learn she is force to be reckoned with.

The cast was uniformly great but newcomer Zach Woods was fabulous and a show stealer as the huge, kilt clad, menacing Todd. When Todd became angry, his Scottish brogue became a tangle of sound and accent, brilliantly done and adding to the comic zaniness. Kincaid was a dynamo as always, Wilson and Szoo were a superb team, Benton is always a superb physical actor in the role of the mayor's security man Agent Frank (who only seems to want to get into accountant Brown's knickers), Kevin played the clueless (?) mayor to a hilt and Cynthia Hyer milked every nuance out of the surprisingly key role of the mayor's wife.

Just fun, a lot of laughs, a couple of scotches (drinks that is, not clansmen [not that is with a C not a K]), a fun dinner at the nearby Streetcar Named Desire.. what theatre should be.

A Tuna Christmas: American Heartland Theatre

Twas the night before Christmas, Tuna, Texas, the third smallest town in that great state. All the nutcases that call Tuna (located between San Angelo and Hell) home are stirring about, havoc to wreck.

The annual Christmas light display contest, sponsored by radio station OKKK, is about to won for the 15th year in a row by Vera Carp, will the Christmas Phantom strike it down? Stanley Bumiller is about get off probation hoping to get out of this Dodge, his twin sister, the town slut, is off slutting around and as usual, their mom Bertha is waiting in vain for her drunk husband to get home. R R Snavely is searching for UFOs while his wife Didi runs the most popular store in town, the ammo and used weapons shop. Local food service professionals Inita Goodwin and Helen Bedd are swamped down at the Tastee Kreme... so goes Tuna this magical night.

American Heartland Theatre (best theatre venue in KC...as regular readers know) is mounting "A Tuna Christmas" until December 28th. Jim J. Bullock (famous as a TV actor, upper right "Hollywood Square", and co host with Tammy Faye Bakker on the "Jim J and Tammy Faye Show", and local favorite John-Michael Zuerlein ("A Dog's Life") play a whole slew of characters in this hilarious study of isolated small town life. Both Bullock and Zuerlein are brilliant, the humor none too subtle and the sets (variously decorated Christmas trees, Didi's tree festooned with guns, handcuffs and grenades, draped with crime scene tape and topped with a gas mask is the winner) simple yet effective. Zuerlein almost stole the show for me with his hilarious Didi Snavely, but Bullock fights back with a subtle and sympathetic Bertha Bumiller.

A Tuna Christmas is part of a series of plays by Jaston Williams, Ed Howard and Joe Sears and has become a staple of regional theatre. Devotees of "Sordid Lives" will feel right at home in Tuna.

So before you think all is bleak in Tuna, remember this is Christmas and of course the ending is happy. Bertha, bless her heart, finally gets her wish...to see what it is like to be a Methodist.

"A Tuna Christmas", American Heartland Theatre through December 28th

Always..Patsy Cline

Again, my favorite theatre venue, the American Heartland Theatre, has mounted a winner. As a “community theatre”, AHT is far from cutting edge, no controversial plays, few deep moral issues and usually a happy ending is required. At the same time it is consistently professional, entertaining and certainly far above the level of a high school play, drawing a large, diverse and loyal audience.

The current winning production, “Always…Patsy Cline”, is not new to the stage or to the AHT. One of the most successful of its type in the country, “Always..Patsy Cline” has played to sold out audiences around the country since its premiere in Houston in 1988. Of course, who doesn’t love the subject? Patsy Cline is a legend, her songs and story are as fresh and fascinating today as they were in the late 50’s. Cline’s natural talent, emotions, ability to communicate and her “realness” made her a star then and a legend today. Imagine a music star today, even a country music star, taking a commercial air flight, hailing a cab and showing up at the venue, alone trailing her luggage and the music for the band. That was Cline, always down to earth, even while fame and fortune were at her feet, ready to sit down with the band or the crowd, drink a beer and tell and laugh at the latest jokes. Instead of running from her simple, hard luck background, she thrived on what it taught her.

“Always..Patsy Cline” is more than just a musical review of Cline’s short lived career (she died at age 30 in a plane crash in 1963) but is a reflection on the lady herself, her charm and ability to mesmerize an audience. The show is based on a true story about Cline’s friendship with a fan from Houston named Louise Seger, who befriended the star in a Houston night club in l961, and continued a correspondence with Cline until her death. The show’s title was inspired by Cline's letters to Louise, always signed "Love ALWAYS... Patsy Cline.”

The main stage is the concert hall and thus the show is set around the 1961 concert in Houston. At both sides, a 1960’s kitchen and sitting area provide the setting for Louise to reminisce about her friendship with Patsy, how they met, her impressions of Patsy and her constant hounding of a local DJ to play her songs. Becky Barta has made a specialty of playing Patsy Cline and does a remarkable job of portraying her gutsiness and vulnerabilities. She can belt the songs out with the same musicality and gusto as Miss Cline.

Cathy Barnett literally steals the show as Louise Seger. Barnett is a former stand-up comic who makes excellent use of her improvisational skills and knows how to work a crowd. Some of her ad libs seem planned, but others do not. Either way, the audience last Thursday loved her sassy, flirtatious way of interacting with the crowd. Since Greg and I have front row seats and the stage is not separated from the audience, we get to interact a lot. Louise told me I have nice legs!

“Always..Patsy Cline” has been extended until the 17th. The AHT goes from strength to strength, but it will take a lot to top this one.

Night of Song

For my birthday on Monday, my neighbors Scott, Will and Marcia took me out to dinner and to the "Open Mic-Opera-Cabaret" event "Night of Song" sponsored by the Lyric Opera of Kansas City. This was my first "Night of Song" and will certainly not be my last.

Created by Nathan Granner, Elaine Fox and Silvia Stoner, Night of Song is advertised as an "an impromptu ballyhoo of music". Usually comprising opera, some standards and show tunes, the show is both sophisticated and highly entertaining.

Monday's show was held at Bar Natasha, an upscale nightclub-restaurant in the popular Crossroads district. Gay owned and operated, it is not a traditional "gay bar" but more of a cabaret drawing an upscale, sophisticated audience.

The food was excellent but the menu is limited. "NO bar food here", the person on the phone told Marcia when she made our reservation. But from my limited glance at the menu, there was not much else of substance besides the 2 nightly specials that qualified for a full dinner. For some reason, our cheery and pleasant waitress just could not count that we were four and only gave us one menu. We asked for more and received one more. Ok... to move things along we all ordered the pork tenderloin special with mashed potatoes and vegetables. I got the duck soup as a starter, a slightly bland stock was full of nice duck pieces and some vegetables served "en croute". Scott got the shrimp cocktail, 4 large shrimp in a spicy creamy sauce. They looked good and should be for $14.00. We also finally convinced the lady to get drinks for all of us. They had my Finlandia Mango vodka that I love, but 303 does a better job of serving it icy cold.

But the night was about the music. The three talented singers Daniel Erbe, tenor, Stephanie Laws, Soprano and a third one whose name I did not catch but will find out were joined by the pianist(also unknown to me, hey! I had a couple of martinis by then so when I sober up, I'll get the 411, OK?)who seemingly could play anything they but in front of him. The repertoire was mostly opera favorites, Carmen (Habanera), Handel (Let the Bright Seraphim from Sampson), Manon, Susannah, Butterfly, the ones audiences love. It was fun watching the singers leaf through books titled "101 Great Arias", "The Best Italian Arias for Soprano", "Puccini Favorites", et al., deciding what to sing next. Fully impromptu, elegant and sophisticated karaoke, performed by professionals.

Definitely worth a repeat trip. They sang "Happy Birthday" to me and a couple others. I have never heard my name sound so wonderful!

Joel Osteen Comes to Town

I am not a strongly religious person, even though I attend church pretty regularly. Like many, my skeptical brain can not accept all the contradiction, hocus pocus and the chasm-size leaps of faith inherent in Christian faith. I do, however, believe that someone named Jesus Christ lived, was the most radical revolutionary in all of recorded history, taught a primitive, animal like society how to live in peace and ignited human capacity to love. Thus I go to church to hear this philosophy and try to adapt it to my life. The hocus pocus and literal interpretation, that is for the Baptists.

Thus sets the scene for a somewhat surreal evening I spent with 18,000 others in the vast Kemper Arena listening to "A Night of Hope" a program by the current reigning monarch of TV preachers Joel Osteen. My friend Greg was going and asked if I wanted to join him. Curiosity is a powerful motivator so off I went. The promised treat of Rosedale BBQ before the show (or whatever it is) was the clincher for me.

Osteen is interesting, a bit of different animal than many of the evangelical nuts polluting the airwaves and pulpits of the world. Because of his difference, Osteen has been criticized for preaching too frequently on positive thinking and "the prosperity gospel" which focuses on good health and financial abundance for the believer. His lack of hitting one over the head with out of context Bible verses and hellfire and brimstone is refreshing in the current crop of TV preachers. Now, I am all for being positive; my training in clinical psychology demonstrated to me that our thoughts and beliefs can be powerful motivators and inhibitors. But, it is not the simple catch-all cure-all that Osteen preaches.

Human behavior, both group and individual is much too complex for the simple answers Osteen preaches. As much as I tried to believe and ask to be a millionaire and an end to my diabetes, tinnitus and aching back, I don't think it is happening. That is a bit simplistic in itself, and Osteen and his family say to be cured one has to take your medicine. You see, Osteen even admits he is not so much a preacher but a life coach, using Christian principles for his background. Osteen in fact does not have a degree in theology but rather a degree in Television production, which is telling in and of itself.

Anyway, it is still preaching, it is still Christian Pentecostalism, if it looks and sounds like it, then it must be. Rock concert slick, Jesus would be out in the halls overturning the high priced merchandise tables, chock full of books, t-shirts and CDs. I just couldn't take much of it. Slick (a word I keep coming back to), scripted (I am sorry but I doubted Osteen's crying jag a the mention of his late dad) and with make-up worthy of the Hollywood Westmores (Mrs Osteen has to have had work done), the whole thing just collapsed for me under the weight of the production.

I thought maybe this guy was different. Greg enjoys him and Greg is not a fool by any means. But alas, the simple message, the trappings of wealth and power, the whole prosperity gospel message (God wants you to be RICH!)just grated on me. But by the time we left (early) I could only see the private jets, limousines, fabulous houses, etc. The images on the screen showed largely white, happy, warm climate suburban, hetero families surely not representative of the world I see out my urban window.

Accumulation of wealth and material goods has been and continues to be the major hallmark of this movement, thus counter to much of what I see in Christian teaching. Where is the helping of the poor, quietly and without material reward? Where is the preaching that the accumulation of wealth for one rests on the back of someone else? Humility, service, turning the other cheek? It was all too Amway for me.

At least Osteen is not kicking people in the teeth (at least publicly) like many preachers. But he is really not all that much different and I predict he'll end up irrelevant in Branson someday along with all the others.

(Note the tongue-somewhat-in-cheek tag of "Theatre Reviews I attached to this entry!)

(another) Night Before Christmas

Christmas theatre.... "A Christmas Carol", song filled stories of family and friends, the story of Jesus' birth, warm good feeling, Santa Claus, children. Formula? Usually.

Leave it to the American Heartland Theatre to come up with something engaging, a little off beat but still sticking to a crowd pleasing formula.

"(another) Night Before Christmas" now playing at the AHT (again as I always mention, a wonderful, intimate theatre that allows you to take your cocktails in with you!) through Dec 30th. The plot is simple, but timely and certainly entertaining. The two character musical involves Karol, a disillusioned, cynical social worker and a homeless man named Guy or (Clement Moore, the man who wrote "The Night Before Christmas) who breaks into her loft, takes over, makes incredible crab cakes and tries to convince her that he's Santa Claus. Karol resists but soon has to admit he sure seems like the jolly old elf. With witty dialog and a few hearty laughs along with a few well placed and well written songs, the show breezes along to its obvious and satisfying conclusion.

Karol is perfectly portrayed by Carey Van Driest and Don Forston as a convincing and always hilarious The Guy (aka Clement Moore, Santa Claus...whatever). Neither performance was of the over the top style that will sometimes mar AHT performances. Since this is another Sean Grennan and Leah Okimoto collaboration (as in the whitty "Married Alive" and the best production I have seen at AHT "A Dog's Life") the music and whole pace of the production is spot on.

As I mentioned, a crowd pleaser but still a little off beat, humorous but also enlightening. And certainly better than last year's stinkeroo of a Christmas show from the AHT.

Moonlight and Magnolias: American Heartland Theatre

Eschewing the usual fare of a musical review, the American Heartland Theatre's current production is a wonderful comedy-drama that was easily the most well acted production there since "A Dog's Life".

The premise of "Moonlight and Magnolias" is somewhat unusual and on the surface not all that compelling; 1939, the world on the verge of war, a Hollywood producer is making what he hopes to be his biggest blockbuster out of one of the most popular books of the time. But it is not going well and he needs a new director and a major rewrite.

The producer in this case is Hollywood legend David O. Selznick, screenwriter Ben Hecht and director Victor Fleming; the film... the immortal "Gone With the Wind."

Mixing humor, a bit of Hollywood history and name dropping, physical comedy and the drama of a world about to go to war, the diaspora of European Jews, anti-semitism and race relations, the fast paced play touches on a lot of issues yet never seems contrived or unfocused. The 3 men lock themselves (Fleming and Hecht reluctantly)in Selznick's office to make sense of the story and make a credible screenplay out of Margaret Mitchell's book.

AHT regular Craig Benton plays Selznick with just enough passion yet lightness in the more comic moments, never letting you forget this film and the rewrite will make or break the film and their carriers.

Scott Cordes plays Fleming, who is the most detached from all the drama of the movie; providing a lighter contrast to the rest of the characters.

William Grey Warren plays the former newspaper man turned screenwriter Ben Hecht with a moral seriousness that contrasts with the more devil may care Fleming and the success driven Selznick. The character of Hecht reminds both Fleming and fellow Jew Selznick of the rampant anti-Semitism in Hollywood and the troubling racial stereotypes of "Gone With the Wind." Still, Warren exhibits flashes of sharp comic timing for big laughs.

The lone other character, Miss Poppenghul, Selznick’s long suffering secretary, is dryly played by Jennifer Mays. Most of her lines are simply "Yes, Mr Selznick" delivered with a deadpan humor that sometimes even steals a scene.

Fast paced, interesting, well acted, I was surprised that I enjoyed the show from my initial reaction to the storyline. Well worth an evening at Kansas City's best theatre venue.

8-Track, the Sounds of The 70's

The 70's. Egad! Leisure suits (I had a pale blue one), big white belts (ditto), bell bottoms (yep, those too) disco (anyone remember the Sting Disco in Urbana, IL?), Energy Crisis, Jimmy Carter, Watergate, Vietnam, last of the big cars, it was all there. I am a child of the 70's. Fate decreed it. Graduated in 1975... right in the middle.

So of course all of us baby boomers of the 50's are waxing nostalgic for our high school and college days. And of course, theatre directors and such are happy to oblige.

Thus one of the biggest crowds in memory packed the American Heartland Theatre for "8-Track, the Sounds of the 70's".

Music of the 70's usually means disco. But the early 70's hits were clearly extensions of the "psychedelic 60's" themes of peace and brotherhood, everyone get along, anti war, why are people dying? The disco era highlighted a new wave of Black vocalists that persists to this day. The last of the great ballads, with a lineage back to Schubert and jazz singers made their last stand. The diversity of the music was revelatory. We heard chord progressions, soft rhythms and even soaring melodies that have virtually disappeared from current popular music.

8-Track is basically 90 minutes of nostalgic fun, with a fount of popular and some more obscure chart toppers. Aretha Franklin, the Carpenters, Ray Stevens' "Everything is Beautiful, Tony Orlando and Dawn (this would be a hit in Branson), Barry Manilow, Starland Vocal Band's "Afternoon Delight", "Voulez-vous Couche Avec Moi ce Soir?" (about as dirty as it got then). Even the trucker's anthem "Convoy" got a spin. 10-4 good buddy. The melodies were pouring fast and furious....almost too many to catch. I counted about 45-55 different songs, some complete, some just teasing snippets.

More "serious" fare, included Three Dog Night's "Mama Told Me Not to Come," the Doobie Brothers' "Takin' It to the Streets" Helen Reddy's feminist anthem "I Am Woman," and Marvin Gaye's "Tell Me What's Going On".

The audience was sprinkled with people wearing 70's outfits, including a few wild multi colored afros. Some of the anthems, such as Debbie Boone's "You Light Up My Life" brought out the waving lit cell phone, no one smokes anymore you know!

The 4 singers 2 men and 2 women, 1 black and white each, were uniformly good. Teddey Brown's touching and somewhat funny rendition of Gilbert O'Sullivan's "Alone Again Naturally" stole the show. Bradley Beahen, sort of a Brady Bunch guy, was a little stiff acting but in great voice. Both women could belt the ballads as good as Aretha and Debbie could.

Ok, it was not profound. Sort of superficial, like the 70's. Damn good fun.

Going to the Dogs

The American Heartland Theatre, a textbook "community theatre" that usually features upbeat comedy and musical reviews has went over the edge. Its current production is a poignant, accidental and almost passionate love story between two males. Shades of "Brokeback Mountain"; one of the characters is even named Jack. And like Jack and Ennis, they can't quit each other, even when they try.

This show is a more simple, yet just as elemental a story and one that has played out in many lives. Joel is a young, self-centered and ambitious man whose life is fundamentally changed when he allows a rescued dog to take over his life. Sound familiar? Like so many have discovered, he realizes that the love he shares with his dog Jack is special and thus deeper than any of his human relationships.

There is a subtle message to those who think dogs are presents or throw aways like an ugly necktie or a juicer. Joel gets a pound pup for a girl he is trying to impress who quickly dismisses both Joel and the dog. Joel tries to take Jack back, but of course, Jack has worked his magic already. Jack is one of the lucky ones, and never lets us forget that.

The acting was wonderful with the 3 of the 4 actors portraying dogs. Shouldn't work, but it did, brilliantly. John-Michael Zuerlein plays Jack with panache and just the right touch of comedy and cuteness. Jessalyn Kincaid, who was brilliantly nuts in "Leaving Iowa" is just as spectacular as Little Dog, a high-strung, whirling dervish terrier. Nicholas Ward is wonderful as Big Dog, a big lug of a junkyard dog with a big heart and a desire for the perfect nap. Ward is a big hulk of an African American and for some reason I think there is a lot of "Big Dog" in his personality. These two were Jack's shelter mates and provide a subtle commentary on diversity, survival and mellowing with age that is almost more interesting than the story of Jack and Joel.

Joel, portrayed by Kurt Robbins, is basically a jerk, but a sympathetic one. It is wonderful to watch him mellow as he comes under Jack's spell. All the actors are great singers and were in good voice, something not always true in the AHT productions.

"A Dog's Life", a new musical from the team of writer Sean Grennan and composer Leah Okimoto (Married Alive) is a damn good production (going on through April 15), a must see and likely the best production I have ever seen at the American Heartland Theatre.

Leaving Iowa

KC's American Heartland Theatre's offerings can be best described as uneven. I have seen some unmitigated stinkeroos (like "Every Christmas Story Ever Told") to whole hearted fantastic. The current production "Leaving Iowa" falls in the latter category.

Leaving Iowa is an old fashioned travel comedy with a simple yet ultimately engaging plot. Craig Benson plays Don, a journalist from Boston who returns to Iowa to visit his mother and sister who stayed in Iowa. During the visit, he decides it is time to find a final resting place for his father’s ashes. His father wanted then to be scattered at his homestead, which unfortunately has been turned into a grocery store. That and a couple other mishaps send Don on a journey of self discovery and of reconciliation.

In flashback scenes, Don recalls the family vacations organized by his nerdish, High School history teacher dad, who loved to stop at the site of the first concrete highway in Iowa and other dubious historic sites. Anyone with kids or who was a kid themselves, will recognize the back seat fighting and teasing between brother and sister, stopping at tourist traps, getting lost and endless hours stuck behind slow moving trucks; dad wanting to pass and mom whining not to.

Jessalyn Kincaid as "sister" steals the show. She is wonderful at evoking the ups and downs of childish behavior. At times I thought she was my own, now grown, daughter, with the familiar "daaaaaaa-yd!" response to everything said. Jim Korinke was a wonderful homespun, Andy Griffith dad without being a caricature. Deb Bluford, as Mom was a perfect foil to Dad, always supportive yet often the one in control.

AHT regular Ken Remmert played the supporting roles including car mechanic, short order cook, grocery store clerk, park ranger and farmer, with his usual relish.

With the wonderful, intimate theatre setting, appreciative audiences and great acting, "Leaving Iowa" is worth the trip.

Legends

I rarely watch TV anymore. Most of it bores me to tears. "Friends", "Seinfeld", "Will and Grace"...I have not a clue what they are about. Reality shows? Forget them. I watched about 10 minutes of a "Survivor" episode and was bored and mystified at what all the fuss was about.

Give me some 80's prime time soap operas! Yes, I loved "Dynasty" and "Falcon Crest"... "Dallas" was ok, but the former two were top rated for me! Oh the fabulous people, the power, the clothes, the drama, the schemes, the double crossing, the love affairs, did I say drama?. And the wonderful stars, Jane Wyman, John Forsythe, Pamela Sue Martin, Linda Evans, the yummy Al Corley (what happened to him?) and of course the bitch herself, Joan Collins. As a trivia note, he verbal wars between Krystle (Evans) and Alexis (Collins) was one of the first times the word bitch was used on US television. The use of bitch on Dynasty made the use of the word more socially acceptable.

So I was thrilled when "Legends!" was booked to play here in KC this past week. Starring none other than Linda Evans and Joan Collins, in person! A ton of bitch on stage, it must be heaven.

Unfortunately, if it were not for the presence of the two names, this play would not be worth walking across the street to see. It was great seeing the two "Grande Chattes" together on stage. They looked as if time had stood still, great face lifts ladies! Only some slow movements belied the fact that they were no longer spring bitches.

The plot was tailor made for them. An unscrupulous producer wants to cast two old legends of film and stage in a new play. The ladies are notorious rivals. He succeeds in getting them together by lies and promises. Of course both are washed up and broke. Collins has to borrow an apartment to use as a meeting place so to impress Evans.

The rest of the play is not worth mentioning. Of course they meet, banter, bitch, exchange insults as their charade is unraveled, mostly due to their eating some "Alice B. Toklas Brownies (aka Marijuana brownies). They agree to do the show because they are flat broke. The borrowed apartment was to be a scene for a party and everyone is warned that the party is canceled, except Boom-Boom Johnson, the hired Chippendale stripper. He does his dance and leave the stage with nothing but a strategically placed top hat. What he had to do with anything except to enliven the dirge is beyond me. Beefy boy he was, he made the ladies and gay boys happy.

Yes I was disappointed in the play with its silly, pathetic plot. But to see two of my legends at the same time was great. Unfortunately they did not get in a hair-pulling bitch fight in a fountain. That would have made my day

Married Alive!

Two things can always be counted on from a production at the American Heartland Theatre, a happy (or at least satisfying) ending to the play and energetic, colorful productions. "Married Alive!"is no exception. This light hearted but sometimes bittersweet musical spoofs the trials and tribulations of modern day marriage via two couples, a pair of young newlyweds and an older couple settling into a "comfortable relationship" after several years of marriage.

This world premiere show features a formidable cast: the young couple is portrayed by Todd Alan Crain and Ginette Rhodes, both excellent comic actors. Rhodes especially was good in her shifting moods and rapid fire monologs during the "Communication" counsleing session. Crain was great, bearing some resemblance to Jim Carrey, but his character spent too long in the stereotype "clueless male" role.

The mature couple stole the show. James Wright was excellent in his varied roles as mature husband, father and counselor to the younger couple. Versatile Kathy Santen could range from a mature, sensible woman, a vulnerable girl then to a somewhat naughty vamp, usually in the same scene.

The show's composer Leah Okimoto and writer Sean Grennan have produced a lively, topicial show that should be a crowd pleaser in many smaller theatre venues.

As was alluded, the plot as it is (more of a series of scenes or skits)is a satire on modern marriage and relationships. It begins with the young couple's wedding, reciting their own vows filled with metaphors of dolphins and baseball. The mature couple are a couple of the guests. It progresses through starting out, communication, careers, sex, children, holidays, keeping the flame alive, and ends with the roles reversed; the mature couple renewing their vows with the younger couple as guests.

The songs were good, nothing special, but lively and well written. The "keeping the flame alive" scene was hilarious as the mature couple acted out a sexual fantasy with her as a cheerleader and him as Zorro. A forgotten Viagra dose sets the scene for an amusing song full of innuendo and acerbic comedy. The most poignant scene involved the young couple involved in advancing their careers, zooming all over the country, with little time for each other. "I see you so little" moans the husband as they arrange a meeting over cell phones in different cities, "that 'Palm Pilot' takes on a whole new meaning." Probably more real than one wants to think.

The show never lagged, the production bright, well thought out and versatile sets, the vocals spot on and energetic. What more could you ask for!

Hardcore Nerdity

The American Heartland Theatre's, one of the most fun theatre groups in KC, latest offering is "The Nerd" by Larry Shue. Since its premiere in 1981, "The Nerd" has become a staple of comedy and community theatre. Like a porn movie, the plot as it is, serves to set up the "juicy" scenes. The play begins with Willum Cubbert (Craig Benton) celebrating his 34th birthday. Willum is an architect unenthuiastically working on a project for a client he really can not stand. His girlfriend Tansy is leaving to become a weather lady in Washington, D.C., and there is subtle mention that IRS is auditing his taxes. Life is just peachy for poor Willum.

A birthday party of sorts is planned. Willum gets word that Rick Steadman, a man who saved Willum’s life in Vietnam but who Willum never actually met is coming for a visit. In return for svaing his life Willum pledged to be there for Rick whenever and for whatever is needed. The boss and his wife are coming as well, making the evening even more enjoyable.

Turns out Rick, wonderfully played by Ken Remmert, is a hardcore Nerd. A monster of nerd-dom,(he makes his entry dressed as a monster as he is mistaken that Willum's party is a costume party) Rick is a chalk-factory inspector who bangs on a tambourine while singing the "Star Spangled Banner", has no social skills whatsoever and twists and turns any conversation into frustration. Obvious is the fact that Shue has little sympathy for this character at all. Soon everyone is plotting to rid the world of the Nerd.

Rick not only crashes the party but also William’s life. In the process he ruins Willum’s career and makes a general pain of himself. With the aid of Tansy and his bitchy queen tenant and friend Axel,(the incomparable Ron Magee) Willum tries rid himself of Rick without being ungrateful.

There are laughs-a-million but the implausible and flimsy plot make the show somewhat tedious as theatre. Most of the punch lines are obvious and you find yourself laughing at the sheer absurdity of the whole thing. Magee obviously ad-libs (I am told that in some performances of the show, he was way off in left field and had even the cast in a tither)and makes the show. Very grating and totally unecessary is a kid, the bratty son of the boss Warnock Walgrave(who insists on being called "Ticky) and his wife Clelia, who does nothing but scream and act annoying. Why Shue had the kid in the plot is beyond me. The set was very 1980s and quite well done.

Worth a few laughs and a fun evening at the friendliest, most laid back theatre venue I know.