Lindsay Roberts, Brent Davis, and some photobombing reporter from the Memphis Flyer. (Photo by Brent Davis).
Don’t tell a performer to not perform. Silence the singer, still the dancer, hide the actor, shut down the crew — but sooner or later they’ll be back on stage putting heart and soul into it. The Covid-19 pandemic was successful for a while, lousing up plans and performances, but it would not last.
The local theater community put up with what had to be done, closing doors and keeping stages quiet for as long as it took, but after two years of being shut down, Memphis performers got back into it with even more enthusiasm than before.
It was seen as clearly as it could possibly have been at Sunday night’s Ostrander Awards ceremony that celebrated the people and productions in collegiate, community, and professional theaters.
“Planning for the 38th Ostranders was almost surreal,” said Elizabeth Perkins, director of the usually annual event. “It had been so long since we had been together. I can’t believe it finally happened after three years! The night was full of laughter, tears, hugs, and, most importantly, love for everyone in our community. Being backstage as the award winners and performers exit is the best seat in the entire venue. I get to see the smiles on their faces after they get to do what they love doing the most and I get to be a small part of making that happen.”
The gathering seemed to agree, whether they took home a plaque or not (see the winners here). As one might expect, attendees were dressed to the nines. Here are some of those who came to celebrate. (Photos by Jon Sparks).
Curtis C. Jackson, Courtney Oliver, Ann Marie HallElizabeth Perkins, director of the Ostranders.Ashley Whitten Kopera and Jaclyn SuffelEmily Draffen and Stephen GarrettMary Buchignani and John HemphillPerformance at the Ostranders Sunday nightBilly PullenJimmy Hoxie
The celebration of live theater in Memphis was put off for two years (thanks, pandemic) but returned to the stage Sunday night with awards in dozens of categories and much conviviality at the Halloran Centre.
The 38th Memphis theater awards recognized excellence in collegiate, community, and professional theater.
Winning 11 awards was the musical Urinetown staged at Theatre Memphis. And it was a very good evening overall for Theatre Memphis, which took 28 of the 32 awards in the Community and Professional category.
There were 14 college division awards, all going to the University of Memphis. In past years, Rhodes College was a frequent winner, but in 2021 the school decided to phase out its theater major, effectively taking it out of Ostrander consideration.
The Eugart Yerian Lifetime Achievement Award was given to Stephen Hancock, a playwright, Ostrander-winning director, and longtime professor at the University of Memphis.
Because last year’s event was postponed, winners from 2021 were also honored.
Last year’s Eugart Yerian Award went to Andy Saunders. Others include the 2021 Janie McCrary Putting it Together Award, Michael Compton; the 2021 Otis Smith Legacy Dance Award, Whitney Branan; the Behind the Scenes Award, Lena Wallace Black; and the Larry Riley Rising Star Award, Donald Sutton and Abby Teel.
Andy Saunders (Credit: Alan Howell).
Ann Marie Hall, winner of the Eugart Yerian Lifetime Achievement Award in 2020, won an Ostrander Sunday evening for direction of a musical (Urinetown). She was as delighted as anyone to be back with a cheery crowd of theater people. “It’s been remarked many times that this is a community,” she said. “It’s wonderful how they share going to different shows in different places.”
Here’s the list:
Community and Professional Division
Excellence in Scenic Design for a Play: Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Excellence in Scenic Design for a Musical: Jack Netzel-Yates, Urinetown, Theatre Memphis
Costume Design for a Play: Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
Costume Design for a Musical: Amie Eoff, Ragtime, Theatre Memphis
Hair/Wig/Makeup Design for a Play: Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
Hair/Wig/Makeup Design for a Musical: Amie Eoff, Urinetown, Theatre Memphis
Props Design for a Play: Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Props Design for a Musical: Jack Netzel-Yates, Urinetown, Theatre Memphis
Special Award: Aliza Moran & Julia Hinson, Puppetry, Shockheaded Peter, New Moon Theatre
Lighting Design for a Play: Mandy Kay Heath, American Son, Next Stage, Theatre Memphis
Lighting Design for a Musical: Mandy Kay Heath, Urinetown, Theatre Memphis
Sound Design for a Play: David Newsome, Cicada, Next Stage, Theatre Memphis
Sound Design for a Musical: Jason Eschhofen, Urinetown, Theatre Memphis
Music Direction for a Musical: Jeff Brewer, Ragtime, Theatre Memphis
Choreography for a Musical: Daniel Stuart Nelson, Smokey Joe’s Cafe, Playhouse on the Square
Featured Performer in a Play: Susan Brindley, You Can’t Take It With You, Theatre Memphis
Featured Performer in a Musical: Atam Woodruff, Urinetown, Theatre Memphis
Supporting Actor in a Play: Marcus Cox, American Son, Next Stage, Theatre Memphis
Supporting Actor in a Musical: JD Willis, Ragtime, Theatre Memphis
Supporting Actress in a Play: Cecelia Wingate, Cicada, Next Stage, Theatre Memphis
Supporting Actress in a Musical: Cassie Thompson, Urinetown, Theatre Memphis
Ensemble in a Play: American Son, Next Stage, Theatre Memphis
Ensemble in a Musical: Urinetown, Theatre Memphis
Leading Actor in a Play: Kevar Maffitt, Torch Song, Circuit Playhouse
Leading Actor in a Musical: Bruce Huffman, Urinetown, Theatre Memphis
Leading Actress in a Play: Jessica “Jai” Johnson, American Son, Next Stage, Theatre Memphis
Leading Actress in a Musical: Lauren Duckworth, Ragtime, Theatre Memphis
Best Original Script: Tumbling Down, Hattiloo
Direction of a Play: Jared Thomas Johnson, American Son, Next Stage, Theatre Memphis
Direction of a Musical: Ann Marie Hall, Urinetown, Theatre Memphis
Best Production of a Play: American Son, Next Stage, Theatre Memphis
Best Production of a Musical: Urinetown, Theatre Memphis
College Division
Excellence in Scenic Design for College: Brian Ruggaber, A Bright Room Called Day, University of Memphis
Costume Design for College: Ali Filipovich, A Bright Room Called Day, University of Memphis
Lighting Design for College: Corinne Fann, A Bright Room Called Day, University of Memphis
Sound Design for College: Micki McCormick, A Bright Room Called Day, University of Memphis
Music Direction for College: Tracy Thomas, Ordinary Days, University of Memphis
Choreography for College: Michael Medcalf, The Wolves, University of Memphis
Featured Performer in a College Production: Zy Palmer, A Bright Room Called Day, University of Memphis
Supporting Actor in a College Production: Jasper Lane Pippin, A Bright Room Called Day, University of Memphis
Supporting Actress in a College Production: Aly Milan, The Wolves, The University of Memphis
Ensemble in a College Production: Ordinary Days, The University of Memphis
Leading Actor in a College Production: Will Draper, R & J & Z, The University of Memphis
Leading Actress in a College Production: Raina Williams, A Bright Room Called Day, The University of Memphis
Direction of a College Production: Holly Derr, The Wolves, University of Memphis
Best College Production: The Wolves, University of Memphis
As someone who has spent years studying and watching musical theater, I can say that Something Rotten! is like one giant inside joke for the theater crowd, particularly those with a penchant for William Shakespeare.
Playhouse on the Square’s production of Something Rotten! is the perfect show for anyone who loves musical theater, but don’t worry, even if the multitude of theater references are flying over your head, you’ll still enjoy it. When I speak to director/choreographer Whitney Branan over the phone, she reassures me, “If you are somebody who is not a musical theater or a Shakespeare — I say this term with pride because I am one — nerd, you will still have the best night at the theater because it is hilarious.”
Something Rotten! takes place in the year 1595 during the English renaissance. Two brothers, Nick and Nigel Bottom, are struggling playwrights living in the shadow of the illustrious Shakespeare. Nick Bottom’s ill-fated plan to enlist a soothsayer to show him the future of theater ends up with him trying desperately to figure out how to pull off a full-scale musical without knowing quite exactly what that is. As Branan puts it, “It is the story of seeing these renaissance theater troupe members try to create this new art form from kind of hints from the future, and it goes terribly wrong.”
And so the Bottom brothers are pitted against Shakespeare, who Branan describes as “the rockstar of the day.” William Shakespeare is hilariously portrayed as a man whose fame has gone completely to his head, resulting in a sort of egocentric machismo that makes fun of itself more and more as the show unfolds.
Rife with pop culture and theater Easter eggs, the show’s musical numbers are all delightfully tongue-in-cheek. The ensemble cast truly shows their comedic chops in this play, as the dances themselves are often an additional layer in the ongoing musical-within-a-musical joke. The characters even poke fun — multiple times — at iambic pentameter, using modern slang and completely ignoring their Elizabethan setting.
According to Branan, “The concept of the show is really cool because it is set in Shakespeare’s world, but it has this anachronism aesthetic to it.” That aesthetic is a huge part of what makes the show inherently funny, but the performances are what really drive the humor home. Comedy is the force behind this musical, and it’s also where the company shines the most. I laughed out loud throughout the production.
(Credit: Bill Simmers)
Something Rotten! was originally slated to be performed at Playhouse during 2020 but was rescheduled multiple times due to the pandemic. The production that came out of that long interim was absolutely worth the wait. Branan took every opportunity to brag on both her cast and production crew. “The dancers that were originally cast in this show spent the pandemic upping their game,” she said explaining that some of the actors used the two-year wait as added time to perfect their tap dancing skills.
One of my favorite things about this specific production of Something Rotten! is that Memphis theater in particular receives nods throughout the show. Branan shares that she did this with great intention, even reaching out to Christi Hall, the choreographer of Guys and Dolls which opened at Theatre Memphis on the same night as Something Rotten!
There are two eight counts of choreography from Guys and Dolls that make a “special cameo appearance” in Something Rotten! Memphis theater regulars will also spot allusions to Playhouse favorites such Little Shop of Horrors and Kinky Boots. For a show that persevered through two years of Covid-19 delays, there is a kind of added affection attached. Branan puts it beautifully: “The show is a valentine to Shakespeare, it’s a valentine to theater, it’s a valentine to musical theater, but our work that we’ve done for a couple of years on this show is a valentine to the Memphis theater community.”
If you are a theater-loving Memphian, don’t let this opportunity to show your appreciation to local artists pass you by. It’s not every day that you can see a Broadway musical that has been specially personalized to fit your community.
Something Rotten! runs through September 18th at Playhouse on the Square.
When I saw that My Fair Lady would be coming to the Orpheum Theater, I knew right away I wanted to go — andI wanted to bring my friend Kayla Dawson with me. My Fair Lady is a show that Kayla introduced me to when we were teenagers, during her self-described Audrey Hepburn obsession phase. As much as I was looking forward to it, I knew it could be tricky seeing a performance, especially one that is a familiar personal favorite, with a preconceived notion. You can go in unintentionally more critical. After all, there’s an idea in your head for the show to live up to. But The Lincoln Center Theater’s production of My Fair Lady exceeded every expectation I had. This classic musical stands the test of time.
My Fair Lady, based on the 1913 George Bernard Shaw play Pygmalion, became part of the classic film lexicon in 1964. I have to say, I prefer the stage version. Director Bartlett Sher offers up a new take on the familiar romantic musical, or at least, a new take for those unfamiliar with the original source material. Pygmalion is less of a romance and more of a critique on social classism and the subjugation of women. The version of My Fair Lady I saw at The Orpheum Theater on July 26th was clearly a critique on the same. This show could easily be off-putting to modern audiences if the tone missed the appropriate tongue-in-cheek-ness, but instead, it walked the line perfectly between light-hearted Broadway musical and serious social assessment.
Notably — insert large spoiler alert here — the loudest comment on women’s rights happens in the last five seconds of the show. In Sher’s version, Eliza Doolittle walks offstage (“strides” is honestly a more apt description) in response to Professor Henry Higgins’ question, “Where the devil are my slippers?” This ending is true to Pygmalion, but differs from what audiences may be familiar with from the 1964 movie version. In the wake of the “Me Too” movement and the overturning of Roe v. Wade, I personally loved the changed ending. Find your own damn slippers, Henry Higgins! The change completely shifted the dynamic for Eliza’s character, allowing her to be seen as a powerful, independent woman. Having Eliza retain her autonomy makes more sense with what we see from her character throughout the musical, making for a more cohesive ending than what’s become traditional for the show.
Another way in which this production stands out is the diverse ensemble cast. Every group number was superb, from the iconic “Ascot Gavotte” to the raucous “Get Me to the Church on Time.” The extravagant costumes, designed by Catherine Zuber, silhouetted against a light background and coupled with a wonderfully paced, slow entrance of the company makes “Ascot Gavotte” stand out as a musical number saturated with dry humor and ennui. “Get Me to the Church on Time” has never been my favorite My Fair Lady scene, but last night’s performance has moved it considerably up the ranks in my book. The song was a visual feast, featuring dynamic costumes, elaborate choreography, complex set changes, and even pratfalls — all of what audiences love about Broadway can be found in this one number.
Speaking of set changes, the large moving set planned by Michael Yeargan was so intricately woven into the show that it almost felt like another cast member. Professor Higgins’ house rotated turntable-style, giving license to the cast for movement through the set and allowing the audience to see a full depiction of the life within the home. Set pieces are cleverly incorporated into the dance numbers to a point where even the changes are interesting to watch, being fit into the choreography of every scene.
For my friend and I, seeing My Fair Lady was like revisiting a dear companion and finding that they’ve grown and changed for the better. For the couple in the seat next to me, who were seeing their first-ever theatrical production, it was something entirely new. “We love it,” they gushed to me at intermission. My Fair Lady is perfect for anyone wanting to experience all the joys of live entertainment coupled with a feminist message that hits hard in 2022.
The Lincoln Center Theater’s production of My Fair Lady runs through July 31st at the Orpheum Theatre.
After two years of pandemic mandated caution, the celebration of the local theater community is returning in person on August 28th at 6:30 p.m. at the Halloran Centre.
The 38th Memphis theater awards will recognize and celebrate excellence in collegiate, community, and professional theater.
The winners will be revealed at the event, but as always, the one prize announced early is the Eugart Yerian Lifetime Achievement Award, this year going to Stephen Hancock, a playwright, Ostrander-winning director, and longtime professor at the University of Memphis.
Because last year’s event was postponed, winners from 2021 will also be honored.
Last year’s Eugart Yerian Award went to Andy Saunders. Others include the 2021 Janie McCrary Putting it Together Award, Michael Compton; the 2021 Otis Smith Legacy Dance Award, Whitney Branan; the Behind the Scenes Award, Lena Wallace Black; and the Larry Riley Rising Star Award, Donald Sutton and Abby Teel.
Tickets will be available at memphisostranders.com and will be limited to 350 guests. Tickets will be $15 in advance or $20 at the door.
Elizabeth Perkins, Ostrander director, said, “So many theatres had to postpone shows, rearrange seasons, or select different titles this year. It has been a difficult year, but also a year that has shown how supportive the theatre community is — we saw a season of actors filling in for others at the last minute all over the city.”
The nominees are:
Scenic Design for College
Brian Ruggaber, A Bright Room Called Day, University of Memphis
Brian Ruggaber, The Wolves, University of Memphis
Mollie West and Brian Ruggaber, R & J & Z, University of Memphis
Scenic Design for a Play
Jack Netzel-Yates, American Son, Next Stage, Theatre Memphis
Jack Netzel-Yates, Cicada, Next Stage, Theatre Memphis
Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Justin Asher, The Foreigner, Harrell Theatre
Tim McMath, Torch Song, Circuit Playhouse
Scenic Design for a Musical
Chris Sterling & Andrew Chandler, Shockheaded Peter, New Moon Theatre
Jack Netzel-Yates, La Cage aux Folles, Theatre Memphis
Jack Netzel-Yates, Ragtime, Theatre Memphis
Jack Netzel-Yates, Urinetown, Theatre Memphis
Ryan Howell, Smokey Joe’s Cafe, Playhouse on the Square
Costume Design for College
Ali Flipovich, A Bright Room Called Day, University of Memphis
Hattie Fann, R & J & Z, University of Memphis
Heather Duzan, The Wolves, University of Memphis
Costume Design for a Play
Allison White, You Can’t Take It With You, Theatre Memphis
Ashley Selberg, The Secret Garden, Next Stage, Theatre Memphis
J. Faye Manselle, Mississippi Goddamn, Circuit Playhouse
Lindsay Schmeling, A Doll’s House, Parts 1 & 2, Circuit Playhouse
Lindsay Schmeling, Torch Song, Circuit Playhouse
Costume Design for a Musical
Amie Eoff, Hello, Dolly!, Theatre Memphis
Amie Eoff, La Cage aux Folles, Theatre Memphis
Amie Eoff, Ragtime, Theatre Memphis
Amie Eoff, Urinetown, Theatre Memphis
Lindsay Schmeling, Smokey Joe’s Cafe, Playhouse on the Square
Shockheaded Peter, New Moon Theatre
Hair/Wig/Makeup Design for a Play
The Secret Garden, Next Stage, Theatre Memphis
Torch Song, Circuit Playhouse
Buddy Hart and Rence Phillips, Our Town, Theatre Memphis
Mississippi Goddamn, Circuit Playhouse
Hair/Wig/Makeup Design for a Musical
Amie Eoff, Ragtime, Theatre Memphis
Amie Eoff, Urinetown, Theatre Memphis
Buddy Hart and Rence Phillips, Hello, Dolly!, Theatre Memphis
Buddy Hart and Rence Phillips, La Cage aux Folles, Theatre Memphis
Shockheaded Peter, New Moon Theatre
Props Design for a Play
Andrew Chandler, The Complete History of America, Abridged, Germantown Community Theatre
Jack Netzel-Yates, Cicada, Next Stage, Theatre Memphis
Jack Netzel-Yates, The Secret Garden, Next Stage, Theatre Memphis
Jack Netzel-Yates, You Can’t Take It With You, Theatre Memphis
Reiley Duffy, Torch Song, Circuit Playhouse
Props Design for a Musical
Bill Short & Andrew Chandler, Shockheaded Peter, New Moon Theatre
Jack Netzel-Yates, Hello, Dolly!, Theatre Memphis
Jack Netzel-Yates, La Cage aux Folles, Theatre Memphis
Jack Netzel-Yates, Ragtime, Theatre Memphis
Jack Netzel-Yates, Urinetown, Theatre Memphis
Lighting Design for College
Corinne Fann, A Bright Room Called Day, University of Memphis
Hayes Wolfe, Ordinary Days, University of Memphis
Jenni Propst, R & J & Z, University of Memphis
Lighting Design for a Play
Haley Northington, Torch Song, Circuit Playhouse
Mandy Kay Heath, American Son, Next Stage, Theatre Memphis
Mandy Kay Heath, Cicada, Next Stage, Theatre Memphis
Mandy Kay Heath, The Secret Garden, Next Stage, Theatre Memphis
Mandy Kay Heath, You Can’t Take It With You, Theatre Memphis
Lighting Design for a Musical
Justin Gibson, Smokey Joe’s Cafe, Playhouse on the Square
Mandy Kay Heath, La Cage aux Folles, Theatre Memphis
Mandy Kay Heath, Ragtime, Theatre Memphis
Mandy Kay Heath, Urinetown, Theatre Memphis
Melissa Andrews, Shockheaded Peter, New Moon Theatre
Sound Design for College
Andrew Boone, The Wolves, University of Memphis
Anna Johnson, R & J & Z, University of Memphis
Micki McCormick, A Bright Room Called Day, University of Memphis
Sound Design for a Play
David Newsome, Cicada, Next Stage, Theatre Memphis
Jason Eschhofen, The Secret Garden, Next Stage, Theatre Memphis
Jason Eschhofen, Torch Song, Circuit Playhouse
Joe Johnson, American Son, Next Stage, Theatre Memphis
Marques Brown, Clue: Onstage, Germantown Community Theatre
Sound Design for a Musical
Eileen Kuo, Bright Star, Germantown Community Theatre
Gene Elliott, Shockheaded Peter, New Moon Theatre
Jason Eschhofen, Urinetown, Theatre Memphis
Nathan Greene, Ragtime, Theatre Memphis
Nathan Greene, La Cage aux Folles, Theatre Memphis
Music Direction for College
Angelo Rapan, Pippin, University of Memphis
Tracy Thomas, Ordinary Days, University of Memphis
Music Direction for a Musical
Gary Beard, La Cage aux Folles, Theatre Memphis
Jason Eschhofen, Smokey Joe’s Cafe, Playhouse on the Square
Jeff Brewer, Hello, Dolly!, Theatre Memphis
Jeff Brewer, Ragtime, Theatre Memphis
Tammy Holt, Urinetown, Theatre Memphis
Choreography for College
Michael Medcalf, The Wolves, University of Memphis
Sean Carter, R & J & Z, University of Memphis
Choreography for a Musical
Courtney Oliver, Urinetown, Theatre Memphis
Daniel Stuart Nelson, Smokey Joe’s Cafe, Playhouse on the Square
Kathy Thiele, The Addams Family, Harrell Theatre
Travis Bradley and Jordan Nichols, Ragtime, Theatre Memphis
Whitney Branan, La Cage aux Folles, Theatre Memphis
Whitney Branan, Shockheaded Peter, New Moon Theatre
Featured Performer in a College Production
One nominee
Featured Performer in a Play
Anne Marie Caskey, Cicada, Theatre Memphis
Eileen Peterson, The Secret Garden, Next Stage, Theatre Memphis
Hiawartha Jackson, Our Town, Theatre Memphis
Lance Raikes, Torch Song, Circuit Playhouse
Susan Brindley, You Can’t Take It With You, Theatre Memphis
Featured Performer in a Musical
Atam Woodruff, Ragtime, Theatre Memphis
Atam Woodruff, Urinetown, Theatre Memphis
Cassie Thompson, Ragtime, Theatre Memphis
Jimmie Hoxie, Bright Star, Germantown Community Theatre
John Brenton Strauss, Ragtime, Theatre Memphis
Susan Brindley, La Cage aux Folles, Theatre Memphis
Supporting Actor in a College Production
Austin Wall, R & J & Z, University of Memphis
Jasper Lane Pippin, A Bright Room Called Day, University of Memphis
Lance Raikes, R & J & Z, University of Memphis
Oscar Garcia, Pippin, University of Memphis
Supporting Actor in a Play
Gregory Boller, The Lifespan of a Fact, Circuit Playhouse
Marcus Cox, American Son, Next Stage, Theatre Memphis
Mark Pergolizzi, A Doll’s House, Part 1, Circuit Playhouse
Steve Swift, Cicada, Theatre Memphis
Tony Isbell, Outside Mullingar, Germantown Community Theatre
Supporting Actor in a Musical
JD Willis, Ragtime, Theatre Memphis
JD Willis, La Cage aux Folles, Theatre Memphis
Kevar Maffitt, Ragtime, Theatre Memphis
Marcus King, Porgy and Bess, Hattiloo Theatre
Mateo Rueda Calvo, La Cage aux Folles, Theatre Memphis
Supporting Actress in a College Production
Ali Milan, The Wolves, The University of Memphis
Axum Langford, A Bright Room Called Day, The University of Memphis
Camille Long, R & J & Z, The University of Memphis
Jada Farmer, The Wolves, The University of Memphis
Supporting Actress in a Play
Ann Marie Hall, Torch Song, Circuit Playhouse
Ann Marie Hall, The Lifespan of a Fact, Circuit Playhouse
Smokey Joe’s Cafe (Courtesy Playhouse on the Square)
I’m coming to realize that when viewing a play, I often start out tepid. I think this might be an effort on my part to remain objective, to let go of any preconceived notions and simply take in what’s about to unfold. If Playhouse on the Square’s Smokey Joe’s Cafe found me lukewarm at the top of Act One, then know that by the end of Act Two I was fully in love. This is a production that will win you over entirely.
Smokey Joe’s Cafe is a revue, and in case you’re unfamiliar with the theatrical term, let me explain. A revue has no plot or storyline. There are no characters to follow, no dialogue to keep track of. Smokey Joe’s Cafe is a revue that feels as though your favorite golden oldies playlist manifested itself onstage in a perfect paracosm of feel-good music. The music, all works by Jerome Leiber and Mike Stoller, is the central theme running through the show. Rich ensemble harmonies and outstanding solo numbers are rife throughout, and as an audience member, there is nothing asked of you except to sit back and experience pure, unadulterated entertainment.
The music in the show is what my parents would have grown up listening to on the radio. During intermission, my friend, Maggie Fyfe turned to me and said, “My mom would love this.” Because I grew up listening to ’60s hits, the songs were almost all familiar and comforting to me, as well, despite my millennial age. The general feeling in the audience was one of joy. I often found myself smiling underneath my mask, and every time I glanced around, everyone else was grinning as well. The occasional breaking of the fourth wall invites the audience in, and the atmosphere this show creates as a result is convivial.
I typically admire dressed-down set design, and Ryan Howell’s scenic configuration was no exception. By the second half of the show, where the cast really seemed to find their stride and turn up the energy, I was admiring it because it stayed out of their way. The elements of this show — the costumes, the live band onstage, the giant neon sign bearing the title of the play — come together seamlessly without distracting the viewer from the true point of the show: the musical performances.
Each member of the cast had an opportunity to shine, from Kylan Owens’ taking the spotlight in Daniel Stuart Nelson’s choreography, to Breyannah Tillman belting out “Hound Dog” like you’ve never heard before in your life — even in Memphis, Tennessee. Maggie and I paused on our way out after seeing the show to hash out our favorite moments. At one point she asked me, “Are you just gonna write about how sexy it was?” While it is difficult to refrain from gushing over Cleavon Meaborn IV crawling downstage during “Little Egypt” for the rest of this column, I will do my best to remain professional. (I think it was “Little Egypt.” I was so absorbed that my note-taking admittedly began to suffer.) Memphians will be pleased to note that the several Elvis songs throughout the show are performed without feeling campy or impressionistic, with each performer bringing distinct personality to the numbers.
The most powerful moment of the night, in my opinion, took place in Act Two. The female members of the company came together to sing “I’m a Woman,” and, being a woman of child-bearing age in the midst of current headlines, this one hit different for me. Brooke Papritz in particular took no prisoners, her voice ringing out with rage, passion, and pride. There were several times that Maggie and I glanced at one another with the raised-eyebrow expression that universally translates to an impressed, “Damn!” “I’m a Woman” contained one such moment.
Personally, I needed this show at this time in my life. Not every play or musical can offer you a chance to truly turn off your brain, forget your stress, and be uplifted. Smokey Joe’s Cafe offers up comedy alongside performances of some of the biggest hits of the 20th century. I walked out in a better mood than when I went in, which is the best praise I can give. Smokey Joe’s Cafe runs through Sunday, May 29th, at Playhouse on the Square.
Smokey Joe’s Cafe (Courtesy Playhouse on the Square)
Janet Dacal and Sasson Gabay. (Photo by Evan Zimmerman, MurphyMade)
Imagine you’re attending a musical when all of a sudden, the curtain drops unexpectedly in the middle of a scene. Clearly something is wrong, but you don’t know what the issue might be. You might expect an audience to get impatient or angry in that kind of situation. But that wasn’t the case during opening night of The Band’s Visit at The Orpheum Theatre. Sitting in the orchestra section of the Orpheum, I was struck by the atmosphere in the room after the stage manager informed the audience that there was a problem with the sound board and that the show would resume shortly. It was a mark of how invested in the story the audience was that everyone remained relaxed. We were willing to wait. This show was worth our patience.
The break in the show happened at an opportune moment, and the scene after our unanticipated intermission opened with actor Billy Cohen sweeping onto the stage in roller skates while disco music thumped through the theater. The audience immediately took the opportunity to show their support, clapping with the rhythm of the beat and cheering wildly. The brief interlude and temporarily disabled sound board were entirely forgotten. Sasson Gabay, who reprised the role of Tewfiq after having played it in the initial film and for a year on Broadway, told me over the phone that sometimes the audience can be uplifted by such an event. “They feel like they are experiencing something rare, something original, something unique.” It was the kind of unexpected moment every theatergoer longs to see. That kind of shared magical moment can only be found during a live performance. It was a beautiful thing to witness and to be a part of. But I’m getting ahead of myself.
The 10-time Tony Award-winning Best Musical, The Band’s Visit, based on the 2007 Israeli film of the same name, takes place over the course of one night in the small town of Bet Hatikva, not to be confused with the larger city of Petah Tikva. (That’a a joke, because a mix up between the names of the two places is what starts the entire show.)
The Alexandria Ceremonial Police Orchestra, led by Colonel Tewfiq, accidentally ends up taking a bus to the wrong town after the ticket clerk misunderstands the Egyptian accent of Haled, one of the younger members of the band. The orchestra finds themselves stranded for the night in Bet Hatikva, a town described by the locals as “the middle of nowhere.” The beautiful yet jaded cafe owner, Dina — played by Janet Decal in a sensuous, wonderfully sardonic performance — takes in Tewfiq and Haled. Other members of the band are graciously taken in by various citizens of the small community.
Joe Joseph, Sasson Gabay, Janet Dacal. (Photo by Evan Zimmerman, MurphyMade)
The show follows several natives of the town, intimately highlighting the everyday stories in a way not usually seen in a Broadway musical. In fact, there were many things about this show that I wouldn’t normally associate with a Broadway musical. I think that’s why I loved it so much. The pacing is deliberately languid, matching the low-key energy of a place where everyone is perpetually waiting for something — anything — to happen. Here is a musical that highlights the stories of people that everyone can relate to, transforming commonplace themes from mundane to lovely. Gabay commented that he was taken aback by how people related to the production. “I was always surprised and really astonished that the audience in Broadway, which is mainly a lot of New Yorkers and also many people from all over the world, related to a story which is so remote from them.”
Within the first two seconds of the show, I jotted down the note, “Wes Anderson vibes.” A moment later, my sister-in-law, who accompanied me to the performance, leaned over and whispered, “It has Wes Anderson vibes!” We were both immediately struck by the stylization of the play, from the first moment when captions appear on a scrim and David Yazbek’s music, which Gabay describes as “Arabic, mediterranean music mixed with American jazz,” begins. The choreography, done by Patrick McCollum, is elegantly understated, harmonizing with the live instrumental performances of the collective character called “The Band.”
The Band’s post-curtain call performance, “The Concert,” is like an exclamation point at the end of the show. Seeing these musicians rocking out on clarinet and handheld drums is yet another aspect of this musical that sets it apart from anything I’ve ever seen onstage.
From the overture to the incredibly moving penultimate number, “Answer Me,” The Band’s Visit was a delight. Gabay beautifully describes the effect the show has on people as having “a hypnotic influence … which penetrates slowly like drops, you know, of water, into the heart of the audience. It doesn’t promise anything it doesn’t fulfill.”
The Band’s Visit runs through Sunday, April 17th, at The Orpheum Theatre. Visit orpheum-memphis.comfor tickets or for more information.
The company of The Band’s Visit North American Tour. (Photo by Evan Zimmerman, MurphyMade)
Don’t expect this to be your usual theater review. Theater isn’t my first language. More importantly, I broke my live performances fast with a production of the smash hit Hamilton. There aren’t enough superlatives in the newest edition of Merriam-Webster’s dictionary to adequately describe the veritable feast my eyes and ears enjoyed at last night’s performance.
Were the songs well-written? Well, yeah — Lin-Manuel Miranda wrote them, for crying out loud! Were the costumes pleasing to behold? Yes, it’s freaking Hamilton. Was there an electricity in the packed venue? Yes, the audience was at a Grizzlies-playoff-game level of excitement.
The set design is versatile, and with a little rearranging of furniture and adjusting of lights, a new scene can be conjured. It could have been a black box, though, and I would have been just as entertained. If the cast didn’t bring their “A” game to a chilly Wednesday-night performance in Memphis, I certainly couldn’t tell. The technical skill it takes to pull off some of these songs is impressive, to say the least, but to deliver at that level while also infusing the performance with emotion and hitting all the choreography is another thing entirely.
Paul Oakley Stovall, playing the part of George Washington, was the standout performance for me. Stovall delivered his lines effortlessly, as if he were tossing them to the audience as an afterthought. It takes a lot of work to make something look that easy.
In short, believe the hype. Six years after its world premiere, Hamilton can still capture and hold an audience’s attention. But beware — viewing this production may cause side effects, like humming the refrain from “The Reynolds Pamphlet” long after the final curtain.
Hamilton is at the Orpheum Theatre through Sunday, January 2nd.
Austin Scott and Carvens Lissaint (Credit: Joan Marcus)
How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten spot in the Caribbean by Providence impoverished in squalor grow up to be a hero and a scholar? You know who we’re talking about — everyone’s favorite $10-bill founding father — Alexander Hamilton. And he’s coming to Memphis.
Yes, that’s right: Lin-Manuel Miranda’s Hamilton is coming to the Orpheum Theatre for 16 performances, December 21st through January 2nd. If you haven’t been able to snatch up some highly coveted tickets, producer Jeffrey Seller and the Orpheum have announced a digital #HAM4HAM lottery for 40 $10-tickets for each performance. The first lottery has opened for the performances December 21st-26th, and it will close at noon on Thursday, December 16th. Subsequent digital lotteries will begin on each Friday and close the following Thursday for the upcoming week’s performances.
To enter, download the official Hamilton app (available for all iOS and Android devices). Once in the app, find the lottery icon, scroll to “Memphis,” choose your choice performance day(s)/time(s), and sign up with your email address. Easy-peasy. Only one entry per person, and repeat entries and disposable email addresses will be discarded.
Winners will receive email and mobile push notifications between 1 p.m. and 4 p.m. every Thursday for the upcoming week’s performances. Winners will have two hours to claim and pay for their ticket(s). Up to two tickets can be purchased, and tickets are non-transferable.
For more information on the lottery or to purchase tickets, visit orpheum-memphis.com. Check the official Hamilton channels and orpheum-memphis.com for late release seats which may become available at short notice.
A scene from "Shockheaded Peter" at New Moon Theatre Company (Photo by Gene Elliott).
Ten years ago, New Moon Theatre Company started its annual foray into producing thrills and chills for the Halloween season.
“Everybody involved with the company just loved Halloween,” says Gene Elliott, executive producer at New Moon. Look Away (A Civil War Zombie Tragedy) by Memphis playwrights Zac Cunningham and Stephen Briner had been staged by New Moon a couple of times before the 2011 production that started the annual scare fare.
Elliott says they company has been on the watch for something both odd and beautiful. A mix of plays from creepy to screamy were staged in subsequent years, including Bug, Frankenstein, The Woman in Black, Titus Andronicus, Cuddles, Buried Child, Lizzie the Musical, and The Pillowman.
This year offers, if you can imagine, one of the weirdest yet. Shockheaded Peter (runs tonight through November 14th) is a musical version of an 1845 German children’s book of short stories and poetry about the consequences of misbehavior. The program describes it as a “tale of a childless couple that has their fondest wish granted in the most delightfully dreadful way imaginable, accompanied by songs, puppetry, and vignettes in which the hilariously horrible fates that befall naughty children everywhere are brought to darkly comedic life.”
Elliott, who has been involved in all the productions, says when he first encountered it, “I was kind of gobsmacked just watching what videos were available. And I read about it, everything I could. And it was just so wonderfully bizarre and just asking for no forgiveness.”
In other words, perfectly weird.
“It’s not an overly long play,” he says, “but it has so many moving parts. There’s little vignettes — it’s a vaudeville-feeling show. There’s little scenes that happen, but there’s puppets and people doing quick changes into bizarre costumes and it’s just nonstop. There’s 15 people in the show and every one of them are running backstage. It’s chaos and I just kinda sit back and laugh and watch them just running in circles. It’s so cool.”
But if it’s dark and weird, is it OK for children or not?
“It’s kind of like watching Bugs Bunny or the Road Runner,” he says. “Those are just cartoons. We have puppets. The violence is absurd and we’ve had a couple of older children watch it and they were laughing their heads off.”
