Longtime Memphis thespian Bruce Huffman saw his directorial debut last weekend with the opening of Agatha Christie’s The Mousetrap at Theatre Memphis. Anyone familiar with Christie’s work will understand why this play is a fitting choice for October. Macabre and suspenseful, The Mousetrap is a multi-faceted character study with an array of roles any actor would die for — which is apt, as this play is also, of course, a good old-fashioned whodunit murder mystery.
The Mousetrap opens as so many of Christie’s great works do, with establishing a setting where a group of eccentric strangers are inevitably thrown together with no escape in sight. In this case, the story takes place in the out-of-the-way Monkswell Manor, just opened by newlyweds Mollie and Giles Ralston, played by Taylor Ragan and Kinon Keplinger, respectively. The manor’s grand opening is thrown off by several unexpected arrivals, first of a snowstorm, and then of a man who embodies the very definition of “eccentric,” one Mr. Paravacini, played by Tony Isbell. The other guests come in one by one, and as the audience is introduced to the colorful cast, it quickly becomes evident that every one of them has something to hide.
It is revealed that a murder has taken place, that of one unfortunate Maureen Lyon, and as the play goes on, we realize the mysterious Ms. Lyon was connected to several of Monkswell Manor’s guests. Almost immediately it becomes clear that the audience shouldn’t just be trying to puzzle out who the murderer is — we’re also meant to figure out who the next victims are. Theatrical history buffs may know that Christie was always rather annoyed with theater critics who revealed the endings of her plays; therefore, in honor of her memory I will attempt to not give too much away. This play is one that, in typical Christie fashion, turns the mystery inside out and on its head before the curtain falls.
Whether it’s too easy to figure out or not isn’t really the point; the fun of this show is in watching the cast flesh out the campy, over-the-top characters. After all, if a dramatic period-piece murder mystery isn’t the place for outrageously hyperbolic caricatures, then what is? Franklin Koch’s performance as the outlandish, free-spirited Christopher Wren feels as comfortably threadbare as a favorite T-shirt. Koch obviously knows this character through and through, and you’ll feel like you do, too. Meanwhile, Susan Brindley’s depiction of Mrs. Boyle is just as familiar, but as a character we all love to hate. Anyone in the audience who’s worked in any kind of service industry will enjoy watching multiple characters clap back at this 1950s version of a “Karen.” The entire company seems to be working together with the precision of a well-oiled machine.
Snow is mentioned often enough to almost be considered another character altogether, and as is common in many suspense stories, it acts not only as a tangible way of keeping the players isolated, but also as a metaphor — they’re hemmed in, physically and mentally. The cold also implies a certain stasis. Many of these characters are frozen in mindset, kept in place by horrors of the past or by their inability, deliberate or not, to grow up. My one issue with this play is the somewhat dated use of mental illness as a scapegoat. The societal embrace of both true crime and mental health in recent years has, I think, made modern audiences more aware of the fact that millions of people suffer complex trauma or have mental health issues and don’t commit any crimes as a result, let alone murder. I’m aware I might be unfairly evaluating this 20th century work through a 21st century lens, but it would feel disingenuous not to at least point out such antiquated thinking.
Despite that, the play is undeniably entertaining. The Mousetrap has been staged almost uninterruptedly since the ’50s for a reason — it’s a classic. Whether you’re the type who enjoys trying to tease out twist endings as you watch or whether you’d rather be kept guessing, this murder mystery is filled with such quality performances as to keep anyone entertained.
The Mousetrap runs at Theatre Memphis through October 27th.
Robert Petkoff as Harold Zidler and the cast of the North American tour of Moulin Rouge! The Musical (Photo: Matthew Murphy | MurphyMade)
As the temperatures are cooling down, the Memphis arts scene is heating up — with exhibitions, performances, and unique experiences. See for yourself in our Fall Arts Guide.
“Dear Grandmother” Heather Howle explores themes of nostalgia and familial connection. ANF Architects, through Oct. 17
“Troubling the Line: New Dimensions in Drawing” The works of Melissa Dunn, Terri Jones, Paula Kovarik, Mary Reid Kelley, and Patrick Kelley complicate the idea of drawing. Clough-Hanson Gallery, through Nov. 9
“All Rise: Memphis Bar Association at 150” Through arresting objects and powerful images, the exhibition showcases the Memphis Bar Association’s historical significance and continuing relevance. Museum of Science & History, through Nov. 10
“Bracelets, Bangles, & Cuffs” This collection of contemporary bracelets reveals the wide-ranging creativity of artists working in the jewelry form between 1948 and today. Metal Museum, through Nov. 17
“The 6 Points Artists” This exhibition features Sharon Havelka, Mary Jo Karimnia, Paula Kovarik, Carrol McTyre, Jennifer Sargent, and Mary K VanGieson. Bornblum Library, Southwest Tennessee Community College, through Nov. 27
“Andrea Morales: Roll Down Like Water” Andrea Morales’ first solo museum show features 65 photographs spanning her decade of photojournalism in Memphis and the Mid-South. Memphis Brooks Museum of Art, through January
“A Hidden Culture” Master Metalsmith Preston Jackson who gives voice to those overlooked in the history books. Metal Museum, through Jan. 26
“ANA•LOG” Lester Merriweather examines the concept of agency over Black visualization within American popular culture. Crosstown Arts, fall
Alex Paulus, “Size Matters” (Photo: Crosstown Arts)
“Size Matters” Alex Paulus’ current series focuses on the juxtaposition of small figures within expansive landscapes. Crosstown Arts, fall
“Still” Michelle Fair’s latest works delve into the process of painting. Crosstown Arts, fall
“Chromatic” This exhibit merges explores the two worlds of sounds and color in a synergistic full-bodied experience. Arrow Creative, October 3, 5:30-7:30 p.m.
“Two Rivers” Huger Foote captures the moments when day slowly turns to night from Memphis and the Mississippi Delta to the Hudson River Valley. David Lusk Gallery, Oct. 8-Nov. 16
“I Saw the Light in Your Eyes” Ceramic sculptors Renata Cassiano Alvarez and Anthony Sonnenberg work through complex ideas of identity through abstraction. Sheet Cake Gallery, Oct. 12-Nov. 23
“Our Love Is a Shady Garden” Yanira Vissepó studies the ecosystems between her birthplace in Puerto Rico and adopted home in Tennessee. Sheet Cake Gallery, Oct. 12-Nov. 23
MadameFraankie Works by MadameFraankie. Beverly + Sam Ross Gallery, October 21-December 8
“2024 Accessions to the Permanent Collection” This exhibition celebrations the more than 170 pieces added to the Metal Museum’s permanent collection. Metal Museum, November 27-November 2, 2025
ON STAGE
Concerts in the Grove GPAC presents some of the best musicians in the area in a park-like setting. The Grove at Germantown Performing Arts Center, select Thursdays, 6:30 p.m.
Sounds of Memphis Each week, a new Memphis powerhouse presents a unique concert — from the Handorf Company Arts of Opera Memphis to YOBREEZYE. Memphis Brooks Museum of Art, Thursdays, 6 p.m.
De Aquí y de Allá Accompany the courageous Don Quixote of La Mancha and his trusty sidekick, Sancho Panza, on an adventure full of fun, music, dance, culture and more. Orpheum Theatre, October 4-5
Paradise Blue This dynamic and musically infused drama shines light on the challenges of building a better future on the foundation of what our predecessors have left us. Hattiloo Theatre, through October 6
Girl from the North Country The Tony Award-winning musical reimagines Bob Dylan’s songs into a story about a group of wayward travelers. Orpheum Theatre, Oct.8-13
The Mousetrap Theatre Memphis presents this murder mystery. Theatre Memphis, Oct. 11-27
Lizzie: The Lizzie Borden Musical New Moon Theatre’s Lizzie is American mythology set to a blistering rock score. TheatreWorks@The Square, October 18-November 3
The Smell of the Kill This tantalizing dark comedy has malicious housewives and miserable husbands. Germantown Community Theatre, Oct. 18-Nov. 3
Amadeus: The Music and the Myth Opera Memphis explores Mozart through the lens of music from the award-winning movie Amadeus. Cannon Center for the Performing Arts, Oct. 19, 7:30 p.m.
Rumpelstiltskin A young girl is locked away until she spins straw into gold. Bartlett Performing Arts & Conference Center, Oct. 26, 2 p.m.
Moulin Rouge! The Musical Baz Luhrmann’s revolutionary film comes to life. Orpheum Theatre, Oct. 29-Nov.3
The Three Bs: Bach, Brahms, and Beethoven Memphis Symphony Orchestra presents. Crosstown Theater, Nov. 1, 6:30 p.m. | Scheidt Family Performing Arts Center, Nov. 3, 2:30 p.m.
Iris Collective Orchestra: Transformations Memphis-native Randall Goosby and conductor and Iris founder Michael Stern will be joined by the Germantown Youth Symphony. Germantown Performing Arts Center, Nov. 2, 7:30 p.m.
Taikoproject Taikoproject traces the history and lore of the ancient Japanese drums. Buckman Performing Arts Center, Nov. 7, 7 p.m.
The Orchestra Unplugged: Leonard Bernstein Music director Robert Moody of the Memphis Symphony Orchestra guides audiences through the life and legacy of the American Maestro. Halloran Centre, Nov. 8, 7:30 p.m.
Junie B. Jones: Toothless Wonder This family-friendly show takes audiences on a humorous journey of growing up with Junie B. Jones. The Circuit Playhouse, Nov. 8-Dec. 22
Parallel Lives Two actresses play men and women struggling through the common rituals of modernity. Theatre Memphis, Nov. 8-23
The Wizard of Oz Dorothy isn’t in Kansas anymore. Playhouse on the Square, Nov. 15-Dec. 22
The Rake’s Progress Opera Memphis presents Igor Stravinsky’s neoclassical opera. Scheidt Family Performing Arts Center, Nov. 22, 7:30 p.m. | Nov. 24, 3 p.m.
NutRemix New Ballet Ensemble sets The Nutcracker on Memphis’ iconic Beale Street. Cannon Center for the Performing Arts, Nov. 23-24
Peter Pan This high-flying musical comes to Memphis. Orpheum Theatre, Nov. 26-Dec. 1
Who’s Holiday Cindy Lou Who returns in this riotously funny and heartwarming adults-only comedy. Circuit Playhouse, Nov. 22-Dec. 22
A Motown Christmas Celebrate the holiday season with this musical of all your favorite Motown tunes. Hattiloo Theatre, Nov. 22-Dec. 22
Twelfth Night Shakespeare’s most charming comedy finds itself on the Tabor Stage. Tennessee Shakespeare Company, Dec. 6-22
A Christmas Carol ’24 Theatre Memphis presents this holiday classic. Theatre Memphis, December 6-23
Bright Star Steve Martin and Edie Brickell’s bluegrass musical tells a story of love and redemption in 1920s and ’40s North Carolina. Bartlett Performing Arts & Conference Center, Dec. 6-8
Tía Pancha Tía Pancha is Cazateatro’s bilingual adaptation of the classic A Christmas Carol but with a Latin and female twist. TheatreWorks@The Evergreen, Dec. 6-14
A Charlie Brown Christmas: Live on Stage The whole family can enjoy this adaptation of Charles M. Schulz’s timeless story. Orpheum Theatre, Dec. 7, 2 p.m., 5 p.m., 7:30 p.m.
The Nutcracker Ballet Memphis’ production of this holiday classic returns. Orpheum Theatre, Dec. 13-15
AROUND TOWN
Art Club The Brooks’ Art Club with Mallory Sharp gives participants an in-depth look at a different work of art each month. Memphis Brooks Museum of Art, monthly
Appetite for the Arts Enjoy a picnic and/or food truck fare while feasting your eyes on music and dance films. The Grove at Germantown Performing Arts Center, Wednesdays in October, 11 a.m.-1:30 p.m.
Super Saturdays Enjoy free drop-in art making workshops for families and free admission to the Brooks. Memphis Brooks Museum of Art, Saturdays, 10:30 a.m.-noon
Free Family Day On the second Saturday of the month, the Stax has live music, outdoors, food trucks, games and activities, arts and crafts for children, and free admission to the entire museum. Stax Museum of American Soul Music, second Saturdays of the month, 1-5 p.m.
Artoberfest Off the Walls Arts showcases Memphis artists and musicians for a day of music, vendors, a costume contest, activities, and fun. Off the Walls Arts, Oct. 5, 2-10 p.m.
V&E Greenline Artwalk 2024 Meet and shop from local artists, and enjoy music, entertainment, children’s activities, and artist demonstrations. V&E Greenline, Oct. 7, 11 a.m.-5 p.m.
Paint Memphis A hundred or so artists will be painting murals all day long and it’s a spectacle to behold. Willet and Lamar, October 12, noon-7 p.m.
Come as Thou Art Guests will don their most imaginative attire, either inspired by the night’s theme — the world of Tim Burton — or the spirit of a designer. The evening will be capped off with a fashion show by Sonin Lee. Memphis Brooks Museum of Art, Oct. 18, 8 p.m.
Art on Fire Enjoy tastings from local restaurants, live music, thrilling fire dancers, and a vibrant art sale — all set around a roaring bonfire. Dixon Gallery & Gardens, Oct. 19, 7-11 p.m.
Dracula Party Celebrate Ballet Memphis’ reprise of Dracula and help raise critical funds to support its mission with a Halloween party where you can party like a vampire. Mollie Fontaine Lounge, October 19, 7:30-10:30 p.m.
Repair Days Bring your metal items to have them restored their former glory at the Metal Museum’s largest fundraiser, which also includes the Dinner + Auction and Family Fun Day, where visitors can participate in hands-on activities, explore the galleries, and watch metalsmith demonstrations. Metal Museum, Oct. 17-20
RiverArtsFest The region’s largest and longest running fine arts festival showcasing works from 200+ participating local and national artists returns with an artist market, artists-at-work demonstration station, hands-on artist station, performances, and plenty of food and beverages. Riverside Drive, Oct. 20, 10 a.m.-5 p.m.
28th Annual Quilt & Fiber Arts Show and Sale View around 100 antique, vintage, and modern quilts, plus meet with vendors and demonstrators and see a new special exhibit. Davies Manor Historic Site, November 1-3, 10 a.m.-4 p.m.
The Orpheum Soiree Enjoy an evening including glittering entertainment, live auction, specialty cocktails, exciting eats, and fun surprises. Orpheum Theatre, November 15, 7 p.m.
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ARTSassist
In August, ARTSmemphis announced the inaugural distribution of ARTSassist grants to 22 individual artists, providing these artists in dance and visual arts an unrestricted $5,000. This makes it the only unrestricted grant program supporting individual artists in Shelby County.
The program comes as an expansion of a pre-pandemic grant program for visual artists, known as ArtsAccelerator. As ARTSmemphis CEO and president Elizabeth Rouse says, “About 10 years ago, thanks to some local artists in the community who asked questions of us, we began a grant program to support visual artists. … We started with visual artists because at the time, they had fewer other networks of support and fewer other opportunities to be hired.
(top) Dorian Rhea; (below) Therrious Davis (Photos: Courtesy ARTSmemphis)
“But that really, thankfully, put us in a position to launch an artist emergency fund for individual artists in 2020 as artists of all different types immediately lost work during the pandemic. And we supported about 800 artists during the pandemic with emergency funding totaling almost a million, right around $900,000. From 2020 through 2023, we focused on emergency and recovery funding, so coming out of 2023 we wanted to reintroduce an unrestricted grant for artists and expand it rather extensively.”
That meant bringing on an artist advisory committee made up of Memphis artists to make sure artists’ needs were met, and out-of-town jurors to select the grantees without local bias. That also meant, in addition to supporting the 22 selected grantees, partnering with Indie Memphis to support a filmmaker through Indie Memphis’ Black Creators Forum and partnering with Music Export Memphis (MEM) to support three musicians through its Ambassador Access program. “It was a way for us to be efficient and not create something new, but to support and complement,” Rouse says. “We hope, long-term, to be supporting even more types of artists. But it makes sense, just based on the makeup of artists in our community, that we start out with visual, dance, music, and film.”
This first cohort will use their grants for a variety of reasons, Rouse says. Therrious Davis, an illustrator, comic book artist, and occasional muralist, has used his grant money to buy a new computer and tablet. “I had this laptop for close to 10 years now,” Davis says. “It was starting to show signs of its age.”
Davis has been developing a comic project called Exodus of Love, premised on the question, ‘What if Cupid didn’t know what love was?’ But not having reliable or capable equipment has been holding him back from making headway. “The goal will be to make more videos following the development of the comic book project and to give people a chance to follow it from the ground up.” (You can follow Davis’ progress on Instagram @therrothekid.)
Meanwhile, choreographer Dorian Rhea plans to use his grant to fund future movement-based programming at the Benjamin L. Hooks Central Library. “It’s going to be jazz. It’s going to be social dance, known as hip-hop styles, accompanied by excerpts and texts to contextualize the history,” Rhea says. The classes will be for young kids and their parents, an experience that Rhea, as a new dad himself, hopes will “sow the seeds for much more later down the road.”
Rhea will also use his grant to attain a technique certification in Giordano dance, a style of jazz that originated in Chicago. “I’m hoping that with bringing that style to Memphis, we elevate the cultural exchange that I think is already taking place [between Chicago and Memphis],” he says. “Knowledge is power. Art is all about telling a story and communicating the narrative, sharing an experience, and so as someone who believes in art activism — using arts as a vehicle for creating change and sparking the catalyst for evolution, growth, progress — the more grounded my work is in the history of those who’ve come before, the richer I can articulate lessons.”
No matter their personal goal, Rouse says, “We know how important it is to have a strong community of artists and to be a city that is a city of choice for artists. They’re just so critical to our culture and our economy, so … we intend for this to be an annual grant.”
On Monday, in alignment with this goal, ARTSmemphis, in partnership with Music Export Memphis, also announced a new, first-ever Artist Emergency Fund for local artists, which will support artists in times of unexpected and catastrophic emergency. For more information on both of these grants, visit artsmemphis.org.
…
Andrea Morales: “Roll Down Like Water”
Andrea Morales has been making photographs since she was a child, and yes, “making photographs” is the right phrase here. Not taking photographs, capturing, or shooting. For Morales, these words are too aggressive to describe a process that is about building trust and intimacy between the photographer and the photographed individuals, or, as Morales calls them, her collaborators.
She’s been working in Memphis as a photojournalist for a decade now, making photographs of the community. You probably recognize her name from her work as the visuals director at MLK50: Justice Through Journalism, but she’s also been featured in The Atlantic, The Wall Street Journal, Rolling Stone, and TIME Magazine, among many others. Now, to add to her impressive resume, the Memphis Brooks Museum of Art has opened an exhibit of 65 of her photographs of Memphis and the surrounding region, titled “Roll Down Like Water.”
Andrea Morales, Southern Heritage, 2017 (Photo: Courtesy Andrea Morales)
Taking its name from Dr. Martin Luther King Jr.’s final speech in Memphis, in which he said, “Let justice roll down like waters and righteousness like a mighty stream,” the exhibit, says its curator Rosamund Garrett, is “a portrait of America through Memphis.”
“There are some tremendously famous photographers from this area,” Garrett says, “but I really feel that Andrea looks at things through a very fresh lens, and she looks at this region very directly, very earnestly, in a way that still allows the magic of this place to come through.”
But in this exhibit, not appearing in a publication with someone else’s byline, a headline she didn’t choose, or quotes she didn’t pull, the photos can stand alone. “It does feel like something’s being restored, I guess,” Morales says. “I’m struggling with identifying exactly what, but it feels like something’s restored. It’s like back to that feeling of the moment [of making the photo] because you have that moment and then you kind of have to tuck it away because this photo has to exist in this one context [of an article]. But this is all existing in the context of me and Memphis right now.”
Binghampton is putting on a play. The actors are young and old, some seasoned and many freshly-minted to the spotlight. Kids at Carpenter Art Garden are building scenic elements, and community members are tuning their instruments for a show their stories helped create.
It all started over a year ago when the Orpheum Theatre Group launched its Neighborhood Play Program. After working with the Refugee Empowerment Program in Binghampton, making original plays out of participants’ stories, Orpheum staff “realized one of their favorite moments in it was when they got to step out of their story and play the characters that were in other people’s stories,” says Taylor St. John, Orpheum’s director of education and engagement. “There’s something powerful about telling your own story, but there’s also something powerful about participating as a community in a fictional story.”
Ann Perry Wallace (Photo: Courtesy Orpheum Theatre)
So came the Neighborhood Play Program, through which the Orpheum partnered with various organizations and formed “story circles” to create a neighborhood play. “For six months or so, we got people in a circle and asked them questions about their community, things that they found beautiful, things that they found challenging,” St. John says.
These stories, in turn, would be the inspiration for the fictional story that playwright Ann Perry Wallace, author of the one-woman play Live Rich Die Poor, would weave. They then presented this fictional story in another round of story circles for feedback.
“I felt like I had a lot of responsibility to deliver something that was representative of what I had heard,” Wallace says. “You are responsible for these stories that have been told, you are responsible for putting out this image of the people, and so that is a weight that I carry with honor and take seriously. There’s nuance. And so I’m having to hold all of that in a way that gives dignity where dignity is due and have to show the complex struggles where they are present. It is a dynamic place, and I hope for people to see the intricacies, or just a snapshot of those intricacies come out.”
As for the plot of the play, titled We All We Got, St. John says, “The story itself centers on two young Black girls living in the neighborhood, one from a generational home and one living in the apartments who’s a refugee, and how they navigate the world and encounter all of the various characters of Binghampton.”
The hope, both St. John and Wallace point out, is to highlight the different experiences within Binghampton. “It’s one of the most diverse neighborhoods in Memphis,” St. John says. “There’s over 20 languages spoken there, and so we really tried to honor the stories that do not otherwise get highlighted.”
With all those differences, St. John adds, “It’s been exciting, in the last couple weeks, to see all those people from all those different groups that do different things and have very different beliefs and sometimes cultures now all be in the same room, and we’re all working on this thing together, and it just feels like a great exercise in community.
“We think it’s so important that the people in Binghampton can hopefully see themselves in this play, or see reflections of their ideas and other stories in this play. But it’s also really important that as a city, we’re able to come together [by seeing the play].”
The play is set to premiere in November, with community members acting both in the scenes and behind the scenes. Already, just watching rehearsals has Wallace “thrilled.” “You are seeing people who have pride in the neighborhood come out to be a part of it and really stretch themselves in creative and artistic ways,” she says. “Not all of them are normally doing this in their day-to-day life, and then we do have some actors who are in it, but particularly the community members, them showing up and performing best, to me, that’s pride, and that’s dedication, and that’s belief in their community.”
All three performances, which will take place at First Baptist Broad Church in Binghampton, will be free to attend, and Backbeat Tours will provide free transportation at designated locations.
Martha Jones as Madame Arcati (Photo: Carla McDonald)
During the opening scene of Theatre Memphis’ production of Blithe Spirit, I was worried. Noël Coward’s arguably most successful play starts out with a quiet moment between husband and wife, the exposition leisurely woven into the mundane, everyday sort of conversation that occurs between spouses. What made me anxious was the possibility that I would have to work to give my full concentration to this show — I’m currently going through the sort of personal crisis that makes distracting my mind difficult.
Fortunately, my worries proved fruitless. Once the action got going, I experienced one of the purest joys of entertainment: I forgot everything else. Blithe Spirit is funny in the way that I like best: There are plenty of big laughs, but much of the humor is hidden in the dialogue-heavy play; blink and you’ll miss it. Luckily, the cast makes you want to pay attention.
Blithe Spirit is a black comedy, one that is perfect for October as it is rife with both death and the arcane. Upper-crust author Charles Condomine and his second wife, Ruth, are planning a dinner party/seance in order to covertly observe their town’s local medium, Madame Arcati. Charles wants to see the “ticks of the trade” in action as research for his next literary project. Charles, Ruth, and their two friends are all decided skeptics, but it turns out that Madame Arcati is the real deal. During the seance she inadvertently summons the spirit of Charles’ first wife, Elvira, though Charles is the only person who can see or hear her. Crises ensue.
I always enjoy plays with unsympathetic protagonists. Characters who are inherently flawed are the most interesting and realistic, but in watching this play, I am fully on Ruth’s side, all imperfections notwithstanding. A woman making every effort to remain level-headed while attempting to rationally explain something to a (predictably obtuse) man is something I gleefully identify with, all the more so because of Lena Wallace Black’s energetic performance. I’ve observed Wallace Black in other productions, but seeing her embody Ruth Condomine I realized she possesses a rare gift, one that pertains to the physicality of acting. Simply put, her movements look natural, which may sound easy but is actually one of the most difficult things to achieve onstage.
Each member of this relatively small cast brings their own panache to the humor of the script, but one thing that stood out was the way Martha Jones approached the somewhat odd (if we’re being polite), downright weird (if we’re not) character of Madame Arcati. This is a role that could very easily fall into an archetype pitfall of being boring to watch, as audiences know what to expect from a batty fortune teller. Jones, however, brings a sincerity to the character that makes her antics that much more humorous; it’s obvious she’s having fun playing this character, which in turn makes it fun to witness.
There’s not really a weak link in this cast, as even the character I was least interested in — Charles Condomine — shifts at the last minute and becomes much more intriguing. The ending of this play is one that had me scratching my head, but not in a bad way. Adam Remsen plays Charles Condomine as a kind of weak-sauce, limp-fish-handshake man who is ruled not only by the women in his life but also by his own selfishness. In short, a pretty familiar male cliche. That is, until the final scene, when the hitherto boring Mr. Condomine becomes something else. Remsen does a delightful job in showing Condomine’s true colors, leaning into the snide, boorish cad that has been hiding under the surface all along.
What I’m curious about, in contemplating the close of this play, is this: Is Charles Condomine acting like such a selfish prick in order to drive away the spirits of his wives (yep, by this time they’re both dead) for their sakes, or is he truly just another asshole finding his stride? The latter seems far more likely, but it is an added layer of entertainment to wonder.
Blithe Spirit runs through October 29th at Theatre Memphis.
Sweet Pickle the dog and that doggone reporter at HollyWoof (Credit: Kaitlin Brucker)
I’ve covered many debut fundraising-galas.
But not just because of the event name or the fact live dogs were among the guests, HollyWoof was one of the best premier galas I’ve been to.
HollyWoof, a benefit for New Beginnings Animal Rescue based in Olive Branch, Mississippi and Friends of Horn Lake Animal Shelter, was July 22nd at Theatre Memphis. Hollywood, of course, was the theme. Tables were set with little gold canine-sized Oscars.
Hollywood Feed and Theatre Memphis were two of the main sponsors.
“We’ve had auctions before, but this was our first gala,” says Rene Crider, who, along with Rachel Phillips, is a dog intake coordinator at New Beginnings. “We hope it’s an annual thing.”
The silent auction was stupendous. A total of 224 items were included, Phillips says.
Items included a $300 gift certificate to Folk’s Folly and, from Roadshow BMW, the opportunity to drive a BMW from Thursday until the following Tuesday.
Other items included spa nights, spa treatments, hair products, dog baskets, and camping equipment, Crider says.
Silent auction items at HollyWoof (Credit: Michael Donahue) HollyWoof (Credit: Michael Donahue)
April and Mara Nelson, cat coordinators for New Beginnings, were responsible for the mystery bags and collecting auction items.
The event also included a wine pull. “We got rid of all our wine, so that was good,” Crider says.
The dinner was fantastic. John Wheeler and his son, John Dalton Wheeler, catered the meal, which included pork loin, green beans, and the best glazed carrots I’ve ever eaten.
John Wheeler and John Dalton Wheeler at HollyWoof (Credit: Michael Donahue)
The excellent desserts were by Melissa Walker and Shannons Sweet Confections. Shannons did the paw print cookies.
HollyWoof (Credit: Michael Donahue) HollyWoof (Credit: Michael Donahue)
HollyWoof also included a live auction, but there was only one item to bid on — a cake. But what a cake.
Keisha Jackson of Tasty Pastry in Cordova, Tennessee made the cake, says Deborah Sharp. “I met her on NextDoor,” Sharp says. “I live in Cordova. All the cakes are unbelievable that she does. I asked her for a donation. She donated three different sizes and costs of cakes, which was unbelievable, for the silent auction.
“Then we thought, ‘Maybe we could do a live auction with one of her cakes.’ So, I contacted her and sent her some pictures of cakes I found online, Hollywood and such.”
Sharp asked Jackson to decorate it with “Hollywood glamor and accents of dogs and cats.”
The cake, which Sharp described as “just wonderful,” was “a two-layer cake with fondant. It’s got the red carpet and Hollywood decorations.”
The cake, which included three dog figurines on top — with one on the red carpet — went for $250.
Keshia Jackson created the Hollywood cake for HollyWoof (Credit: Deborah Sharp)
Sharp brought her two dogs — Cheddar and Nugget — to the party. “I was gone all day. I can’t leave the girls. And they’re so good.”
They were all dog tired when they got home after midnight, Sharp says. “I thought I was tired, but these girls… Socializing is tiring.”
A dogged party goer with Nugget at HollyWoof (Credit: Brian Patterson)
Valerie Calhoun, who attended with her husband, John Elkington, was an emcee along with Brian Patterson. Patterson’s wife, Stacey Patterson, did the centerpieces.
Brian Patterson and Valerie Calhoun at HollyWoof (Credit: Michael Donahue)
HollyWoof, apparently, was a successful fundraiser. As for the exact figure, Lisa Hayes with Friends of Horn Lake Animal Shelter, says, “We’re still trying to figure that out, but it looks like it’s going to be close to $20,000.”
Julie Clark and Rachel Phillips at HollyWoof (Credit: Michael Donahue)Chris Frazier, Lisa Hayes, Sandy Williams, Gail Johnson at HollyWoof (Credit: Michael Donahue)Fred Smith with his dog, Sweet Pickle at HollyWoof (Credit: Michael Donahue)Carrie and John Russell at HollyWoof (Credit: Michael Donahue)John Wheeler, John Elkington, Brian Patterson at HollyWoof (Credit: Michael Donahue)Allen and Kay Iskiwitz at HollyWoof (Credit: Michael Donahue)Bruce Thompson at HollyWoof (Credit: Michael Donahue)Jude Knight, Debbie Litch, Michael Donahue, Gary Beard at HollyWoof (Credit: Michael Donahue)Marlon and Ashlan Guzman at HollyWoof (Credit: Michael Donahue)Joe Lackie and Gary Beard at HollyWoof (Credit: Michael Donahue)Jeremy Stephenson at HollyWoof (Credit: Michael Donahue)We Saw You
Mary Poppins is just as magical on the stage as on the screen. (Photo: Carla McDonald)
For around a month when I was 8 years old, I had a routine. Every day when I got home from school, I would turn on the VHS player and watch the same tape: Mary Poppins. I’ve seen it more times than I can count and would hazard a guess that I am more familiar with it than any other movie. Funnily enough, until recently I had never seen Mary Poppins performed on stage. To be honest, I wasn’t even aware that it had been developed into a musical, first on West End and then, two years later, on Broadway. Now that I think about it, I’m surprised it wasn’t turned into a stage play sooner than 2004. Mary Poppins is everything you’d expect from musical theater — it’s a show all ages can enjoy.
Theatre Memphis’ production of Mary Poppins has had “phenomenal sales,” according to director of marketing and communications Randall Hartzog. Audience members are encouraged to recycle their programs as almost every performance is already sold out.
Sitting in the Lohrey Theatre before a Sunday matinee, I notice there are numerous families with small children in attendance. Directly in front of me, a family of three asks if I will take their picture — it’s their little boy’s first time seeing a live show. Behind me are two more children, although one of them moves next to me during the first few minutes, his mother’s lap being a more preferable seat. Listening to his guileless commentary was an unexpected, yet welcomed, added bonus to my theater experience.
To my surprise, and in spite of my childhood obsession with the story, there were many new things to be discovered about Mary Poppins, including scenes that are altogether absent from the 1964 Disney film. I was also glad to take note of themes relevant to our cultural experience in 2023 that went over my head as a child. The mighty character of George Banks, for example, can be seen on the surface as a basic absentee-father-stock-character mired in patriarchal gender roles. However, in taking a closer look, it’s obvious that George Banks is more dynamic than static, and modern audiences might interpret his character as a manifestation of breaking generational trauma.
The musical number “Playing the Game” is another part of the onstage production that departs from the Disney film, during which the toys in Jane and Michael’s nursery come to life in response to being mistreated. It brought to mind that scene in Toy Story when Sid’s toys come out from under his bed, and I would be remiss not to include the reaction I overheard from the boy sitting beside me. As multiple toys crawled out of the wings and even out of the set itself (it was the fireplace that really got me), I heard from my right, “What the …” A few moments later, the same voice whispered, “Mom, I’m scared.” Me too, kid.
On the whole, though, the musical was uplifting, and any time the ensemble came together in choreography, it was a treat to behold. The complicated, fast-paced synchronicity in numbers such as “Supercalifragilisticexpialidocious” and “Jolly Holiday” was performed without a hitch. The elaborate and frequent costume changes added to the overall visual spectacle achieved by these full-scale musical numbers.
Russell Lehman’s performance as Bert stood out in particular. Bert acts as a sort of narrative guide throughout the show, orchestrating scene changes and introducing scenes as a central cog in the machinery of the production. Lehman’s energy and enthusiasm shone on stage and seemed to buoy the other cast members.
It’s always encouraging to me, as a person who fell in love with the stage at the tender age of 10, to see enthusiastic theater audiences filled with multiple generations. Fortunately, Memphis is a city with many opportunities to introduce kids and first-time theatergoers to the magic of live performance. Theatre Memphis’ Mary Poppins is a perfect example of one such opportunity, and I am grateful to have been a part of it.
Mary Poppins runs through July 2nd at Theatre Memphis.
Chaos ensues, in the best of ways, in this play within a play. (Photo: Carla McDonald)
The Murder at Haversham Manor was a complete and utter travesty. Viewing this play was akin to viewing a slow-motion train wreck. Actors forgot their lines, were replaced mid-show by stagehands (and at one point, believe it or not, a prop), and by the end of the night, the set had completely fallen apart! However, The Play That Goes Wrong, the show that encompassed The Murder at Haversham Manor, went off without a hitch.
One of my favorite tropes in theater — or any storytelling format, really — is a play within a play. It is always a joy to watch the layers of an actor playing the role of an actor playing a role. Theatre Memphis’ The Play That Goes Wrong adds another element to this gambit: Nearly every component of a play that you can think of “fails” in this show within a show.
The Murder at Haversham Manor, and subsequently, The Play That Goes Wrong, opens with a body being discovered, that of Charles Haversham, “played” by Jonathan Kes’Trelle, played by Hugh Boller-Raup. The Murder at Haversham Manor is a murder mystery, while The Play That Goes Wrong is a comedy that allows the audience to feel as though they’re getting a glimpse behind the curtain. The show even begins with “crew members” attempting to fix a faulty set piece.
For anyone who enjoys minutiae and details, The Play That Goes Wrong is a veritable buffet of theater subtleties. Multiple characters sport two pink circles of makeup on their cheeks, an example of one deliberate “inexpert” element of the show. The set, which over the course of the play becomes increasingly dilapidated, sports a door with a “restroom” sign on one side. Even the program for the show includes a program within a program, a complete work-up of the fictitious The Murder at Haversham Manor.
Most of the characters in The Play That Goes Wrong are captivatingly zany, none more so than Max Bennett (who “plays” Cecil Haversham), played by Bruce Huffman. Max Bennett is a gloriously over-the-top showboat, but when we sat down to discuss the show, I found Huffman to be a complete contrast to his character, quietly engaging, gracious, and kind. We spoke of everything from director Ann Marie Hall’s process to the heart of the arts in Memphis. Though the character Max often steals the spotlight, Huffman is very aware of his fellow cast members. “Some of the characters do break the fourth wall and some of them don’t,” he says, “and I think one of the intentions of having some of them not is to be there and support us in reeling it back in if we need to.”
Working an audience can be a difficult task, especially in a production where the technical timing needs to be precise — actors and stage hands alike have to meet cues for the movement of big set pieces. According to Huffman, director Hall had some advice to share on the subject: “If you are trying to work the audience too much, they can tell, and you will steal your own joke.” Fortunately, the cast seemed to perfectly balance the accuracy necessitated by the script with encouraging and interacting with the audience. Comedy is all about timing, and the fact that the cast and crew had the added pressure of so many “surprise” cues throughout the show makes the success of the production even more impressive.
This is a play in which it is obvious the cast is having a good time, and the energy is infectious. “The most fun I’ve ever had doing a show ever,” Huffman says. One thing I personally enjoyed was how often the background of this play demands the audience’s attention. There are often two scenes happening at once, and everywhere you look, a joke is being carried out. Taking in the comedy of this show was delightful. Of his fellow cast and crew members — but I think it translates to the audience as well — Huffman says, “It felt like everyone was just there to support each other and have fun, and we did just that.”
The Play That Goes Wrong runs through March 26th at Theatre Memphis.
This will be the third Women in the Arts. (Photo: Courtesy Dixon Gallery & Gardens)
For a third time, the Dixon Gallery & Gardens and Theatre Memphis will cohost the annual Women in the Arts, a day dedicated to, as you may have ascertained, women in the arts, with panels, demonstrations, classes, performances, and more.
“We have such a rich arts community in Memphis,” says Karen Strachan, youth programs coordinator at the Dixon, “and while women are fortunately starting to get more of a nod in other industries from engineering to business to medicine, the case isn’t the same for women who are creatives.” In turn, this event hopes to rectify that gap by supporting and highlighting the women makers, arts administrators, actors, singers, writers, musicians, dancers, florists — basically any kind of artist you can think of.
Split between the Dixon and Theatre Memphis, with shuttles going back and forth between locations, the day will cater to all ages, artists and art lovers alike. The schedule for the day is truly packed, so choosing which bits to attend will be the hardest part of the day, says Kristen Rambo, the Dixon’s communications associate. “We try to cover all the things, but you can participate as much or as little as you like.”
At the Dixon, attendees can chat with several visual artists and perhaps even get a chance of some hands-on experience during artist demonstrations. Plus, guests can check out the make-and-take stations, hosted by Hutchison School teens, who will also facilitate a poetry corner. The galleries inside will also be open, with Jeanne Seagle’s “Of This Place” and “American Made,” a survey of American art curated by Diane DeMell Jacobsen, on display.
Also on display is “What Is That Artist?” with art by Johana Moscoso, Karla Sanchez, and Danielle Sierra — all of whom will be present at the event on Saturday. Sierra will be part of the artist demonstrations, Sanchez will facilitate a large-scale collaborative mural activity, and Moscoso will be a part of a panel, titled “Made In,” which will feature women who are artists and immigrants speaking on their experiences.
Meanwhile, at Theatre Memphis, there will be a panel featuring women directors as well as an artist market. Theatre Memphis will also host various performances and drop-in dancing, acting, and yoga classes.
All in all, the event, Strachan says, hopes to “connect new artists and performers with the community because there is certainly no shortage of talent here. You may see some familiar faces but also some new ones. You might even be introduced to a new art form.”
Rambo adds, “I am a woman in the arts and have been working here for a long time, and every year I am amazed how many people I meet. … So we hope a lot of people will come out and see something that might be out of your comfort zone.”
Women in the Arts, Dixon Gallery & Gardens and Theatre Memphis, Saturday, March 4, 10 a.m.-2 p.m., free. A full schedule of the day’s events can be found here.
Theatre Memphis’ Arsenic and Old Lace (Photo: Carla McDonald)
Sitting in the Lohrey Theatre in the middle of what has culturally become known as “spooky season,” you might be inclined to notice, if you are on the lookout for such things, a skull motif in the pattern of the purple wallpaper on the set of Theatre Memphis’ Arsenic and Old Lace. If you are unfamiliar with this 1940s Broadway play, you should know that it exemplifies the term “dark comedy.”
The plot of Joseph Kesselring’s zany play is convoluted at first glance. Dramatic critic Mortimer Brewster is shocked to find out that his sweet old aunts, beloved and known throughout their community for their generosity of spirit, are in fact totally off-the-rails serial killers. Of course, they don’t see their morbid hobby as anything more than another charitable act in their repertoire.
Aunts Abby and Martha Brewster aren’t the only colorful members of Mortimer’s family. One brother believes himself to be Teddy Roosevelt, another previously-thought-to-be-missing brother shows up with an altered face to conceal his identity, and a prospective member of the family, Mortimer’s new fiancée, lives next door in the church parish.
The cast, directed by John Maness, brings this bizarre group of characters to life in a well-balanced ensemble. Each character has their own brand of hilarity, carefully wrought through physical comedy, vocal inflection, and timing. Kinon Keplinger especially shines as Mortimer Brewster, the keystone that the rest of the group rests on. Mortimer could be seen as a stock straight man evening out the eccentricity of the other members of the cast, but Keplinger manages to bring off Mortimer’s energy and quirkiness without a hitch, excelling especially at physicality. Mortimer practically jumps around the stage, much to the delight of the audience.
On the other end of the spectrum, we have Abby and Martha Brewster, played by Jeanna Juleson and Martha Jones. The hilarity of these characters is achieved with subtlety, and Juleson and Jones allow the humor of the dialogue to come through by adding just the right dose of guilelessness.
Maness explained in a release, “What I’ve tried to do is make this wildly believable, too. By focusing on the subtle acting details to support the dark comedy, we’ll get the result of a lived-in, truthful world despite the zany goings-on of the plot. Every character knows where they’re coming from. … We want the audience to just enjoy the ride about where they are all going!”
There were a few hitches during the performance that could be chalked up to opening-night jitters — a couple of lines tripped over and some pacing that seemed a little off-kilter. However, by the top of the third act, the entire cast was seamlessly in their stride.
According to Maness, “The play is a classic for a reason, and we aren’t shying away from what we’ve been calling that ‘Turner Classic Movies’ feel.” This is a play that non-theater-goers might think of as “basic,” but when performed with the energy and comedic dexterity I saw on opening night, it clearly deserves, instead, to be called a “classic.”
As I observed during intermission, this show is one that all audiences can enjoy. A grandfather glanced at the TV monitor downstairs near the bathrooms, depicting a live stream of the show. He remarked to his granddaughter (who was maybe around 10 years old), “Looks even better on camera, doesn’t it?” She replied, “I think it looks better in real life.” Thus the magic of live theater was demonstrated in a simple tableau.
Arsenic and Old Lace is the perfect show to see in October for both those who enjoy getting into the Halloween feel and those who just want to have a fun night at the theater. The play is just macabre enough to be called “dark” while still maintaining a buoyant tone.
Arsenic and Old Lace runs through October 30th at Theatre Memphis.
OK. I had to have a photograph with Priscilla Presley at the Theatre Memphis tribute to her. (Credit: Jonathan Finder)
Wearing a striking Fouad Sarkis black-and-white gown, Priscilla Presley took the stage to thank her fans at “Honoring Priscilla Presley: The Artist, The Woman,” which was held July 22nd at Theatre Memphis.
“This has been a very overwhelming evening for me,” Presley told the audience. “It’s very difficult to take compliments.”
And, she joked, “I didn’t know I did so much, to be honest with you.”
Presley told the audience she learned about Memphis at age 14 from Elvis when he was in Germany during his Army days. “We had long talks about Graceland, about Memphis, about his childhood, about how much he loved Memphis.”
And, she says, “When I came here I was absolutely amazed at the friendships that I made. But not only that, the Southern hospitality just absolutely blew me away. Everyone was so kind, so wonderful as far as bringing me in, accepting me. It was something I will never ever forget. And won’t forget. I do believe Memphis is my home.”
Dabney Coors was co-chair of the event with Elizabeth Coors, as well as the organizer of the event.
The evening began with a reception in the lobby with food from chef Erling Jensen and live Memphis music, and ended with a party featuring more of the same, in addition to a chance for guests to meet Presley.
In between the parties was a tribute, where the 275 or so audience members learned about the staggering amount Presley has done and been involved in. Kym Clark and Kontji Anthony were the emcees. Special guests included T. G. Sheppard and his wife, Kelly Lang, and, by video, Jerry Schilling.
T.G. Sheppard, Priscilla Presley, and Kelly Lang at Priscilla Presley tribute (Credit: Michael Donahue)
For one, Presley was responsible for Graceland being saved and being opened to the public, instead of being sold.
She portrayed “Jenna Wade” on TV’s Dallas. She was in movies, including the Naked Gun trilogy. She came out with her own perfume and line of bed linens. She came up with the idea of coupling a lightning bolt image with the words “TCB” during an airplane flight with Elvis in a storm.
All of this and much more was referred to during the evening. According to the program, Presley also is an ambassador with the Dream Foundation, which helps fulfill dreams of terminally-ill adults. And, the program states, “She has also worked closely with the Humane Society of the United States and has spent time in DC to lobby Congress to pass the ‘Prevent All Soring Tactics’ (PAST Act) bill that will strengthen enforcement of the 1970 Horse Protection Act.”
“Congressman Steve Cohen announced from the stage that he entered a declaration in to the Congressional Record that Priscilla Presley is now an honorary Memphian,” Dabney says. “The Mayor (Jim Strickland) came with a key to the city and a proclamation, and the Tennessee governor (Bill Lee) had a proclamation for Priscilla. Kevin Kane was the presenter.”
Congressman Steve Cohen at Priscilla Presley tribute (Credit: Michael Donahue)Mayor Jim Strickland, Jack Soden, Kevin Kane, Hayden Kane, Leighanne Hart Soden, and Melyne Strickland at the Priscilla Presley tribute at Theatre Memphis. (Credit: Michael Donahue)
All the presentations were in honor of “this 40th anniversary of her opening Graceland. It could not have been a better celebration for her.”
Debbie Litch, Theatre Memphis executive producer, announced “The Theatre Memphis – Priscilla Presley Scholarship,” which, according to the program, will “make an artistic dream come true.”
Erling Jensen and Debbie Litch at the Theatre Memphis tribute to Priscilla Presley (Credit: Michael Donahue)
Memphis artists who performed during the evening included guitarist-songwriter-producer Mario Monterosso, singer/pianist Brennan Villines, who wore a pink tuxedo and slippers with the “TCB” lightning bolt on the toes, and Kallen Esperian, who sang “God Bless America.”
Kallen Esperian and William R. Eubanks at the Priscilla Presley tribute (Credit: Michael Donahue)Brennan Villines at the Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)
“One of the most popular drinks of the evening was the one created for the party named the ‘Priscilla,'” Dabney says.
“The drink was a French 75 made with vodka instead of gin.” It also included lemon juice, simple syrup, and champagne.
Lansky Brothers was corporate sponsor of the event. And, as a side note, Monterosso’s tuxedo came from Lansky’s.
Dabney says she received more than 100 texts, telephone calls, and emails from people about the tribute. People are “so thrilled for her and for the city of Memphis to acknowledge her continuing great works on behalf of our city,” Dabney says.
It was also good timing that the celebrated movie directed by Baz Luhrmann, Elvis, recently released and premiered at The Guest House at Graceland. “We were able to celebrate her a month after she welcomed the cast and crew and Warner Brothers into Graceland. She had a dinner party inside the mansion for them.”
Lurhmann also gave remarks via video at the event.
Dabney met Presley 25 years ago at a red carpet event in Los Angeles. “We just see each other all the time. And we just have a ball.
“This has been in my heart to honor Priscilla in our city for years and years. And her family knows it, my dear friends know it.”
Priscilla stayed in town several days after the event. Elizabeth Coors and her husband, Giles, held a private dinner party for Priscilla the night after the tribute.
Giles and Elizabeth Coors at the Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)
Dr. Jonathan Finder, who attended the tribute with his wife, Jana, talked with Presley a few days after the event at Sam Phillips Recording Studio. “What struck me about chatting with Priscilla was how she came across as incredibly kind and down to Earth,” Finder says. “And at the same time so very sharp and insightful. A remarkable person who has led a remarkable life.”
Dabney Coors and Dr. Jonathan and Jana Finder at Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Lucy Woodson and Pat Kerr Tigrett at the Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Veronica Batterson, former Shelby County Mayor Mark Luttrell, Rev. Keith Norman, and Brett Batterson at the Priscilla Presley Theatre Memphis tribute (Credit: Michael Donahue)Cristy Beasley Cass and Cary Brown at Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Doug Browne and J. W. Whitten at Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Jerry Phillips, Scott Bomar, and Laura O’Mell at Priscilla Presley tribute. (Credit: Michael Donahue)Shirley Brown, Don and Elizabeth Scott, Gary Beard, Randall Hartzog, Dr. Mel Litch at Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Josh and Lindsey Hammond at the Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Leslie Fowler at the Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue)Kerri Mahoney and Scott Bomar at Priscilla Presley tribute at Theatre Memphis (Credit: Michael Donahue) We Saw You
The cast of Ragtime shines. (Photo: Carla McDonald)
The final production of Theatre Memphis’ 100th season is Ragtime, a Tony-winning musical with themes relevant to contemporary audiences, though the show is set at the turn of the 20th century. All aspects of this production shine, from the meticulously cultivated details of the set and costumes to the ensemble and individual performances of the cast.
Ragtime, based on the novel of the same name by E.L. Doctorow, is an emotional journey through topics of racism, classism, and sexism. Though the subject material is somber, the musical is rife with humor and hope. The multifaceted story is told through the eyes of a variety of characters with varying backgrounds living in the United States sometime just before the onset of World War I. It follows characters ranging from Tateh, a Jewish widower immigrating to America with his young daughter, to Booker T. Washington to Evelyn Nesbit, a vaudeville performer and 20th-century sex symbol.
I was afforded the opportunity to speak with the assistant director of Ragtime, Claire D. Kolheim, over the phone. Kolheim is a former resident company member of Playhouse on the Square, and in 2011 she played the role of Sarah in Ragtime. As part of the directorial team, Kolheim pointed out to me that no detail was left to chance. I mentioned that I appreciated the effect of having the orchestra present on the balcony of the set. “Having the orchestra exposed was an intentional move on the production team’s part,” Kolheim says. This decision was cleverly worked out in order to create the poignant moment where a coffin is fully lowered into the orchestra pit.
Despite the heavy themes of injustice explored in Ragtime, hope for the future generation permeates the show. Ragtime returns again and again to an idea that every parent will recognize: We must build a better tomorrow for our children. Emphatically sung by Coalhouse, played by Justin Allen Tate, “Make Them Hear You” highlights the importance of sharing true stories of injustice. When I ask Kolheim her thoughts on the motif of hope in the show, she replies with a poignant thought. “My friend, he always says that ‘We are our ancestors’ dreams realized.’ And, as Black people, you think about the injustices of slavery and the injustices of segregation and the lynchings and the mobbings and the hosing down, and you never think in that moment there’s going to be a glimmer of hope for tomorrow, but when you realize how far we have come as a people, there is hope for tomorrow. We may never see it in our lifetime, but that doesn’t mean that it’s not possible. … That’s something that’s inherent in the show.”
Another central thread running throughout the musical is sexism. This is mostly realized through the character called simply “Mother.” As Kolheim describes her, “She’s in her own prison. She’s in a society where a woman is seen and not heard. … She’s stuck in a patriarchal society that undermines her intelligence.” Mother is a dynamic character, who at the beginning of the show is content with her place both in her community and in her own household. We see that contentment change throughout the course of the musical, and again, Kolheim highlights the importance of details in this play. “Throughout the show, her hair and her attire start loosening up.” So the audience is able to see Mother quite literally loosening the restraints that have been systematically placed on her.
With performances ranging from witty and humorous to powerful and emotionally raw, the cast of Ragtime delivers a solid show that will leave audiences with something to think about long after the final bow is taken. During intermission, one bartender remarked to me, “That last one always gets me. I cry every time.” The “last one” she was referring to was the number, “Till We Reach That Day.” As I myself had teared up during the song, I knew what she meant.
This show is just as relevant in 2022 as it would have been 100 years ago. Thankfully, the ending is one of uplifting promise. As Kolheim puts it, “Together, we are stronger than we are apart, and I think that that is what the playwrights were hoping that any production of Ragtime would help us see.”
Ragtime runs through Sunday, June 26th, at the Lohrey Theatre (Theatre Memphis).
