Categories
Letter From The Editor Opinion

I Need To Write Something

I need to write something. 

It should flow from fingers to keyboard automatically, no long pauses to consider the next thought or word. It’s all there, just below the surface, beginning to bubble up. That’s how it usually works. I’ll attach to an idea, a line of poetry, an encounter, or a moment, and after a few days of simmering in the recesses of my mind, somehow unknowingly, on its own, everything comes together and spills onto the page almost effortlessly. But not lately. 

There are too many pots boiling over at once. Especially, of course, in the political landscape. Every day a new executive order, a new hit to marginalized people, another bash to the face of democracy. The shifts are coming fast and hard, whether we like it or not. It’s too much to keep up with, let alone make sense of. The president of the United States is Willy Wonka and we’re all aboard The Wondrous Boat Ride. [*Flash *flicker *horrifying imagery *wild man at the helm] (He’s even offering $5 million “golden tickets” for wealthy immigrants!) I envision the man-child and his sidekick (who is who can go either way) skulking in a darkened room, “Is this frightening enough yet? Have we confused them enough to do whatever we want?” 

“There’s no earthly way of knowing which direction we are going! There’s no knowing where we’re rowing, or which way the river’s flowing!” 

The stage is set for major bamboozling, with waves of stunned, newly unemployed federal workers, swift cuts to crucial programs, and, surely, impending lengthy legal battles over the many unconstitutional and immoral moves being made by this administration, seemingly to obfuscate the masses. We’re fighting one another in comment sections online, pulled apart between “Making America Great Again” and genuine empathy for our neighbors. Do we not care for the poor? The hungry? Humanity in general? Unfortunately, the leader of this nation is a reality TV host and we’re the forced cast, pitted against each other in a battle to … a battle to … Well, I’m not entirely sure the desired outcome beyond the rich getting richer while the rest of us find side hustles to fill our fridges and gas our cars for the work commute. While we argue each other into the ground. They don’t want us to know their desired outcome. We’re fighting the wrong people. 

So sometimes, with all of those thoughts roiling the pots in my brain, nothing sticks. There isn’t a particular thing to cling to for clear direction or inspiration. Too many things; so much noise. But I need to write something. Put it all in one place, outside of my mind. Maybe I’m not there yet. 

Maybe I’ll hold onto these words from Charles Bukowski for now. 

if it doesn’t come bursting out of you

in spite of everything,

don’t do it.

unless it comes unasked out of your

heart and your mind and your mouth  

… don’t do it.

if you have to wait for it to roar out of

you, then wait patiently.

unless it comes out of

your soul like a rocket,

unless being still would

drive you to madness …

don’t do it.

unless the sun inside you is

burning your gut,

don’t do it.

There is a red-hot glowing now, a warm pit in my stomach. I’ll see you back here when it burns.

Categories
Intermission Impossible Theater Theater Feature

A World of Pure Imagination

Having read Roald Dahl’s Charlie and the Chocolate Factory many times growing up and having seen both the 1971 and 2005 movie adaptations, I thought I knew exactly what to expect walking into Playhouse on the Square’s opening night of the stage musical. However, I’m happy to say that I was entirely mistaken. The production, directed by Dave Landis, told a familiar story in a way I had never seen before, and the entire show was — appropriately — a sublime display of eye candy.

Though the onstage version of Charlie and the Chocolate Factory shares quite a few similarities with the 1971 film Willy Wonka & the Chocolate Factory, such as several of the same musical numbers, there are also a few differences. For one thing, this play takes place in a contemporary setting, with many references of modern relevance — Violet Beauregarde’s Instagram following, as one example. These nods to a present-day timeline help make the humor in the musical more accessible to a 2024 audience, and much of that humor is surprisingly dark, though in my opinion all the more funny for it.

The story of this musical is the same one most people have grown up knowing: Plucky daydreamer Charlie Bucket, played on opening night by McCager Carver, wins one of five golden tickets to gain entry to the Wonka Chocolate factory, a place that’s been operating behind mysteriously closed gates for decades by the reclusive genius Willy Wonka. Carver, in his Playhouse debut, absolutely shone as young Charlie Bucket, bringing a mischievous and carefree energy to the character while maintaining what the audience must know about Charlie from the get-go and never question: He is good.

Photo: Sean Moore

As in the ’70s film version, Mr. Bucket is deceased, meaning Mrs. Bucket is a single mother working alone to maintain a household of five dependents, if we’re including the four immobilized grandparents. Amy Polumbo Nabors’ interpretation of the character was slightly different from what I’ve come to expect from the onscreen versions of Mrs. Bucket, less overtly nurturing and more anxious, which makes perfect sense given her circumstances. Still, one moment that I thought was extremely touching took place once the optimistic Charlie starts to lose hope after failing to find a golden ticket in his annual birthday chocolate bar. It’s his seemingly more cynical mother who makes a wish for his dream to come true — a wish that of course comes to fruition. A mother’s love isn’t really of thematic importance in this show, yet it’s nonetheless a hidden linchpin to the plot if you’re paying attention.

Without question, my favorite section of this musical was the introduction of the golden ticket winners. Each one came with their own musical number, and each one was somehow even funnier than the last. A surprising standout was Brooke Papritz as Mrs. Teavee, which would never have been a character I would have thought warranted much attention. Papritz, however, managed to make Mike Teavee’s introduction just as entertaining with an almost entirely solo performance as the other kids’ intros were with all the glitz and glamor an onstage musical has to offer.

The character of Willy Wonka has a duality in this musical, as he disguises himself as a mere chocolate shop owner during the first half of the show. Jimmy Rustenhaven’s Wonka in act one is somewhat quiet and unassuming, though by act two we are introduced to someone who doesn’t seem particularly bothered by occasionally straying over the line that separates eccentric, creative genius from rich, outlandish asshole. Watching that transformation take place was a highlight of the show.

For a musical about chocolate and candy, I expected the production to be visually decadent, an expectation that was met and surpassed. Lindsay Schmeling’s costume design was spectacular to look at, with a variety of textures, colors, sequins, and accessories constantly on display. The reporter Cherry Sundae? Style icon. The choreography of the ensemble was also highly entertaining, at times like watching a delightfully riotous fever dream (I’m thinking particularly of the squirrel ballet that delivers Veruca Salt’s comeuppance).

Charlie and the Chocolate Factory has much to offer to Memphis audiences: It’s sweet, uplifting, and, more than anything, fun.

Charlie and the Chocolate Factory runs at Playhouse on the Square through February 18th.