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“The Kitchen Witches” Heat Up the Waterworks Stage PDF Print E-mail

Review written by Brenda Barringer

newspaperAfter the success of the Waterworks Players recent production of RENT, they had to begin “from scratch” (as every new production must) with auditions for their next show, The Kitchen Witches, an award-winning comedy by Canadian playwright, Caroline Smith.  Director, Dudley Sauve, could be mistaken for a chef since he chose the perfect “ingredients” (cast members) for The Kitchen Witches “recipe” and once again shows us why he was such a deserving recipient of an LCVA Community Achievement in the Arts Award this year.

Before the show began, I decided to sneak a quick peek at the character descriptions listed in the front of the script so I could be extra critical of the cast members meeting the writer’s expectations, and in the end, there was nothing to be critical about because the cast nailed every one.   In brief, the cast called for only four people:  Dolly Biddle, a “mature”, creatively comedic woman who tends to be overly indulgent (in all of the wrong things), easily distracted from her cooking tutorials while giving advice on personal matters, and immensely proud of her son, Stephen Biddle.   Stephen Biddle is a nervous, thirty-something, low-budget cable TV show producer (of his mother’s cooking show, as it so happens), and he is more of a lover than a fighter.  Isobel Lomax is another “mature”, bright, and articulate woman who has come to terms with the choices she made in life to pursue the successful career she has earned.  She tends to believe she is so successful, in fact, that she thinks she could teach Martha Stuart a thing or two.  (Does the word pretentious come to mind, or is it just me?)  Rounding out the cast of four is “Rob the Camera Guy”, the reliable production assistant from the “Getting Our Kids Off the Street” program.

The show “preheats” with the last LIVE production of Dolly Biddle’s solo cooking show.  Dolly, portrayed by Martha Womack, is known to her viewers (and audience, initially) as “Babcha”.  Martha offers up a purposefully (I think) questionable foreign accent while carrying on about the correct pronunciation of “pierogie” . . . you know, those potato and cheese filled pasta things that everyone mumbles the name of because they’re never certain how to pronounce it . . . and she proceeds with offering advice on personal matters one would never consider appropriate for a cooking show.  Just as Dolly (Martha) finally gets to the cooking part of her cooking show, she is eventually interrupted by Isobel  Lomax, played by Daphne Mason.  The convincing confrontation that ensues between Isobel (Daphne) and Dolly (Martha) gives the audience their first insight into the thirty year hatred these women have shared for each other over the never present, but often referenced character in the plot, Larry Biddle.  It is not only the performances of Daphne and Martha that convince the audience of the history between these characters, but also the resulting “ratings hike” from the accidental on-air confrontation of the characters that convinces the station owner to give Isobel and Dolly a cooking show together.

Stephen Biddle’s (Jordan Whiley’s) pleas with the battling babes to give the show a chance finally pay off, and he sets to writing the scripts.  With each failed effort the nicorette chewing, nicotine patch wearing Stephen makes to coerce the ladies to cooperate through rehearsals and show, Jordan Whiley gives us more reason to believe in his character’s somewhat pathetic, yet equally humorous predicament.  As “The Kitchen Witches” cooking show progresses, the details of Stephen’s life history are literally broadcast by the female duo, and his situation only gets worse.   Jordan does an excellent job of keeping the balance of his character as a real, “average guy” facing unique circumstances without overplaying the role.   Even when he is “on-air” and seriously citing sponsor ads you might otherwise ignore in real life, you should really pay attention as his deliberately dry delivery will lead you to laughter. 

Martha and Daphne are certainly no amateurs in comedic delivery, either.  They naturally toss out the one-liners of their witchy women characters and have you laughing before you ever see it coming.  Daphne’s tell-all facial expressions reveal Isobel’s feelings about any given moment, comment, or costume before a word ever needs to be spoken.  Martha (Dolly) even discreetly uses her body language without distracting from the scene to draw more humor to a confrontation she has with Isobel while wearing an already hysterical apron.

Now you’re probably thinking, “I thought she said there was a fourth character?”  There certainly is.  It’s Rob the Camera Guy, remember?  Now, Rob, played by JR Schipper, doesn’t have much to say throughout the show, although he is almost always present on stage.  He does his job, does his best to help Stephen out in every way he can, cleans up the messes on the set, and runs the video camera. Although a silent character for most of the show, returning Waterworks ‘newbie’, JR Schipper, actually does a great job of reacting to the cooks’ catty chaos, Stephen’s seemingly private asides, and all of the family history revealed in between without ever saying a word.  In the process, he leads the audience to realize that this “kid being kept off the street” is actually Mr. Reliable, and probably the most sensible character seen in the show.  

As with every theater production, the show wouldn’t be possible without the behind-the-scenes “characters”.  Dudley Sauve not only directed the show, but also worked with fellow theater mogul, Moffatt Evans, to design and build the perfect ‘LIVE Cooking Show’ set.  Elizabeth Whiley donates her time to the food props, a big job in and of itself for all the cooking scenes. (And I can tell you that the lucky audience member selected to serve as the judge for “The Kitchen Witches Quickie Challenge” is in for a good bit of sweet taste testing)!  Donald Hicks lends his helping hands to the remaining props, and Rosemary Pollard and Kevin Jones contribute their time to sound and lights (respectively) while stage manager, Brandon Nuckols keeps them all on target with the flow of the show.

The Waterworks Players well-executed production of The Kitchen Witches is a “tasty” comedic show full of food, fun, audience interaction, and surprises.  You might even learn some lessons along the way like we all did at tonight’s show:  Violently wielded meat cleavers and glass cutting boards don’t mix!  The Kitchen Witches heats up the stage June 18, 19, 25, and 26 at 8 PM, and reservations can be made by phone at 434-392-3452 or online at www.waterworksplayers.com for only $10 each.   Come cool off from the summer heat with a night of comedy, but before you touch any food, please be sure to “wash your hands”!

 
Rent Opens at Waterworks Players PDF Print E-mail

Edward Kinman, Reviewer

View images from the show.

Purchase your tickets for RENT online now!

Audiences are in for a musical treat when Rent opens this Friday at Waterworks Players in Farmville.  The playhouse has been transformed to the gritty feel of New York’s lower east side for Jonathan Larson’s rock opera that documents a year in the lives of struggling artists, AIDS suffers, and homeless people trying to survive between one Christmas and another.

The show opens with roommates Mark and Roger struggling with issues of poverty, success, loss, and identity.  Mark, skillfully played by Rick Neller, is an aspiring filmmaker who serves as narrator throughout the show.  Roger, portrayed by Kevin Jones, renders a complex songwriter struggling with AIDS, the suicide of his former girlfriend, and desire to write one last great song before he dies.  His sensuality is complemented by the more explicit eroticism of Katie Robey, whose Mimi character combines street-smarts swagger and mortal fragility.  Roger’s emerging, yet conflicting desires towards Mimi are revealed in their duet “Light My Candle” and remain the show’s romantic centerpieces. 

Mark, Roger, Mimi, and a number of other characters, are squatters in a building owned by Benny (Matt Spalding), a former classmate who has married money and plans to transform the building into a cyber-studio.  Early in the show Benny demands overdue rent, in which the chorus of residents responds in song “We’re Never Gonna Pay!”  Benny is the show’s antagonist with his development efforts that include the removal of the homeless living in tents across the street from his building.  Resistance to Benny takes many forms with Maureen (Caroline Kramen), a performance artist, staging a public street protest.  Joanne (Erin Wind), as a headstrong public-defender lawyer, uses her professional legal skills to fight Benny.  While Maureen and Joanne are united in their cause for the homeless, they are a contentious lesbian couple who sing the prickly duet “Take Me of Leave Me.” 

Interspersed throughout the main conflict are stories of a number of struggling characters.  Early in the first act Collins (Justin Smith) is reeling from a mugging.  He is comforted by Angel (Carlos Galicia), a flamboyant street musician who offers him a helping hand when singing “You Okay, Honey?”  Both learn that each other is HIV+ and develop a love interest that lasts until Angel’s death.  At the memorial service, Angel’s friends remember his spirit, while Collis remembers his love by singing “I’ll Cover You.”.

The lead roles are joined by a strong ensemble that includes Jennifer Abel, Jay Artis, Shelbi Bennett, Cheryl Hinterleitner, Walter McCoy, Christie Moore, JR Schipper, Marlowe Vilchez, and Donald Hicks who all take on many various roles throughout the show.  The supporting actors do an excellent job in joining the major characters in singing “La Vie Boheme” and “Seasons of Love.”

Moffat Evans has created a raw set, comprised of steel scaffolding and wood that blends with the playhouse’s suspended catwalks.  The squalid feel is punctuated by a tall and tangled sculpture with colorful lights resembling an abstract Christmas tree.  The simple set pushes the action out towards the audience, focusing attention on the actors instead of their surroundings.

Dudley Sauve, artistic director, deserves a lot of credit for bringing Rent to Waterworks, the first production in Virginia.  This isn’t an easy production to pull off given its complex plot and a large cast.  The show’s production qualities are excellent.  Brenda Barringer, as music director, needs to be commended for the quality of singing by the entire ensemble that includes songs from a variety of music genres.  She further contributes to the show by beautifully singing a solo in “Seasons of Love” and directing the band, composed of Stan Smith (piano), Josh Ludgate (electric guitar/acoustic guitar), Max Doss (bass), and Gordon Smith (drums).   

Rent is a story which addresses adult themes and controversial issues. Parental guidance is suggested. It is not recommended for children under 13.

Make reservations now to attend Waterworks Players’ production of Rent.  Performances are at 8:00 pm on April 16, 17, 23 and 24.  Tickets are $15.  You can obtain tickets by calling the box office at 434-392-3452 or visiting the web site: http://waterworksplayers.org .

 
Lerner and Loewe’s Brigadoon Opens at Waterworks Players PDF Print E-mail
Review by Virginia Kinman

200905_brigadoon_colorBrigadoon, the 1947 Lerner and Loewe musical, is a romantic tale set in the highlands of Scotland with only one day to find love.

Inspired by Friedrich Gerstacker’s 19th-century tale Germelshausen, Brigadoon tells the story of two game-hunting Americans who stumble upon a Scottish village that disappears in the Highland mist and returns for only one day every hundred years.  There is a bonny lass, Fiona, who is waiting to find her true love.  Tommy Albright, a restless young New Yorker who does not trust his own feelings, learns to trust in hers.  Will Tommy return with his buddy to the frantic pace of New York or will he vanish into the mist with Fiona?  Take a guess which one he chooses.

Alan Lerner and Frederick Loewe may have been romantics, but they were sophisticated songwriters.  This show has a number of classics, including Almost Like Being in Love, The Heather on the Hill, Waitin’ for My Dearie, and Go Home with Bonnie Jean.  There is also a bit of sass mixed into the romance.  Every time the show begins to inflate with emotion, Tommy’s sardonic friend Jeff, punctures it with a pointed gibe.  Jeff is comically pursued by the bold Meg Brockie, who knows she must act quickly to catch a man before the town sleeps for another hundred years.  If this isn’t enough affection, the villagers are busy preparing and celebrating a wedding.  This enchanted village, though, is not perfect.  There is a village malcontent, Harry Beaton, who is twisted with envy and anger.
Jordan Whiley as Tommy Albright and Brenda Barringer as Fiona MacLaren are the two romantic leads who skillfully sing a number of solos and romantic duets. 

Christy Moore plays Meg Brockie, one of the classic archetypes of the golden age of musical theater: the sexy comic relief.  And the role fits her like a glove.  Trospy Jarrett is the wisecracking Jeff, Tommy’s sidekick.
Aaron Willoughby and Jennifer Willoughby skillfully play Jean MacLaren and Charlie Dalrymple, the young couple who are to be married on the day the two hunters enter Brigadoon.  Brandon Nuckols does an excellent job portraying the village sage Mr. Lundie, who explains the miracle of Brigadoon to the two travelers.  Brandon Kelly is Harry Beaton, Jean’s jilted suitor who threatens to leave Brigadoon and cause it to vanish forever.
Chorus members are Andrea Bridge, Kristin Davis (Jane), Paul Jenkins (Bartender), Ed Kinman (Archie Beaton), Colin Lee (Angus McGuffie), Daphne Mason, Cathy Matson, Melissa Matson, Christy Moore (Meg Brockie), Carrie Ramsey, Matt Spalding (Angus MacLaren), Aaron Willoughby (Charlie Dalrymple), and Jennifer Willoughby (Jean MacLaren).  

Visually, the Waterworks’ black box is transformed into a mystical forest, and the Highlands come alive with colorful tartans, kilts, and lilting Scottish accents, perfected by Matt Spalding as Andrew MacLaren. The Brigadoon marketplace, the pageantry of the wedding and the men’s frantic search for Harry Beaton add lively elements to the production, directed by Dudley Sauve.

Carol Hacker plays keyboard and directs the musical ensemble comprised of Dylan Carson (trumpet), Max Doss (bass), Holly Phelps (clarinet), Gordon Smith (percussion), and H. P. Wilmouth (saxophone).  Kevin Dunn makes a cameo appearance playing a full set of bagpipes in the second half of the show.

Curtain time is 8:00 pm on both Friday and Saturday nights, May 22, 23 and May 29, 30.  Tickets are $15 for adults and $10 for children 12 and under.  Reservations can be made either by calling 434.392.3452 or online at www.waterworksplayers.org.
 
A Review: Cinderella in the Kingdom of Prince Edward PDF Print E-mail
By Virginia Kinman

A prince in search of true love, a wicked stepmother who pits her equally selfish daughters against the kind-hearted Cinderella, a fairy godmother, a pumpkin coach, a lost glass slipper.  You know the story, right? Come to the Waterworks Players’ third Christmas pantomime for a delightfully different take on Charles Perrault’s classic fairy tale, Cinderella.

Children and adults alike will enjoy the antics, wordplay and fun of this story set in the Kingdom of Prince Edward. True to the spirit of the British pantomime, the characters interact with the audience, enlisting their help to cheer up Cinderella, find wayward mice, warn the Baron about the poison custard, and engage in other silliness.

Some of the characters will be familiar. The cruel stepmother, played by Phyllis Stafford, is as haughty and overbearing as one would expect. Her daughters, Gertrude and Griselda, are no nicer to each other than they are to Cinderella, who is stuck in the kitchen with only two mice for friends. A glittery fairy godmother and the requisite prince fulfill their usual roles.

Cinderella’s father is the Baron Hardup, comically played by Ed Kinman as a hard of hearing old man who announces his entrance by honking the horn on his walker. Buttons is the Baron’s cheeky valet and is secretly in love with Cinderella. He introduces the story and weaves the various plot twists together. Jordan Whiley’s performance as Buttons finds the right balance between the puns and double entendres that grown-ups will enjoy and the audience participation that makes the pantomime tradition such fun for children.

King Cuthbert is aptly played by Brenda Barringer in one of several gender role reversals in the production. Leigh Lunsford and Ellen Milligan convey the pompous attitude of the pair of royal ministers who are threatening to cut off the prince’s stipend if he does not find a bride.

Brandon Nuckols adds a comic touch in neon knickers as Dandini, the King’s secretary and Prince Rupert’s friend. Christy Moore and Jennifer Willoughby capture the ugly stepsisters in all their petty splendor. Taylor Southall is just right as Cinderella, and Aaron Willoughby makes a convincing prince. Other cast members include Rosemary Pollard as the fairy godmother, Kelsey Tony and Megan Coffin as Cinderella’s milkmaid friends, and Jesse Southall and Ashlee Todt in a variety of roles. And Elvis Presley makes a cameo appearance!

Under the direction of Dudley Sauve, Cinderella follows in the successful footsteps of the previous two pantomimes from Waterworks Players. The outlandish costumes and simple set are a perfect backdrop for the slapstick comedy of a cast who clearly enjoys having fun with the audience.

What do cobblers and fish mongers, crustaceans and chicken coops, French pen pals and sausages, and sheep with punk haircuts have to do with Cinderella? Will the ugly stepsisters find gowns for the ball at Esther May’s dress shop? Who will fall into Wilck’s Lake? Is Cinderella’s shoe the only thing that gets separated from its owner at the ball? Will Prince Rupert find happiness with Fiona of Farmville or one of the other local girls?

Make reservations now for the whole family to attend Waterworks Players' production of Cinderella. Performances are Friday (December 5th) at 7 pm, Saturday (December 6th) at 2 pm and 5 pm, and Sunday (December 7th) at 5 pm. Tickets are $5 for everyone, children, adults, and fairy godmothers. You can obtain tickets by calling the box office at 434-392-3452 or visiting the Waterworks web site: http://waterworksplayers.org.

And remember, whatever else you do, don’t touch the custard!
 
Waterwork's Proof Adds Up PDF Print E-mail
20080917_58Audiences are in for both an intellectual and artistic treat when attending the Waterworks Players' production of David Auburn's hit show Proof. An experienced, talented cast brings to life a smart, tightly-written drama with some surprising twists and turns.

The play itself focuses on the reclusive daughter of a recently-deceased brilliant mathematician. Dealing with Robert's death is bad enough, but Catherine is also consumed by the fear that she has somehow inherited her father's disposition towards mental illness. Further complications are supplied by Hal—a young math professor eagerly sorting through Robert's manic writing in search of moments of genius, and Claire—Catherine's pragmatic and guilt-ridden sister. The play's central twist revolves around the authorship of a brilliant new "proof" discovered in Robert's study, as well as a budding, 4) awkward romance between Catherine and Hal.

20080917_63The show's production qualities are excellent. The set is simple and elegantly designed—focusing attention on the actors instead of their surroundings.

Audiences will be able to easily see and hear the action from any seat in the house. Few, if any, community theatres work in a space rivaling Waterwork's spacious yet intimately-arranged black-box-style theatre.

All the roles are believably and sensitively portrayed, especially during the show's most emotionally- packed dramatic moments. Linda Sauve (Catherine) does a fine job alternating between moments of fragility and hard-bitten sarcasm and Aaron Willoughby (Hal) is a success playing an engaging self-confessed nerdy math teacher. Elizabeth Whiley (Claire) does an admirable job playing Catherine's overbearing but well-meaning sister and Dudley Sauve (Robert) often shines in the role of a fatherly genius struggling with bouts of madness. Jay Lynn's direction is clean and sharp, helping the play's action stay natural and fast-paced.

Overall, the Waterwork's Players' Proof is a clever, well-performed show that demonstrates that, even among mathematicians, the common denominator is love.