Tag Archives: Neifert Enrique

Downsizing “Sister Act” Pays Big Dividends at Matthews Playhouse

Review: Sister Act at Matthews Playhouse

By Perry Tannenbaum

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A full flowering of onstage success has somehow scurried away from Iris DeWitt in recent years. Just last April, pandemic restrictions and a wretched recording rig trapped her inside a masked, malodorous production of Sense and Sensibility at Central Piedmont Community College. Patchy intelligibility also wrecked DeWitt’s previous outing in the badly-miked production of Chess in 2020. Until 2022 rolled in, you’d have to go back to 2019 if you wanted to claim to have seen DeWitt anywhere near her imposing potential, when she played prominent roles in Beehive and Little Shop of Horrors.

Neither of those CPCC Summer Theatre productions obliged DeWitt to show us much of her acting or dancing skills. Beehive was totally bereft of plot, and while Iris’s undeniable vocal power was manifest in Little Shop, no full flowering was evident there, either. We had to settle for the most memorable who-did-she-play performance in recent Charlotte history, for DeWitt was a flower in that musical, hidden in the cavernous depths of Audrey 2 in Little Shop.

This year, the script is flipping and momentum building as DeWitt has figured prominently in Ghosts of Bogota, when Actor’s Theatre returned to Queens University, and Love, Loss and What I Wore in the recent Theatre Charlotte production at Camp North End. Paula Baldwin, who directed that sloppily streamed S&S adaptation of Jane Austen last year, clearly retained enough confidence in DeWitt to see her as Deloris Van Cartier, the lead role in Sister Act. Ron Chisholm, choreographer for this Matthews Playhouse extravaganza at The Fullwood Theatre, probably also saw some potential waiting to blossom in DeWitt’s previously untested dancing feet.2022~Sister Act-10

We’re not so sure when we first see Deloris and her backup singers onstage. The vocals are sufficiently electric but not full voltage, while the doo-wop moves are nowhere near Supreme. I’m guessing that Baldwin and Chisholm have asked DeWitt to cool her jets on “Take Me to Heaven” because Deloris is nervous about auditioning for her paramour, Curtis, an intimidating mobster, at his club. But why on earth should Curtis, a man of highly questionable character, be even a little justified in thinking that Deloris and her crew aren’t ready for a recording contract and the bright lights?

Apparently, writers Cheri and Bill Steinkellner thought that their protagonist needed a crisis of confidence in the early stages of her spiritual journey, one that Paul Rudnick found unnecessary in his original screenplay for the 1982 movie starring Whoopi Goldberg. There, Deloris and crew had all the polish of the Supremes from the start, singing a doo-wop medley in the bowels of a Las Vegas casino owned by her mobster boyfriend, drawing two claps and a stare from a late-night audience of gamblers.

Now they’re in some undisclosed Philadelphia dive, where the only audience is Curtis, his three henchmen, and us. Curiously enough, the transfer from the glitz of Vegas to the dumps of Philly makes Sister Act more at home in a community theatre setting than on the big stages of London’s West End, Broadway, or at Ovens Auditorium – not to forget Halton Theater, where it was staged in yet another CP production back in January 2013.

As soon as Deloris and her crew began to regroup in “Fabulous, Baby!” we had our first glimpses of all that DeWitt can be onstage. My own realizations, beyond her trusty vocal powers, were split between her ability to dance – gliding disco or righteous gospel – around the stage she commanded and the thoroughly professional depth of her acting. Watch DeWitt’s reactions for a while and you eventually find it difficult to take your eyes off her until she makes an exit.

And don’t fret about any missed opportunity with “Take Me to Heaven”: DeWitt and most of the ensemble get a grand do-over at the end of Act 1.

After the additional indignity of being gifted with a garish hand-me-down fur coat previously owned by Curtis’s wife, Deloris has the misfortune of witnessing the club owner brutally gunning down a snitching henchman in cold blood. On the run from her ex, Deloris leaves Curtis in the lurch for the better part of the night as the saloon singer is placed in a witness protection program and sequestered in a midtown convent. That calls for a new counterweight for Deloris to provide the plot with some fresh friction, a call sternly answered by the convent’s Mother Superior, the role played by Maggie Smith opposite Goldberg in the film.2022~Sister Act-04

Oh, and by the way, Baldwin herself played that Maggie Smith role at CP in 2013, so she’s directing a show that she knows intimately from the inside. Maybe she already envisioned what I had yet to perceive in a smaller venue, that what the Steinkellners sought most earnestly in their adaptation of the movie was to make the story more character-driven and less of an action comedy. Building upon Mother Superior’s most familiar film epigram, “God sent you here for a reason – take the hint,” the Steinkellners, along with songwriter Alan Menken and lyricist Glenn Slater, team up to give greater voice to her spiritual crisis.

Both of Menken’s ballads for Mother Superior, “Here Within These Walls” and “I Haven’t Got a Prayer,” sit nicely in Carol Weiner’s vocal range and sternness is Weiner’s prime onstage métier, so she eclipses anything we’ve seen from her before, including her starchy turns in Big River, Bonnie and Clyde, and Oliver! There’s more than a hint of Menken’s “Beauty and the Beast” lurking inside of “Within These Walls,” and Weiner allows its warmth to radiate through Mother Superior’s gradual softening toward Deloris.2022~Sister Act-09

More personal crises are layered over the thinner movie scenario. Young apprentice nun Sister Marie Robert, beguiled in the film by the bar where Deloris finds refuge from the convent’s cheerless monotony, now questions whether she should be leaving the real world for a convent – netting Melissa Lozada two cracks at the novice’s power ballad, “The Life I Never Led.” The dreamboat cop who whisked Deloris out of town in the movie, not even letting his colleagues know where she was, is now the hesitant, self-doubting Sweaty Eddie, relegated to a desk job when he wouldn’t fire his gun out on the beat.Photo1 @ Tom Henderson Photography

Saddled with a lingering crush on Deloris that goes back to high school, Eddie draws “I Could Be That Guy” to cry out his anguish, slightly more comical than Lozada’s plaints but hardly less of a showstopper for Griffin Digsby, who swoops down into Barry White territory in voicing his romantic aspirations. Also going there, surprisingly enough, is Mike Carroll as Monsignor O’Hara, who presides over Sunday services and surprisingly turns out to be a Deloris groupie when she revamps the convent’s choir.

Baldwin and Chisholm not only draw strong players down in Matthews, but they also get strong design and technical backup. Debbie Scheu’s designs for the nuns’ habits grow more spangled and outré as the convent choir grows in prestige and popularity. The glossy, reflective dress Deloris wears in her Van Cartier persona complements the stained-glass backdrop that scenic designer Marty Wolff has provided for the church. Four sets of translucent arches that inch closer together as we move upstage change colors during the glitzier scenes climaxing the action, as Jeffrey Childs’ lighting design adds excitement to Chisholm’s choreography.

Amazingly, the only scene where downsizing doesn’t work at Fullwood Theatre is the squalid bar scene. The room is simply too small for Curtis’s henchmen not to notice three nuns when they enter – or for Deloris to overlook these motley thugs for more than five seconds. Then again, Menken had worked at least three Disney musicals before attempting SISTER ACT in 2011, so he hadn’t yet mastered the Harvey Keitel gravitas we might expect from real dons and heavies (A Bronx Tale would come more than five years later).Photo2 @ Tom Henderson Photography

Jamaas Britton, Ra’Saun Elliott, and Neifert Enrique play these street urchins with all the menace of the Lion King hyenas. They get a spotlight – or a lava lamp – shortly after intermission, when they spar over the best way to romance a Sister in “Lady With the Long Black Dress,” Elliott explicitly espousing the Barry White approach. Edgier than his goons, Kristopher Loretz as Curtis gets to riff sardonically, in “When I Find My Baby,” on the penitent reconciliation serenades that scamps have been wooing women with for ages, replacing the customary promises of hugs and kisses with vows of knives and guns.

All of these bottom feeders are portrayed with the same assurance as the principals, to the delight of the Sunday matinee audience, who loudly gave them all a standing O. It was likely exciting for the energized crowd to be back at Matthews Playhouse watching a musical – and maybe amazing for them to see production values as high, or perhaps higher, than ever.

CP’s “Joseph” Connects With Talent and Style, Frustrates With Ongoing Audio Woes

Review:  Joseph and the Amazing Technicolor Dreamcoat at Halton Theater

By Perry Tannenbaum

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Before this weekend, Halton Theater hadn’t opened its doors to a theatre crowd since February 2020, and Central Piedmont Community College Summer Theatre had been dark since July 2019, when they closed their five-show season with A Gentleman’s Guide to Love and Murder. Returning to the Halton stage as guest director of Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat, Tom Hollis posed a poignant question during his introductory remarks. Does it really count as a season when a company offers its audience just one production? Even the most loyal Central Piedmont supporter can’t buy a 2021 season ticket, that’s for sure. And until Central Piedmont Community College completes its recovery from a debilitating ransomware attack this past winter, they won’t be able to accept credit card payments at their Overcash ticket windows. Cash or checks for walk-ups, plastic for online sales only.

Opening night at Halton was a cautious first step back toward pre-pandemic norms – with a Delta-be-damned giddiness to it as COVID protocols were loosened at last. For most of the crowd mingling in the Halton lobby before and after the show, this was probably the first public event they had risked in at least 16 months, a milestone moment. For the theatre folk scattered among us, it was an emotional reunion – an affirmation.

Last season was originally envisioned as Hollis’s grand valedictory after nearly four decades at Central Piedmont, his latter years as theatre department chair. An encore reset of the lost 2020 season was rumored for a while as Central Piedmont scrambled with their winter programming, so Joseph is a double surprise – not among the shows announced for the lost 47th Central Piedmont Summer Theatre season and the only show replacing them. Previously mounted in Summer 1993 and revived in Summer 2001 at the now-demolished Pease Auditorium (the CPCC Theatre production of 2008 at the Halton was a wintertime affair) – with rousing success on all occasions – Joseph is likely more bankable than Footloose, lighter on the budget than The Music Man, and far better-known and cheaper to produce than Something Rotten! Additionally, there is likely a finely calculated ecology in a true Central Piedmont Summer season that allows the college the biggest bang for their bucks when auditioning and casting their overall troupe of performers and designers. These discarded musicals, plus Peter Pan Jr. and a Ken Ludwig comedy, might conceivably be in cold storage, slated for resurrection in 2022.THEA2021-DLV-0708-1267

Sitting in Row K, I only noticed one gentleman taking a restroom break during this intermission-free presentation, and I was somewhat surprised that the cast began taking their bows a mere 71 minutes after the show commenced. Another eight minutes came packaged in a “Megamix” reprise of Webber’s most bodacious songs – or parodies, since the composer delights in shuttling among an unlikely array of genres in retelling the most epic tale from the Book of Genesis, aided by Tim Rice’s lyrics. The news of Joseph’s demise is delivered to his doting father, Jacob, in the form of a sobbing lone-prairie cowboy song. Pharaoh is transformed into a pre-historic Elvis as he rocks his account of his prophetic dreams. The poverty of Joseph’s 11 brothers during the years of famine takes on the nostalgic air of a sad French café, complete with Apache dancer, and Naphtali’s pleas for the innocence of little brother Benjamin come in the form of a Caribbean calypso.THEA2021-DLV-0708-1815

Curiously, the irreverence and multitudinous anachronisms of this Webber-Rice concoction, not to mention the narrative alterations of Holy Writ, have never seemed to spark any massive public outcry from Judeo-Christian clergy. Maybe the outright anachronisms, beginning with the Technicolor in the title, insulate all the irreverence and textual tinkering from being taken seriously. James Duke’s scenic design and Bob Croghan’s costume design underscore the assurance that we are not in the immediate vicinity of ancient Egypt or Canaan, fortified by the equally anachronistic projection designs by Infante Media. No, this is more like a Disney or a Las Vegas style of Egypt, with Duke taking full advantage of the lordly height of the Halton stage compared with Pease’s pancake panorama. Our Elvis is also a Vegas version, clearly the sequined, jumpsuited, decadent superstar of his latter days. The Duke-Infante collaboration is so glittery and colorful that it is only slightly upstaged by Croghan’s creations for Pharaoh and Joseph.THEA2021-DLV-0708-1357

You don’t often get the chance to design a costume that is hyped in the title of a show, and Croghan, on the Charlotte scene even longer than I, doesn’t disappoint. The impact of this mid-pandemic return to live theatre caught me off-guard several times. Each time a major character made his or her first entrance – Lindsey Schroeder as our Narrator, Rixey Terry as Joseph, and J. Michael Beech as Pharaoh – I had that tingling sensation of recognizing something basic and exciting that had been missing in my life for over a year.

My biggest surprise, a frisson of renewal, came from the audience when they reacted to the most iconic moment in Joseph, when the brothers picked up the skirts of Croghan’s knockout dreamcoat so that it formed a pinwheel around Rixey, spinning around as he, Schroeder, and the ensemble sang “Joseph’s Coat.” Anybody even glancingly familiar with musical theatre anticipates this moment before it happens, or at least recalls it fondly from a previous encounter. But part of the audience at Halton erupted in delighted and surprised laughter, recalling what the first London and Broadway and high school audiences must have experienced when Joseph was new and reminding me of my own delight back in 1993.THEA2021-DLV-0708-1130

Rixey walked a treacherous tightrope, blending innocence with vanity as beautifully and energetically as any Joseph I’ve ever seen, lacking the cloying wholesomeness that only true Donny Osmond fans will miss. Maybe a plunge or two into that saccharine syrup might make Rixey more memorable in “Any Dream Will Do,” but I would prefer that he add a sprinkling of excess to those melodramatic moments when he is unjustly imprisoned, crying out his “Close Every Door.” Lighting designer Jeff Childs does come to the prisoner’s rescue, adding some spiritual gravitas.

Schroeder was brimful of brilliance as the Narrator, infusing enough energy into her string of recitative that it never devolved into tedious singsong, though she was often unintelligible. Beech’s misfortunes with his microphone were even more egregious as Pharaoh, including intermittent sonic dropouts, but his audio setup was likely jostled over the course of the evening, since he donned different costumes and headgear for his other roles – Jacob, Potiphar, and the doomed Baker.

Admittedly, it’s churlish of me to keep harping on Central Piedmont’s defective sound equipment and the cavalcade of professional-grade technicians who have failed to tame it. North of $115 million are being spent on replacing Pease, originally a lecture hall, with a genuine theatre facility, while Central Piedmont’s audio woes have gone unaddressed since 2005, when the Halton was new. But new generations come to the Halton every year, and new summer visitors from afar get their first taste of Charlotte theatre there – and they still need to be cautioned. By the time the “Megamix” came around on opening night, Beech’s “Song of the King” was only fitfully audible and Schroeder’s mic was intermittently dropping out.

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More power, then, to the performers onstage who merrily soldiered through. Even the charade of the brothers’ mournful moments was untarnished. All of the cameo solos hit their marks. Matthew Howie was hilariously rusticated as Reuben delivering the bad news to Jacob with “One More Angel,” and Neifert Enrique as Simeon – aided by his brothers and Emma Metzger’s scene-stealing table dance – brought a boulevardier’s wistful regret to “Those Canaan Days,” with more than a soupçon of self-mockery in his lamentations.

Even more THEA2021-DLV-0708-2049irrepressible and irresistible was the calypso lightness and joy that Griffin Digsby brought to the “Benjamin Calypso” as Naphtali. Around the third or fourth time Digsby reached the “Oh no! Not he!” refrain, I had to stop myself, for I had started to sing along. Just another adjustment I’ll need to make after 16 months of consuming theatre in front of my computer monitor and TV set. It was hard to be displeased by anything that accompanied this welcome change.

nuVOICES NEW PLAY FESTIVAL Bucks the Patriarchy

Review: Actor’s Theatre of Charlotte staged their nuVOICES NEW PLAY FESTIVAL

By Perry Tannenbaum

 

BWW Review: nuVOICES NEW PLAY FESTIVAL Bucks the Patriarchy

 

 

 

 

 

 

 

 

 

 

 

It’s been over three years since Actor’s Theatre of Charlotte actually staged their previous nuVOICES NEW PLAY FESTIVAL, but it may not seem like that long to fans of the company and fans of the festival. For one thing ATC commits to presenting the winner of the festival – as selected by audiences and/or a panel of judges who attend staged readings of the plays – in a full-length production the following season. ATC was unusually generous toward the four playwrights whose plays were read in 2016, for two of their works were presented two years later at Queens University in 2018, Meridith Friedman’s The Luckiest People in January and David Valdes Greenwood’s The Mermaid Hour last May.

Although nuVOICES languished for the next two seasons, ATC remained productive, managing to stage four shows during the 2016-17 season while landlords, landowners, and city inspectors screwed over them. Queens University opened their arms to the wanderers in the spring of 2017 as they searched for a new home, and by the start of 2017-18, the 30-year-old ATC became the university’s resident theatre company. Stability! For ATC’s fans, seeing the resumption of nuVOICES has taken a backseat to the satisfaction of their survival.

Well, in one respect, nuVOICES was not only back but better than ever, for the fifth edition of the festival won a sizable grant from the National Endowment for the Arts. The influx of NEA support seemed to raise the technical polish of the staged readings somewhat, for the handiwork of sound designer Kathryn Harding and lighting designer Evan Kinsley occasionally came into play.

Although seven of the 13 festival script readers were men, all four of the chosen scripts at nuVOICES 5 were by women. Yet there was plentiful ethnic diversity among the characters the playwrights presented onstage – and among the playwrights themselves.

First up was Nora Leahy’s Girl with Gun, a one-woman show starring Caroline Renfro as Lynette “Squeaky” Fromme. We caught up with Squeaky on Christmas Eve 1987 shortly after her escape from a prison in West Virginia. When apprehended, she had been on her way to rendezvous with Charles Manson, imprisoned (and seriously ailing) across the country in the California State Pen. Now as she speaks, occasionally to an unseen guard but usually to nobody in particular, she’s being detained at a ranger station, awaiting transport to Fort Worth.

We learned a few things about Squeaky that I hadn’t known, including her appearance as a kid on the Lawrence Welk Show, how she got her weird nickname, and that her bad behavior in prison also included bludgeoning a fellow inmate with a hammer. In the talkback after the show, conducted as a video call with a big-screen monitor, the playwright revealed that her play had been commissioned as a historical portrait and that she is thinking about adding 20 minutes to its current 55-minute length.

In their staged reading of Themba by Amy da Luz with Kamilah Bush, nuVoices broke with precedent by not having any talkback at all. Both the playwright and dramaturg were in town, making themselves available for a pre-show interchange with festival director Martin Kettling. A bad idea for numerous reasons. People who hadn’t already seen Girl with Gun at 6pm would not have gotten word that the customary playwright powwow was happening before the 9pm performance of Themba and not after. This likely deprived them of actually seeing the pre-show before Themba and definitely robbed them of their chance to have their questions answered afterwards. Or simply voicing their reactions.

Of course, the Bush-da Luz team also missed out on getting feedback from this Thursday night performance, though they would get a second opportunity at the twilight performance on Saturday. Really, the process should be uniform for everyone involved – audience, performers, and playwrights. If you’ve written a play that gets a nuVOICES reading, you should be able to commit to appearing in person at talkbacks.

Da Luz changed the title of her play after ATC announced their final four, so her team clearly viewed their time in Charlotte as part of a developmental process. Like Leahy’s study, Themba was a docudrama, oozing with personal stories and intensive research. At the unseen vortex of the story was Lola, a young African girl who is the beneficiary – and/or victim – of a missionary adoption in war-torn Uganda, which may not have been legal. That question comes up in a roundabout way after the adoptive father has died and his two sisters, evangelical Mary and theatre director Sarah, wrangle over who should get custody.

Ah, but the story doesn’t remain centered solely on the white adoptive family. To fortify her claim, Sarah brings her partner Fran, a Black playwright, into the fray. Fran sees that she’s being used, wonders how the father was approved, and begins to probe into the process, asking the Black adoption official Jelani some pointed questions. The probe widens, becomes a formal government investigation, and the four young women who have been lurking in the wings – until now detached from the main action but intermittently interrupting it to tell their stories – suddenly become factors in the main plot.

The four are certainly not a homogeneous group. Recognizing that they were likely rescued from poverty, slaughter, or disease, they are not universally comfortable with Christianity or the USA. Some of them are as antagonistic towards Jelani as Fran was – and the young women vented considerable animus toward each other. We had a lot to think about after Themba. In the nine-person cast directed by Heidi Breeden, Stephanie Gardner as Sarah, Lisa Hatt as Mary, Valerie Thames as Fran, and Angela Shannon as Jelani drew the juiciest roles. Nonye Obichere as an adoptee and Dennis Delamar as the sibs’ preacher dad delivered the tastiest cameos.

Friday night’s schedule went off without any further rule-breaking, beginning with Mingus, a two-hander by Tyler English-Beckwith. The basic structure reminded me fairly quickly of David Mamet’s Oleanna, with newcomer Amberlin McCormick portraying B Coleman, a college student who comes to the office of Harrison Jones, a distinguished professor of black studies portrayed by Ron McClelland. B hopes to get a letter of recommendation from Harrison and an assessment of an essay she’s planning to submit for a prestigious award.

Harrison’s acceptance is conditional. He’ll write the letter if, with his help, she sufficiently improves her essay. Thanks to Rory Sheriff’s crafty direction, we had to go very deep into this play trying to figure out who was exploiting whom, maybe misreading signals about who’s in love with whom and how that will ultimately affect their relationship. In Mingus, Harrison’s past is referenced in the title, for he aspired to play the bass like his jazz idol, Charlie Mingus, before joining the Black Panthers and being forced to alter his dreams. It may also serve as a marker for the spot where he allows his professional relationship to become personal. As in Oleanna, the student takes formal action against her mentor, but for most of us, I suspect the reason was a surprise. Final score: #MeToo 1, Patriarchy 0.

Last up was the most bizarre and comical of the nuVOICES 5 plays, Diana Burbano’s Ghosts of Bogota. Reunion plays are certainly not a rarity, and the friction between the two sisters, Lola and Sandy, was very much in the cosmopolitan-vs.-judgmental vein we had seen the night before from Sarah and Mary – with a generous sprinkling of Latinx spice. Only here the reunion is transcontinental, the Spanish-speaking sisters returning to their parents’ hometown in Colombia with their younger nightlife-loving, sleep-averse brother, who knows very little Spanish at all.

Ancient history bubbles up in Bogota as they prepare for the funeral of their grandfather. The old man, Lucho, was not beloved by any of the siblings, and he repeatedly abused Sandy. She needs to see the predator buried physically and spiritually, facing off with his ghost. Meanwhile Lola is upset because she feels she should have known what was going on and should have protected her younger sister. The ghost she needs to exorcise is her grandmother Teresa, the knowing enabler. Lucho may not be a nuanced pervert, mostly snarling when he appears, but Teresa, a product of her upbringing, is a different story.

Aside from the petty squabbles between drama queen Lola and prissy resentful Sandy, what tips this drama toward comedy is the living-the-dream insouciance of Bruno, who registers such hardships as Internet deprivation, and the scene-stealing exploits of a very lifelike head in a jar. Nothing can go terribly wrong with Creepy Jesus on the case. Kudos to Adyana De La Torre-Brucker as Lola, Glynnis O’Donoghue as Sandy, and newcomers Neifert Enrique as Bruno and Grant Cunningham as Jesus. Director Adrian Calabrese also made an auspicious debut.

nuVOICES 5 was presented at Queens University as a pay-what-you-can event, and by Friday Evening, Hadley Theatre was teeming with festival enthusiasts. An outdoor Midsummer Night’s Dream will run on the campus quad beginning on August 12, and ATC’s 31st season will begin with Silence! The Musical on August 15. The talent onstage at Hadley last week and the technical artistry behind the readings served as compelling inducements to check out those upcoming productions.