ART -- Saint Mary's University

Saint Mary's University of Minnesota - School of the Arts

playwright: Yasmina Reza
translator: Christopher Hampton
director: Dr. Steven Bouler
cast: Andrew Winecke, Peter Snell, Curtis Kempton
scenic designer: Kit Mayer
lighting designer: Kirstin "Fluffy" Blake
costume designer: Alice Flo, Dr. Steven Bouler
stage manager: Katie Simon

A man buys a piece or art that becomes so controversial it begins to unravel his friendships.

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When Serge buys a white canvas with white stripes painted on it, his best friend, Marc, calls it "shit" and the friendship breakdown begins.

Although the question "What is 'art'" is certainly prevalent, the question "What is a 'friend'" is the dominant question. Too bad director Bouler doesn't make this connection.

Director Bouler's sole point here, seems to be to play up the comedy. This just doesn't work. The play is funny by itself and doesn't need cheap laughs (which come from only a handful of the patrons that saw it the Saturday night that I was in attendance).

When a script calls for actors to have soliloquies, in which they step out of the action to directly address the audience, there should never be any addressing the audience except for those moments. In this production, the cast was CONSTANTLY addressing the audience, either with looks for a laugh, or simply by talking to us as if we were actually there for the conversation. Keeping it "internal" -- on the stage -- would be much funnier. Instead there was a muddiness as to where we were and when.

With only a cast of three, it is important to have strong performances. All three young men did a fine job, though Curtis Kempton stood out as the slightly off-beat friend (but why the hell did he deliver the long, funny speech at his entrance straight out to the audience!!!!!).

Andrew Winecke was good as the curmudgeonly friend who hated the art. However, he sounded like the guy on the tv commercial who is always shouting. Andrew could use some advice on the difference between projection and shouting.

Peter Snell did a fine job as the art connoisseur, though frankly he didn't have much to do other than defend his choice in art (and friends). I have a personal frustration with Snell's work on stage -- he doesn't know how to walk or stand! He has a very affected stage walk that never looks relaxed or natural, and he always stands with his feet close together (often slightly pigeon-toed). He gets roles which require some authority, but his body language always betrays what he's trying to accomplish (also tends to act from the waist up, making his stance even more obvious).

I went, expecting ... HOPING ... to like this play. Instead I was greatly disappointed with the directorial structure. A beautiful, elegant, avant-garde set; nice lighting; appropriate costumes gave this a nice look, but....

MERCY OF A STORM -- Jon Hassler Theater

Jon Hassler Theater, Plainview, MN

author: Jeffrey Hatcher
director: Matt Sciple
cast: Phil Kilbourne, Lindsay Hinman
sets: Ralph Ryan
costumes: Kay M. Robinson
lights: Benjamin Hain
sound: Kathryn Horowitz

A clandestine rendezvous between an estranged husband and wife who take one last shot at rekindling the romance in their relationship while revelers welcome the New Year nearby.

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I very much enjoyed every aspect of this production. The acting was quite good, the direction simple, appropriate, and tight. Production values were good, and I watched, wondering how/when they changed the hands on the working grandfather clock so that it read the correct time as mentioned during the play (and I never could discern when it was changed!).

If I were to have any "bone to pick" with this production it would be the two times that the woman used a child's voice to quote the man's daughter from a first marriage. The voice she used was a Betty Boop voice, which, while appropriate for the era, was annoying as hell.

The audience attendance was small. I believe I was one of 30-35 in a theatre that seats maybe 200. This is sad, considering the quality of the production!

I did hear a number of the playgoers complaining about the ending of the script as we exited. Certainly it does not end on the up-beat ending that we come to expect in the last ten minutes, but I think I understand where Mr. Hatcher was coming from and why he ended it the way he did. Considering the duplicity going on throughout, it is unrealistic to believe that either one of this couple has really turned a corner and made a change.

An interesting play, very well produced. I look forward to seeing more work at the Jon Hassler Theatre!

COSMOS MYSTERY AREA -- Rapid City, SD

Nature gone berserk. A location where the natural laws of physics don't seem to cooperate with the rest of the world.

*****

This was a stop on our recent vacation, and normally I wouldn't list vacation spots in my entertainment journal, but this tourist attraction was much more akin to a P.T. Barnum hook than to any natural wonder (such as Wind Cave or Devil's Tower or the Badlands).

For the most part, it was quite easy to detect how the set-up here relied greatly on optical illusion and the confusing of the senses to create the mystery.

One spot that I couldn't quite figure out how it worked was when they had two people stand on slabs, facing each other. The person standing on the uphill slab appeared quite a bit shorter, even if that person was normally taller (see photos to the left). The illusion started with the guide placing a level on both ends of the slabs to show that they were on an equal plane.

Of course, we were moved along pretty quickly, so I couldn't stop to really look to try and figure it out.

The kids enjoyed this stop on the vacation trip, immensely. I found it to be mostly sham, but moderately fun, though probably not worth the money.

LEND ME A TENOR -- Gilmore Creek Summer Theatre

Saint Mary's University of Minnesota

playwright: Ken Ludwig
director: Steve Snyder
scenic designer: Kit Mayer
costume designer: Janis Martin
lighting designer: Matthew Albrecht
cast: Andy Greene, Ashley Dillard, Chris Kernan, Stephen DiBlasi, Mariah Ciangiola, Danny Pancratz, Augusta Lane Hefti, JoLeen Davis



A modern-day farce in which a visiting opera star gets sick and the nerdy theatre assistant fills in.

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While much better than their previous offering, this Gilmore Creek production lacks nerve.

The biggest problem was pacing. A fast-paced comedy needs action, and lots of it. It does not need to dwell on dialog. The idividual performances seemed adequate, though they often looked as though they lacked direction. Zany comedy needs careful direction so as to appear wild and uncontrolled. When actors are turned loose to do it themselves, it never feels safe or real.

Mariah Ciangiola as "Maria," the opera star's nagging Italian wife, seemed over-the-top, but perhaps only because the other performances were under-played. DiBlasi as the opera star was good, and Andy Greene as the nerdy assistant did fine, but he seemed the least controlled or directed. The women did nothing to stand out. Perhaps one of the better performances was Chris Kernan as the "Saunders," the owner of the theatre that was bringing the opera star in. He was brief and believable, and had an energy that could be felt in the theatre. However, he was also staged with some of the oddest moments ... in his occassion mock speeches to a pretend audience, the director chose to bring down the lights and bring up a spotlight on Saunders. Why? These are not actual speeches he is making to a crowd ... these are "what if" speeches! Don't confuse the audience! There was no need for this! Then, when we really were seeing what was going on at the theatre, we weren't sure any more.

The set was nice (the the hallway entrance seemed to have gotten knocked askew during intermission and was never fixed, so every entrance showed the false wall). The costumes were fine, but the lighting was distracting. I understand that we're separating the two areas of the stage and that we don't need to light both sides all the time, but a good lighting designer knows that a slower count to bring the lights up is less apparant. Leave them up, leave them down, or change it slowly so that we don't really notice it, please!

Although a favorite script of mine, this production is not recommended save for the heartiest theatre-goers.

MICHAEL GERSON: THE GREAT CAUSES OF OUR TIME -- Great River Shakespeare Festival

Front Porch Conversation -- Great River Shakespeare Festival
Winona, Minnesota

Former President Bush speech writer and current columnist for the Washington Post speaks about his work in AIDS relief in Africa.

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Although there are personal reasons for Mr. Gerson to visit Winona at this time, I admire his being here, in what is generally a liberal town.

I also admired Mr. Gerson's dedication and commitment to his beliefs. Whether you agree with im or not, he strongly believes in what he does and is willing to say so, even if unpopular. Perhaps not enough people are this way.

Gerson's work in AIDS relief is exemplary. His descriptions of what he's seen touches a nerve. However, I couldn't help but wonder if his talk of progress seemed a bit rose-colored. Are things really taking affect as quickly as he indicated?

After his prepared speech Gerson opened up for questions and respnded to all, even those mild attacks on his politics.

Again, I commend Gerson on his committment to his beliefs, but I will say that I disagree with him totally on a number of aspects. His ability to persuade is frightening, considering how "wrong" I believe him to be. His own passion can be a real persuader to those who aren't totally committed.

An interesting speech and discussion. Admirable traits in an intelligent man. Too bad his politics are where they are.

SHOWTUNE: CELEBRATING THE WORDS AND MUSIC OF JERRY HERMAN -- Gilmore Creek Summer Theatre

Saint Mary's University

Conceived by Paul Gilger

director: Judy Myers
music director: Anthony Freeman
costume designer: Janis Martin
choreographer: Christine Martin
lighting designer: Matthew Albrecht
scenic designer: Kit Mayer
stage manager: Michael Dutton
cast: Libby Snyder, Danny Pancratz, Ashely Dillard, Andy Greene, Maria Ciangiola, Stephen DiBlasi, Anthony Freeman

A musical Review of the works of Jerry Herman. Featuring the songs from the following shows, hesitantly put together with the wisps of a storyline.

Milk and Honey (1961)
Hello, Dolly! (1964)
Mame (1966)
Dear World (1969)
Mack and Mabel (1974)
The Grand Tour (1979)
A Day in Hollywood (1980)
La Cage Aux Folles (1983)

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I believe that this was the dullest evening of musical theatre I have ever endured (with the possible exception of the recent production of Camelot with Michael York).

What would possibly possess a producer to open a new summer theatre with a musical review of some lesser known works?! Unless you are more actively involved in theatre, you probably don't know any of the works listed above, with the exception of Hello, Dolly!, and maybe Mame.

However, that wasn't the worst problem here. I happen to know Mr. Herman's music and I was looking forward to hearing some songs that I wasn't readily acquainted with, and still I cringed.

Problem #1, already discussed, choice of show. Problem #2 ... male performers who can't sing. Yes, that's right. A musical review and half of the cast can't carry a tune. They hung in there admirably, but I was embarassed for them and grateful any time it was the women alone on stage.

Problem #3: the script. I know it's difficult to write a story around a set group of songs, but it can be done well. See Crazy For You for a wonderful example. See this for a lousy example. The best, absolutely best, part of the show was in the second act when performer Ciangiola goes through a pregnancy and sings "It Only Takes a Moment", "What Do I Do Now?" and "Tap Your Troubles Away." This was the best (possibly only) acting in the evening, as well as the best dancing.

The dancing. Problem #4. Was there a reason that there wasn't more dancing? How many times can we watch a jazz square? Ciangiola's tapping was wonderful (she easily out-tapped the men) and I would have liked to have seen more of it. Instead, we got a lot of men-lifting-the-girls type of thing, which was also VERY embarassing considering that Ciangiola was hefty and her partner wasn't able to lift her. So why no dancing? Can't they dance? If the men can't sing, nobody dances, and they aren't given any real opportunities to act, what is there?

The costumes were nice. The set was nice. The piano playing was wonderful.

Do I even need to make a recommendation?

OUR TOWN -- Minnesota Marine Art Museum

The Leo and Marilyn Smith Folk Art Collection
"carved and painted wood portraits of people, past and present, from our region"
Minnesota Marine Art Museum -- Winona, MN

A collection of wood carvings depicting local characters from a nearby, rural river town.

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This exhibit was certainly more interesting that the "Wood and Wind to Steel and Steam" exhibit. The carvings were well done, and the stories behind them were quite fascinating.

Still, one wonders as one passes through the room ... "So?"

Woodcarving is a hobby of mine and I tend to appreciate it simply from a craftsman viewpoint, but even here, this simply isn't the best work I've ever seen. So what is it about this that would make it interesting?

See a town represented by the different individuals, certainly. But when one is looking at hand-carved work, one generally tends to look at the detail that's gone into the piece. I don't think that's an issue here. Not to say that it's not well done, just not extraordinarily well done.

If you're at the museum, you will likely enjoy this exhibit. Is it worth a special trip? My vote is, no.

WOOD AND WIND TO STEEL AND STEAM -- Minnesota Marine Art Museum

Minnesota Marine Art Museum -- Winona,MN
The Keirlin/Burrichter Collection

Explore the transformation from sail propelled wooden ships to steam powered, steel hulled vessels. On display will be paintings, models and objects from the end of the golden age of sail to an era of technological and industrial revolution. [from the MMAM website]

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I absolutely love the fact that Winona, MN has a bona fide art museum which exhibits works of the calibre that they have been able to present, but I found this particular exhibit quite boring.

I totally understand that not everything is going to have the draw and panache that an exhibit related to the Titanic will have, but this really had nothing of interest for the average layman. I can understand the significance of the change to the steel and steam ships, but the hardware meant nothing to me, and the paintings themselves held very little interest.

To bring people back to the museum to see the same exhibit more than once is going to require a much more interesting assortment.

Recommendation is to pass on this exhibit and wait for the next.

THE 20TH ANNUAL LAKE WINONA JAZZ FESTIVAL -- The Upper Mississippi Jazz Society

Jaycee Pavilion - Lake Park East
11-Noon -- WSU Dixieland Music Camp Musicians
Noon-2:00pm -- The Barbary Coast Dixieland Band
2-4pm -- Gate City Jass Band
4-6pm -- The Turkey River All Stars

Dixieland Jazz played by amatuers and "professionals" near Lake Winona.


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We were only in attendance for the second half of the music camp musicians and the first half of The Barbary Coast Dixieland Band, but we really enjoyed what we heard.

Reminded me of my days at the Sacramento Dixieland Jazz Festival that I used to attend. Good music. Great weather. Enjoyable time.

Lots of fun and we look forward to making more of it next year.

THE CANADIAN BRASS -- Minnesota Beethoven Festival

Minnesota Beethoveen Festival
Somsen Auditorium, Winona State University

Chuck Daellenbach - tuba
Gene Watts - trombone
Joe Burgstaller - trumpets
Jeff Nelsen - french horn
Magnon Lafrance - trumpets

The popular, world-famous quintet playing a wide range of music.

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I've enjoyed the music of The Canadian Brass for many years, but seeing them perform live is an unparalelled treat. This group of musicians are not only incredibly accomplished at playing music, but they are fantastic performers as well. They know how to entertain!

I simply can't remember when I've been so moved by music or laughed so honestly at the simple, refreshing humor on the stage.

This particular performance were particularly notable for two reasons ... it marked the first performance of Jeff Nelsen after a two year absence from the group; and it was the first full performance for Magnon Lafrance, the first woman to perform with the group.

Joe Burgstaller must certainly be the among the best, if not the best, trumpet players living. His notes were incredibly sharp and crisp, and yet he could play with AMAZING speed and had fantastic range. While all the musicians were notably talented, Burgstaller was absolutely outstanding, even amongst these other great performers. Part of his charm was that he seemed to play it all with such ease.

I cannot recommend this highly enough. If you have the chance to see this group, treat yourself and do so!

(Note that clicking on the image in the upper right of this blog will take you to the Canadian Brass home page where currently there is a music player which will run through an assortment of their songs.)

AS YOU LIKE IT -- Great River Shakespeare Festival

script: William Shakespeare
director: Paul Barnes
cast: Andrew Carlson, Carla Noack, Chris Mixon, Kern McFadden, Kim Martin-Cotten, Christopher Gerson, Tarah Flanagan, David Graham Jones, Laura Coover, Zachary Fine, Jonathan Gillard Daly, Doug Scholz-Carlson, Art Moss, Brian David Frederick, Jacques Roy
set design: Scott C. Neal
costume design: Rosemary Ingham
light design: Darren McCroom
sound design: Katharine Horowitz
composer: Daniel Kallman


Shakespeare's gender-bending, word-play comedy.



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I think that Great River Shakespeare Festival does the comedies exceedingly well. The plot and subplots, text and context and subtext are all very clear.

If there is a failing here at all, it is that this is not one of Shakespeare's better works. However, I have to admit that it has always been among my favorites -- I love the intelligent word play, the morose Jacques, the terrible love poems, the off-kilter gender-switching Rosalind, and the fact that Shakespeare even dared to have a woman fall in love with the woman (as a man). Oh what fun!

Noack as Rosalind and Carlson as Orlando didn't quite have the spark that is really necessary to make a romantic comedy click. Where there should have been fireworks in theirs eyes at their initial meeting, I instead saw actors pretending to like each other. This Rosalind seemed to take a more maternal interest in her Orlando, rather than a young woman's sudden flight into love.

Chris Gerson was brilliant as both Duke Frederick (giving us chills at his outburst toward his niece Rosalind and daughter Celia) and as William (where he made us laugh at William's simple earnestness).

The set and costumes worked well and there really wasn't a bad performance in the lot.

An exquisite night at the theatre.

MACBETH -- Great River Shakespeare Festival

Great River Shakespeare Festival
author: William Shakespeare
director: Doug Scholz-Carlson
cast: Andrew Carlson, Laura Coover, Tarah Flanagan, Zachary Fine, Art Moss, Christopher Gerson, Kim Martin-Cotten, Brain David Frederick, Chris Mixon, Carla Noack, Jonathan Gillard Daly, Jacques Roy, Kern McFadden, David Graham Jones, Emily Daly, Chris Bernard, Raelynn Peter, Theo Morgan
set design: Scott C. Neale
costume design: Meg Weedon
light design: Darren McCroom
composer: Dan Kallman
sound design: Katharine Horowitz
props: Michelle Moody

Wm Shakespeare's tragic tale of greed and power in old Scotland.

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Interesting (odd) choices by the director are balanced by strong performances to present a fair production.

All performances are good, and Christopher Gerson as Macbeth, brings wonderful humanity to the role. It was terrific to see the king agonize over his wife and her breakdown. The relationship between Macbeth and his wife seemed full of passion. I've often noted that the role of Lady Macbeth is often played by a power-hungry, strength-behind-the-man woman. But in this performance the two seemed mutually consumed by the desire to promote his wont to become king through murder. It's not necessarily how it's generally read, but I liked it. To give her too much power takes some of the guilt of what is done off of him.

The witches were annoying. First, to have an obviously male witch was distracting and jarring at every occassion they called themselves "sister." Their druid-ic look of earth-worshippers was just fine (the lines certainly lend themselves in that direction), but their constant presence (and not just silent presence, but often singing and banging a drum) took away from what was going on on the stage. Does the director think we won't get it? That we don't understand that Macbeth is living out one of the witches prophecies if they aren't drawing attention to themselves? Give us some credit!

The set seemed to work well, with the simple trees up stage representing Birnam Wood, and a scrim drop that also had tree cut outs to add to the forest look. Flying a portion of the scrim drop out to make it appear as though the woods were encroaching in on the castle was ... well, an interesting idea. Again, I don't think I needed it. It didn't really explain how the trees were moving. Having the army come through the woods suddenly seemed to make the point.

I really liked the sound. Crisp and clear, I thought they brought horses onto the stage. One particularly jarring sound cue took me completely out of the moment ... when Seyton (as a murderer?!) takes the youngest Macduff child by the hand to take her off stage, a sound of a child singing a nursery rhyme tune is played over their exit, then followed by the scream of the child being killed. What was with that sound cue? Where else in the play do we hear sound from nowhere?

For the most part, the lighting was odd. Actors walked in and out of shadows and colors throughout their scenes. It looked as patchworked as the scrim drop.

Generally I like the Hekate scenes (even though they are often cut because it is generally acknowledged that they weren't written by Shakespeare), but they were so over-shadowed by the production (heavy sound cues, weird lighting) that what Hekate was saying (hence here reason for being there) was lost.

Over-all ... not a bad production, but probably my least favorite production so far by the Great River Shakespeare Festival.

COCK-A-DOODLE DANDY -- Rushford-Peterson Elementary School

R-P Elementary Spring Vocal Concert

"Cock-A-Doodle Dandy" -- Grades 1,2,3
director: Diana Poppe
1. Fabulous Day!
2. Cock-A-Doodle Rap
3. Make Him Stop Today
4. Sign On The Line
5. Standing Side by Side
6. Reprise: Fabulous Day!

Grades 4,5
director: Burton Svendsen
"Carlotte-town"
"Al Shlosha D'Varina"
"Johnson Boys"
"O Desayo"
"Pat Works On the Railway"

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Another typical, well-done spring performance done by the elementary school. The younger grades offer simple acting and solo singing opportunities to some of the youngsters with the use of an actual story line. The older students perform concert-like songs.

Well done. Enjoyable.

HAPPY SPRING! -- Rushford-Peterson 5th-6th-7th-8th Grade Band Concert

Rushford-Peterson Public School Spring Band Concert

directors: Burton Svendsen & Jacob Olson

5th Grade Band:
"Regal March"
"When The Saints Go Marching In"
"Battle Creek March"
"Rockology"

6th Grade Cadet Band:
"Prelude To A Festival"
"Grandfather's Clock"
"Even Now"
"The Blue Rock"

7th & 8th Grade Jr. Band:
"The Eagle's Triumph"
"Stormy"
"Red Rock Canyon"
"Crystal March"

6th, 7th, & 8th Grade Band:
"Strike Up The Band"
"Gaslight Gaities"

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A delightful evening of good music.

I feel that the quality of music coming from these youngster is every bit as good as some of the music I heard from the high school band two or three years ago.

I have heard that the middle school band instructor has been very pleased with his 6th grade group (which is larger than the 7th 7 8th grade combined). let's hope that they can continue to improve and impress.

TWELVE AT SIX -- Rushford-Peterson High School

The RPHS Jazz Band in their Spring Concert

director: Burton Svendsen
saxophones: Carl Schiltz (alto); Kevin O'Donnell (alto); Kristen Ostrem (tenor); Phillip Nitecki (baritone)
trombones: Justin Brown; Melissa Smith
trumpets: Steve Ahles; Levi Brown; Zach Miner; Ryan O'Shaughnessy
rhythm section: Carin Hyter (drum set); John Klungtvedt (piano); Tony Russell (electric guitar)

"Night Fever" (arr. Tony Femiano)

"Here's That Rainy Day" (arr. Bob Lowden)

"blues for clyde" (arr. Sammy Nestico)

"Gospel John" (arr. Bob Lowden)

"Malaguena" (arr. Bob Lowden)

"California Dreamin'" (arr. Jerry Nowak)

"Don't Cry For Me Argentina" (arr. Jerry Nowak)

"Johnny B. Goode" (arr. Jerry Noak

"Theme From New York, New York" (arr. Jerry Nowak)

"The Funky Turtle" (arr. John Morris)

"Under The Sea" (arr. Mark Taylor)

"Danger Zone" (arr. Jerry Nowak)

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I've not always been impressed with the music programs offered up at the RP High School, but this particular instance was very good.

It was obvious that these were students who really wanted to be there, making music, and not there because they had to for their class. The talent was strong and the music was good.

In particular, the young woman on drums was quite impressive.

A worthwhile concert that deserved to have a bigger audience.

COMPANY -- Saint Mary's Univeristy

book: George Furth
music & lyrics: Stephen Sondheim
director: Judy Myers
stage manager: Timothy Markus
conductor: Tony Freeman
costume design: Janis Martin
choreographer: Christine Martin
lighting designer: Walt Claassen
scenic designer: Kit Mayer
sound designer: Alex Downes Borowski
cast: Peter Snell, Whitney Rappana, Mark Skrade, Jeff David, Bernadette Raspant, Patrick Mack, Rachel Crawford-Miller, Sarah Jane Engle, Alex Gorgone, Kristina Perkins, Danny Pancratz, Ali Fisch, Erin Hendricks, Alyssa Schlageter

The musical comedy of a single man, surrounded by married friends.

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This college production was very well done. A very talented cast that mostly performed very well. Lots of strong voices made the songs a treat to listen to.

Lead, Peter Snell, was very good as Bobby, though he did seem a bit one-dimensional as the play went along. Alyssa Schlageter as "Marta" was tremendous -- her singing voice strong and her looks perfect. Aside from the good looks and hip costuming, she had an incredibly strong singing voice.

Probably the best performance of the evening was put in by Kristina Perkins as "Joanne." She seemed to have the most, best-defined character and managed to maintain it all the way through. She had just the right bit of drunkeness and bitterness and lovability and honesty to keep us liking her.

The direction was a tad boring, even though the set managed to offer multiple levels.

The lighting was somewhat dull, but the costumes were incredible. I actually gasped as I saw the color-scheme and how well it all blended together.

A very well done performance.

JAMES AND THE GIANT PEACH -- Winona State University

script: Richard R. George (based on the book by Roald Dahl)
director: Vivian Fusillo
cast: Kerry Danielson, Lisa Michaels, Eve Cowan, Peter Armstrong, Anthony Giebel, Allison Sweeney, Rachel Muonio, Daniel Evashevski, Brian Rice, Caitlin Puckett, Thomas Brunner, MaKenzie Birchell
technical director: Jim Danneker
set design: Peggy Sannerud
lighting design: Peggy Sannerud
sound design: Nicole Volner
costume & makeup design: Erin Dostal
stage manager: Eileen Moeller
assistant stage manager: Katy Stein

With the help of some magically enhanced (or nuclear enhanced) gems, a giant peach grows in James' yard, complete with human sixed bugs. Adventure ensues.

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Oh, how sad. This play lacked everything. With some wonderful opportunities for wild action, this play delivered up nothing but static dialog delivery. When the most enjoyable part of a performance is the delightful characterization of the two aunts (wonderfully, wickedly played by Lisa Michaels and Eve Cowan), then you must realize that something is horribly wrong.

Ginat insects, inside a giant peach! And yet by being confined to the limiting set, these giant insects never got to display and character. They stood around and talked and worried about things, so that James could solve their problems.

Where is the action in a play like this? There was none. The action consisted of talk. In an adult play, this is not unusual. In a children's play, it's highly boring.

Costuming was okay, but it still would have been better served to display something even more. Why didn't we see any sea gulls? Why only two sharks (rather lamely identified)? The earthworm looked like what he probably was ... a man in a multi-colored sleeping-bag.

I once adored Vivian's children's plays. The last few that I've seen have been a colossal disappointment. Has she lost her touch? Judging by what I've seen lately...yes.

PUBLIC LECTURE BY JAMES DELGADO -- Minnesota Marine Art Museum/WSU Lyceum Series

Somsen Auditorium, WSU
Presented by the Minnesota Marine Arts Museum
"Dr. Delgado will speak on his visit to the shipwreck RMS Titanic and the discovery of RMS Carpathia."

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This was a fascinating, multi-media lecture by James Delgado, the executive director of the Institute of Nautical Archaeology and host of National Geographic and History Channel's The Sea Hunters.

Mr. Delgado is very charismatic, a wonderful public speaker. He spoke of the human aspect, of the lives lost, of the Titanic, and how he thought about the individuals as he navigated among the ruins of the sunken ship.

He showed photos that he took through the windows of the submersible he was in, and also showed video footage of the Carpathian wreck.

My nine-year-old son attended the lecture with me, and was completely absorbed by it. He said that the 90 minute program felt like it wasn't even an hour long, and that it got him "right here" (as he pointed to his chest).

A wonderful lecture.

STORY THEATRE -- Rushford-Peterson High School

directors: Elizabeth Wessa & Kathryn Edson

A collection of short skits, together for a "Story Theatre" production.

"The Little Peasant"
"The Bremen Town Musicians"
"The Robber Bridegroom"
"Henny Penny"
"The Master Thief"
"The Fisherman and His Wife"
"The Golden Goose"

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This production was slightly better than I expected.  I'm not too big on fables/fairy tales as theatre, but the students did a good job of playing 'real' characters rather than being goofy because they were embarassed.

This is generally what I expect to see when I watch high school theatre.

CAMELOT -- Ordway Center for the Performing arts

Book & Lyrics: Allan Jay Lerner

Music: Frederick Loewe
Additional Materials: Michael A.M. Lerner
director: Glenn Casale
cast: Michael York, Rachel York, James Barbour, Shannon Stoeke, Time Winters, Eric Anderson, Tavis Danz, Stuart Ambrose, Daniel Guzman, Robert J. Townsend, Shannon Warne, Suzanne Carlton, Venny Carranza, Sandi DeGeorge, Sandy Hawker, Joanna Louise, Monica Louwerens, Grant Rosen, Joseph Stark, Leah Seminario, Megan Swanson, Jill Townsend, Alan M-L Wager, John B Williford, Vincent Zamora
set design: John Iocavelli
costume design: Marcy Froehlich
lighting design: Tom Ruzika
sound design: Julie Ferrin
fight direction: Sean Boyd
wig design: Mitchell Hale
orchestra direction: Craig Barna
choreography: Dan Mojica

The classic musical detailing the fall of Camelot and its principle architects, Arthur, Guenevere, and Lancelot.

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While the sets and cotumes were bright and colorful and everything a delightful musical should be, the staging and acting lacked color.

James Barbour as Lancelot, and Rachel York as Guenevere, both had nice singing voices, but the acting couldn't have been much more wooden. I'm not certain this was the actor's fault, but director Casale's lack of imagination and strength.

Blocking was incredibly static, and the extent of Michael York's acting was a clenched fist and short arm movement which served for both "frustration" and "joyous" emotions.

The pacing was hectic, perhaps to not give us time to reflect on how dull the previous scene was. But by moving along too quickly, we enever got to enjoy any of the show. Would it be too terrible to laugh at "C'est Moi" or "Take Me To The Fair"? If not, then why not play up the humor a little? Let the actors act a little and play with the song? Instead, they sang through their pieces as if at a recital... good strength and volume, but no emotion.

Not helping the work was the awful sound. The orchestra drowned out Michael York in his opening song, establishing a terrible precendent. We should be able to chuckle at what Arthur is singing about, but since we can't hear the words, we aren't able to be drawn in. Then, though the orchestra did pull back near the end of the song, the sound quality on York's mic always came across as slightly muffled and too obviously amplified.

The worst part of the show, however, was the make-up and hair. Michael York's make-up couldn't have been blander. I realize he's probably trying not to look his actual age, but he still needs definition over the base. He was a pinkish-orange bowl. There was nothing to bring out his eyes, his cheeks, or in any way define any of his fetures. I was sitting only six or seven rows from the edge of the stage, and if I had a problem with this, I can only imagine what those in the balcony seats were seeing.

And the hair .... I don't have a problem with anyone having a mohawk, though it did strike me as odd -- it seemed so "native american" for a Dark Ages knight, though. Then there was the knight whose hair looked SO much like the movie/comic book character "Wolverine" from the X-Men -- sort of a flat top which feathered out to wind-blown spikes along the top sides. And Sir Lionel, whose long hair, some in tight braids, was constantly in his face. And Mordred. First, he wore a strange little hat the first few times we saw him that was the exact color of his hair, and actually made it look like he had one of the oddest hairdos I've ever seen. Interestingly, it was my first thought that it was his hair style, and after the show, my wife made the same comment about Mordred's odd hairstyle. It really was so odd that I wasn't paying attention to the character or what he was doing -- I was trying to understand what was on his head. Then, in a later appearance, the hat was gone, but he still managed to have an unusual hair style in which his hair seemed to be feathered back so that it creted a "ridge" at the back of his head.

One should never notice hair and make-up in a play. It should be just a natural part of each character and compliment the costuming. That I noticed it at all is not a good sign. That I noticed and even dwelled on it shows a lack of director control over the show's "look." The fact that I noticed it and thought how awful it was speaks poorly for the production.

Despite all of this, I think that my children enjoyed themselves. It is always good to get children out to see plays other than their local high school productions. Too bad it couldn't have been a more stellar production.