Jeffrey Ellis - Page 22

In her welcoming note to audiences at the 2018 version of Nashville Shakespeare Festival's production of A Midsummer Night's Dream - the 30th anniversary of the company's annual Shakespeare in the Park festivities at Centennial Park (which now is without question the place to be on a midsummer's night in Music City, all other artistic offerings that abound notwithstanding) - executive artistic director Denice Hicks takes a fanciful look ahead to 2048, and suggests that she'll either be in the audience or, quite possibly, in the cast of whatever show happens to be onstage some 30 years hence. Let me just make this prediction by way of critical pronouncement: Denice Hicks, then 88, will once again be playing the ethereal Puck in NSF's then-current Midsummer and I, who will be a spry 91-year-old at the time (or possibly a critical hologram), will be in the audience once again to marvel at her ageless skills and timeless artistry.

Remaining faithful to the original story conceived and written by Mary Shelley, Studio Tenn takes its audiences on an epic gothic - and highly theatrical - journey with Frankenstein, newly adapted by playwright A.S. Peterson and onstage at Jamison Theater through September 9. Mesmerizing and startling, it's a masterpiece of design and imagination.

On first consideration, Brad Fraser's 1989 play Unidentified Human Remains and the True Nature of Love is a darkly comical look at a group of disaffected young Canadians hurtling toward their 30s with no real sense of purpose or identity guiding them on their way. But if you look more closely - even a desultory glance at the script - it's easy to see that the playwright has more to motivate him in capturing a very particular time and place in his characters' lives.

Stellar performances from a superb ensemble cast have come to exemplify productions from Nashville's Street Theatre Company and, make no mistake about it, the company's latest musical - The Burnt Part Boys, with book by Mariana Elder, music by Chris Miller and lyrics by Nathan Tysen - delivers that and more through a haunting story of loss and redemption.

Nine Nashville area actors have been cast in the upcoming production of Mart Crowley's The Boys in the Band, which will play six performances at The Barbershop Theatre, 4003 Indiana Avenue, in a production helmed by veteran director Jeffrey Ellis, who is known throughout Tennessee as a leading theater journalist and critic.

My heart is full for many reasons, not the least of which is that I can say, henceforth, that the last production of Steel Magnolias that I reviewed - this one at The Larry Keeton Theatre in Donelson through Saturday, September 1 - was almost as good as that very first production I saw in Chicago in the summer of 1988. In fact, direct Donna Driver and her cast deliver a reading of Steel Magnolias that is as close to what Robert Harling wrote more than 30 years ago as any I've ever seen.

Now onstage through August 25 at Woodbury's Arts Center of Cannon County, in a sumptuously mounted production helmed by director Kim Powers, with producer Brittany Goodwin, musical direction by Allison Hall and choreography by Julie Wilcox, Titanic takes its audience on an intriguing, emotional journey of their own, during which the legend of the mammoth ocean liner is writ large onstage, even as it becomes a more intimate tale of lost lives and the dissolution of dreams and aspirations set in relief against a backdrop of grandeur and greed.

High-spirited, energetic and enormously entertaining, Circle Players' Newsies is a certified hit - thanks in large part to the focused direction of Jim Manning, the athletic and challenging choreography of Tosha Pendergrast and the superb musical direction of DaJuana Hammonds - performed by an impressive cadre of actors young and old, a blend of familiar faces and Nashville stage newcomers, who infuse the show with all the spunk necessary to bring the turn-of-the-century newsboys and a smattering of historic figures to life.

There's probably no title in the contemporary theater repertoire guaranteed to spark more debate than Robert Harling's Steel Magnolias. Particularly among southern companies, Harling's story of six women who gather every Saturday morning in a small-town Louisiana beauty shop has legions of fans who clamor for more revivals of the oft-produced comedy-drama - yet there are just as many detractors who decry its seeming omnipresence among season's offerings from far too many organizations.

Sharply written dialogue and an engaging story as relevant as any you are likely to see onstage nowadays are the hallmarks of Molly Smith Metzler's Cry It Out, now onstage through August 18 at Nashville's Darkhorse Theater in a superbly acted production from SistaStyle Productions and Three in a Tree Productions.

Nashville's iconic Chaffin's Barn Dinner Theatre is back and better than ever! After some six months - and 50 or more years since its debut - the newly renovated and gorgeously appointed Chaffin's Barn has reopened with a rousing production of Sister Act, the habit-forming musical that played to sold-out audiences last summer.

It's fun, perhaps even joyful, and audiences are clearly delighted to reward director Matthew Hayes Hunter's youthful cast with riotous applause at the appropriate moments, but do they really endorse the message of the timeworn Jacobs and Casey script? Heck, do they even think about it?

The legend of Robin Hood is subject to personal interpretation and, given the times in which we now live, it only makes sense that playwright Adam Szymkowicz would devise his own treatment of the legend in ways both provocative and traditional. In Marian, Or The True Tale of Robin Hood, Szymkowicz posits that both Robin, the personification of the anti-hero, and his supposed love, Maid Marian are indeed the same person, devoted not only to taking from the aristocracy to provide for the peasantry, but also to foment ideas of class and gender equality at a time when such thought was considered heretical.

Playwright Tori Keenan-Zelt's emergence as a force in contemporary theater seems assured with her newest play, Truth/Dare, an incisive, on-target treatment of the pitfalls of adolescence and the frailty of relationships during a time in which everything seems in a constant state of flux. Directed by recent Lipscomb University graduate Natalie Risk, who gives Truth/Dare an immersive feel with her basement rec room set that involves audiences in every moment during the convincingly nuanced one act that's brought to life by a quartet of young actors who play off one another with self-assured candor.

We cannot help but wonder: Do peacock feathers foretell of something far more sinister and portentous than what we've seen already in both Love Never Dies and The Phantom of the Opera await our heroine in the moments to follow? We won't spoil the outcome for you, of course, but suffice it to say that those pesky peacock feathers continue to work their devilment in the intriguing production now onstage at Nashville's Tennessee Performing Arts Center through Sunday, June 24.

There's absolutely no need to equivocate, make comparisons or to otherwise water down this particularly judgmental opinion: The Little Mermaid - the stage version of the Disney musical about a gamine sea creature who longs to become human which is now onstage at Murfreesboro's Center for the Arts through June 24 - is the best show we've ever seen among the many CFTA productions reviewed over the years. Congratulations to direct Mark David Williams, musical director Nate Paul, choreographer Brittany Griffin and costumer Lisa McLaurin for their remarkable achievements that, combined, lift this oft-produced title from the stage-bound to far loftier heights of theater excellence.

Annie, the Broadway musical by Charles Strouse, Martin Charnin and Thomas Meehan, is something of a community theater warhorse - a show that is sure to bring in throngs of theater-goers despite the oftentimes scornful dismay of the theaterati - along the same lines as Steel Magnolias, Grease and, well, you catch my drift. There's nothing epoch-shattering, paradigm-shifting or cutting edge about Annie (or any of the other shows of its ilk), but in a Nashville theater season during which we've seen laudable revivals of those other two shows, it only seems logical that a new production of Annie could be equally as entertaining and a welcome diversion.

Without a doubt, an individual's teenage years can be fraught with tension and riddled with despair and even when that is leavened by the joy of self-discovery and the constant gaining of knowledge that accompanies adolescence, there's a steep learning curve that some are unable to embrace gracefully. All of that is apparent in bare, a pop opera, the almost completely sung-through "rock musical" currently onstage at Nashville's Music Valley Event Center in a production from director Seth Limbaugh's Radical Arts.

Verge Theater Company continues its trajectory as one of Nashville's leading and most adventurous theater companies with its wondrous production of David Lindsay-Abaire's Kimberly Akimbo, featuring an astonishing and electrifying five-person cast under the superb direction of Laramie Hearn.  Kimberly and her eccentric family help the company inaugurate its own performance space, aka The Barbershop Theatre, located at 4003 Indiana Avenue, just a short jaunt from Charlotte Avenue and not too far from the iconic Darkhorse Theater.

Now onstage at the Z. Alexander Looby Theatre as the concluding production of Circle Players' 2017-18 season, Disney's Beauty and the Beast is brought to life by an eager-to-please cast and crew, giving further proof to the universality of the story and the continued delight of audiences lucky enough to score tickets (Circle Players' production has been playing to near-capacity, often sold-out, audiences in its three-week run at the Looby).