by: MJ Pendelton

Namasate, Indiana
Brown Coat Pub and Theatre
111 Grace Street
March 4-6 and 11-13, 8pm
Tickets: (910) 341- 0001

Guerilla Theatre supports local playwrights and, consequently, has established an important niche in the Wilmington theater community. Other theater companies, like Big Dawg, have produced original scripts, but Guerilla has devoted 40 percent of its productions to showcasing local writers. It has also made theater accessible to a younger audience with $5 student tickets. The transition from the Soapbox basement to the Brown Coat Pub and Theatre was not exactly smooth for the company, but the cozy, new venue is far more accommodating. Even in the uncomfortable, smelly basement, though, they had a loyal following.

Guerilla has always tried to financially compensate cast and crew, but, with their limited resources, it has been a challenge. The company has never, however, sacrificed the quality of the productions. “We hold ourselves to a high standard,” said creative director Richard Davis. Because of this integrity, as well as their commitment to “push social issues and support emerging artists,” Guerilla has “attracted the attention of some important people,” according to Davis.

John Melfi is one of them. His brother, Leonard Melfi, was an important experimental American playwright and director in the Sixties. During his career, he wrote more than 40 plays including “Birdbath”, co-wrote the screenplay “Lady Liberty”, and contributed to the musical “Oh, Calcutta!” When Melfi died, Edward Albe sent a note, which was read at the memorial services: “Years ago, there were many serious and daring individuals in Greenwich Village under thirty as well as young playwrights, myself included. It was a wild and vital time, and no one was more vital than Leonard.”

Guerilla Theatre has been given permission to use his name. “All of our original plays will be produced under the banner of the Leonard Melfi First Look Play Series,” Davis explained, adding, “We’re absolutely honored.” Even more exciting, Guerilla Theatre will produce three plays by Melfi, which have never been staged. An interesting aspect of the New Play Series is that the audience will be invited to give feedback, probably in the form of comment cards, essentially “participating in the creative process,” Davis said. Though, he quickly amended, “It will not be a workshop. Each play will be fully formed and professional.”

The first play in the series is “Namaste, Indiana” by John Grudzien. This will be Grudzien’s third play with Guerilla Theater, and he also wrote and produced six one-act plays at the Thalian Studio Theater, with UNCW students creating film backdrops. Grudzien’s vocation is business/marketing, but his avocation has always been creative writing. In college, he wrote for the literary magazine and later studied with the Emory University writing program. He has written 18 film scripts and 12 or 13 plays. “Namaste, Indiana is also a film script,” Grudzien said, “but I wanted to get it in front of an audience.”

The plot revolves around Korean War veteran Orville Powell, who is a “bohemian, an early hippie, changed by the war. He moves to a small town in Indiana and opens a yoga studio, but no one gets it. [Ultimately] he changes the lives of some of the people in the town,” Grudzien explained. Though “Namaste, Indiana” is “as polished as any production, [he] wants audience feedback.” His fictional name for the Indiana town is a derivative of Sanskrit, and though it has various meanings, most Western yoga practitioners consider the translation to be “the light within me honors the light within you.” Randall Lucas, Suzanne Nystrom, and Janet Allen, who recently acted in Big Dawg’s “Love on the Rocks,”are the principals in this production. Don’t miss it!

by: MJ Pendelton

25th Annual Putnam County Spelling Bee
City Stage
February 26th-28th and March 5th-7th
Tickets: $15-$20 • (910) 342-0272
(4 stars out of 5)

City Stage can get away with some pretty silly theater and, with “The 25th Annual Putnam County Spelling Bee,” they’ve done it again. On the second Saturday of the production, the theater was packed, and the audience was ready to laugh at every wacky stage moment—and laugh they did!

The first necessary suspension of disbelief is that adults are playing kids. Instead of looking like brainiac children, they look more like mentally-challenged escapees from the insane asylum. The few audience participants seemed relatively normal and added a reality show/improvisational element to the musical. For the most part, though, the civilians appeared slightly stunned to be on the stage with a group of such wacky actors. The visual humor alone is probably enough to carry the show, but director Mike O’Neil also did a fantastic job of casting.

Jason Aycock is the choreographer and Leaf Coneybear, the “not that smart” contestant. He obviously encouraged the outrageous physical comedy that started with his and Jeremiah Williams’ (Chip Tolentino) shenanigans, escalated with Damond Nelson’s (William Barfee) mnemonic magic foot and rockette routine, and went over the top with Chiaki Ito’s (Marcy Park) impressive cartwheels, splits and juggling. There was also some seemingly nonsensical fast-forward/slow-motion done by the whole cast. The audience laughed at everything.

Ito is also the music director, and, though the music was performed with obvious talent and skill, there isn’t really a song in the show that lingers after the performance. Most of the lyrics are comical, as showcased in “My Unfortunate Erection,” which Williams sang and performed to the giggling delight of the audience. A few of the songs are poignant and illuminate the complex personalities of the characters. Robin Hume sweetly sang “The I Love You Song” about her character’s parents’ absence—Olive Ostrovsky’s mother is in India and her father is working late.

Rachael Moser’s character, Logainne Schwartzandgrubenniere has two gay fathers and a speech impediment, so her song is “Woe Is Me.” The “adults” in the show are Heather Setzler, whose beautiful voice accompanies a number of the songs, and John Perkinson, the spelling-bee moderators, and Anthony Lawson, the comfort counselor. They are almost as funny as the “kids.”

William Finn wrote the music and lyrics, and the book is by Rachel Sheinkin, who won the 2005 Tony Award for Best Book. The musical was based upon “C-R-E-P-U-S-C-U-L-E,” an original improvisational play created by Rebecca Feldman and performed by The Farm, a New-York-based improvisational comedy troupe.

“Define crepuscule, please.”
“Crepuscule means twilight.”
“Use it in a sentence, please.”
“Twilight is a much prettier word than crepuscule.”

Though the musical is somewhat repetitive, there is enough energy and enthusiasm in this production to sustain the comedy and merit a standing ovation on Saturday night. The Wilmington theater community is sending out a loud and clear message: Put on a happy face.

by: MJ Pendelton

Nunsense
Scottish Rite Temple • 1415 S. 17th St.
February 26th-28th
Tickets: $20 • (910) 343-3664
(4 stars out of 5)

The magic in Opera House Theatre Company’s latest show, “Nunsense,” is in the casting, so director Sue Ellen Yates deserves a lot of credit for the standing ovation the musical received on Friday night. Each actor perfectly portrayed and never for a moment stepped out of character. In keeping with the setting of a fund-raiser, held in a Catholic school theater, Kendra Goehring-Garrett (Sister Mary Leo) and Joy Gregory (Sister Mary Hubert) glided serenely through the audience with greetings, smiles, and blessings before the show. The show itself had hilarious stops and starts and glitches, but it was impossible to pretend that this was anything but a professional production with exceptional talent.

Most of the performers in “Nunsense” consider themselves singers first, and, boy, can they sing! Gregory sang a gospel song, “Holier Than Thou,” which was astonishing! The entire audience accompanied her by clapping to the beat. Denise S. Bass (Sister Mary Amnesia) sang “I Could’ve Gone to Nashville” with all the sass and verve of a country-western star. Teri Harding (Sister Robert Anne) dropped her Brooklyn accent to sing the ballad “Growing Up Catholic” in a sweet, angelic voice. The delightfully diverse music is directed by Lorene Walsh, who also played the keyboard, conducted and played a small role as Sister Martini. It was a great pleasure to see the immensely talented but usually diffident director happily performing onstage.

Guided by creative choreographer Goehring-Garrett, the cast danced the entire evening. It is impossible to imagine how difficult (and hot) that must have been in those cumbersome habits. Goehring-Garrett was a graceful ballerina while singing “Benedicite” and the highlight of the performance was the entire cast tap-dancing to Gregory’s “Tackle That Temptation with a Time Step.” Even though they didn’t have to “stoop to one, single penguin joke,” there was a penguin moment during the tap routine.

These singers and dancers can also act. Their comic timing was impeccable, and the audience was positively giddy with delight. Gregory and Michelle Reiff (Reverend Mother Mary Regina) ever-so-slightly dominated the stage with their self-confidence and total transformation into their characters. Reiff’s drug-induced giggling and slapstick humor was the most hilarious scene in the show. Bass, who was adorably stupid because a crucifix fell on her head, reduced the audience to laughter every time she opened her mouth. She performed a very funny ventriloquist act with a puppet nun and, later, repeated a telephone message in fast-forward.

Because everyone onstage was having so much fun, the audience on Friday night did, too. There was a lot of eager audience participation and several members even told jokes: “Hoboken? Sinatra and I are the only ones who got out!”

“Catholic sex? Nun on Monday, nun on Tuesday, nun on Wednesday…”

This show is a terrific example of the whole being more than the sum of its parts. The actors were so perfectly in sync with each other, it was almost like they were sisters.

by: MJ Pendelton

Love on the Rocks
4 stars (out of 5)
Cape Fear Playhouse at Newcastle,
613 Castle Street
February18th-21st
Tickets: (910) 341-7228

Valentine’s Day is absolutely wonderful for approximately five percent of the population. The other 95 percent experience dashed expectations, unreciprocated gifts or simply nothing at all. Big Dawg’s production of “Love on the Rocks” is the perfect antidote. Misery loves company, after all, and the best way to cope with an injured heart is to laugh about it.

Subtitled “Four short plays about the difficult (and sometimes comical) search for love,” the production evokes a smile simply on the premise. Anton Chekhov’s “A Marriage Proposal” is the shining star of the theatrical quartet. Directed by Pam Grier, it is fast-paced and funny, funny. The actors assume accents and attitudes to melodramatize the farce. Kevin Wilson, Jana Allen and Randall Lucas are perfectly cast and delightfully amusing.

The other three plays suffer somewhat in comparison, but then it is difficult to compete with Chekhov. “Ships,” by Jay D. Hanagan and directed by Michele Seidman, is more depressing than comical because it is so realistic. Kevin Wilson and Jana Allen assume the roles of strangers who are waiting in a restaurant for their spouses and, in the course of a conversation, realize that they have settled for relationships that are far less than perfect. Wilson’s self-deprecation and Allen’s needy smiles perfectly illustrated their unfulfilled lives.

“Fixing Up Mom” and “Not Since Baltimore” are written by local playwrights Kathryn Martin and Bert Sherman, respectively. Both plays explore the awkward premise of mature dating, which embarrasses older people and disturbs youngsters who really want to believe that anyone over 40 is celibate. Awkwardness aside, the plays are cute. In “Fixing Up Mom,” also directed by Seidman, Suzanne Nystrom (Madeline) and Ken Cressman (Larry) are introduced by Madeline’s daughter. Larry has a list of requirements, which, though somewhat practical, are astonishingly insulting. Madeline, who is obviously not particularly desperate for a man, nonchalantly responds with a fabricated list of her own. Ultimately, this abstract and clinical exchange bizarrely ignites Larry’s intense ardor—go figure.

“Not Since Baltimore,” directed by Sherman, is a mature perspective on Internet dating, which is comical because of the inherent innocence of the characters. Two friends, Max (Randall Lucas) and Sheldon (John Peterson) are fascinated with the Internet possibilities and promises. Max, who is slightly more high-tech and adventurous than Sheldon, actually drives to Baltimore for a—big surprise—disappointing date. Lucas and Peterson have great chemistry and expressive faces.

It is an amusing and entertaining evening at Big Dawg’s adorable theater on Castle Street. With four plays, it’s hard to miss. If one play doesn’t please, the next probably will. Sets and costumes are simple, and the emphasis is on the actors who are very good. The evening is a cathartic experience because it’s far better to laugh at love’s eccentricities than to cry about them. There’s also camaraderie in the understanding that the problems are far more ridiculous than unique. Married couples in Wilmington should see this production to refresh their love and leave holding hands.

by: MJ Pendelton

Nunsense
The Scottish Rite Temple,
1415 S. 17th Street
February17th-21st and 26th-28th
Thurs.-Sat., 8pm • Sun., 3pm
Tickets: (910) 343-3664

Opera House Theatre Company is opening their 25th anniversary season with the musical comedy “Nunsense,” which is also celebrating its 25th anniversary. With book, music and lyrics by Dan Goggin, “Nunsense” won four Outer Critics Circle Awards and was the second-longest-running off-Broadway show in history. Since 1985, “Nunsense” has inspired six sequels and spin-offs. Goggin, who was educated by nuns, explained the popularity and appeal: “When [nuns] did things that were un-nunly, people would be so captivated.”

Director Sue Ellen Yates summarized the plot. The cook, Sister Julia, child of God, accidentally poisons 52 nuns with her vichyssoise, and the convent needs to put on a fund-raiser in order to bury the four nuns who remain in the freezer. Sister Julia does not participate in the fund-raiser because she’s probably so busy doing penance.

“The reason we’re in this bind,” Joy Gregory (Sister Mary Hubert) added, “is because the Reverend Mother (Michelle Reiff) bought a flat-screen television. It’s time for her to retire.”

“I am the true nun in the crowd,” Reiff disagrees.

“All the women are just Broadway performers in disguise, and this is a great excuse for them to put on a show,” Denise Bass (Sister Mary Amnesia) said.

“Denise’s character doesn’t know who she is because a crucifix fell on her head,” Yates added.

Choreographer Kendra Goehring- Garrett also “takes on the character of the choreographer in the show, Sister Mary Leo. She wants to be a prima ballerina.” Goehring-Garrett will, in fact, perform ballet on toe.

“She’s an amazing choreographer because she is a dancer,” Gregory said. “She knows that my character should tap dance, so she taught me how.”

“The music will appeal to almost everyone,” music director Lorene Walsh said. “It’s upbeat, but there are some ballads.” Walsh, who has directed countless shows in Wilmington, added that “this production is one of [her] all time favorites because of the cast.” She is also a nun, Sister Mary Martíni. Even the stage manager, Denyse McDonnell, is a nun, Sister Mary Illiteracy. There was so much enthusiasm from the cast members that it was obvious they will perform well together.

“I just have to stay out of their way,” Director Yates laughed. The energy seemed to be fueled by mutual affection and admiration, as well as lots of chocolate. They also seem to enjoy the fact that the cast and directors are all-female. The obvious empathy will positively affect the production because if everyone onstage is having fun, the audience will, too.

Bass believes that the show is “timed perfectly. When I was coming up through the ranks, I was always told that theater [is] at its best when life [is] at its worst. People need a distraction, an escape. They need to laugh or cry at someone else’s story. Laughter is good for the soul.”

Missing “Nunsense” would be nonsense. It became an international phenomenon because of its universal appeal. Thanks to Opera House Theater Company and all these wonderfully talented women, Wilmington is in for a big treat. Laughter is not only good for the soul, it’s priceless.