Traverse City Theatre Scene

It’s anyone’s guess whether T.S. Eliot, renown American 20^th Century poet and playwright, realized when writing children’s poems for his 1939 published “Old Possum’s Book of Practical Cats” that it would one day become a worldwide sensation. Or, in 1954, as English Composer Alan Rawsthorne orchestrated six poems from Eliot’s same whimsical “…Practical Cats” for narrator Robert Donat, that it would soon be ingeniously rendered on even a more fabulous scale by Andrew Lloyd Webber for the London stage in 1981. I doubt whether Mr. Eliot, Mr. Rawsthorne, or Lord Webber had the slightest clue that a compilation of uncomplicated children’s poems written in the 1930’s would become the second longest running musical production in Broadway’s illustrious history.

Director Michelle Dungjen recently commented, “CATS is the show you’ve asked for most consistently on our audience surveys. It‘s a show that community theatres have typically declined to tackle, however.” And with justifiable reason, many choose not to undertake this musical theatrical gem, due to the fear of falling miserably short with a production which has been marvelously produced throughout the world over nearly thirty years, fitted with the finest talents, designers, and advanced technology. This reality is enough to dwarf the most courageous at heart and send the less adept, spinning and screaming, out the backstage door.

Vincent Van Gogh, said it best, “Great things are done by a series of small things brought together.” Director Michelle Dungjen and Producers June Neal, and Jean Friday, have done just that very tremendous feat. By ignoring any nagging fears, they have instead, bravely assembled an excellent cast, crew, and staff to assist in mounting this highly respectable CATS on their own Old Town Playhouse stage.

CATS is simply about a bunch of colorful cats occupying a junkyard alley, each with different shapes and size, mood and personalities, and their emotional reflections mirror humankind as within our own society. Every year, these cats gather together to choose one special cat among them to be reincarnated. Webber chose to orchestrate this musical without relying heavily on any book filled with complicated plots, but decided to paint his pictures through brilliant choreographed dance routines, led majestically by his rollicking and seducing melodies. With his world famous center-piece song “Memory” and the rest of his delightfully witty score, he constructed it around this magnificently simple premise, which has overtaken the hearts of countless millions worldwide.

It’s usually customary in reviews to address the cast first, but I’m compelled to acknowledge the staff sooner, rather than later, in wholeheartedly congratulating Kathy Verstraete on her incredible Costume and Makeup Coordination. Her designs are stunningly enjoyable to the eye and help to create the CATS magic that so many in attendance expect to see. Also, Al Thompson’s Set Design deserves an ear-ringing applause. It’s wonderfully scaled, smartly constructed, and allows the audience to never grow tired of it. Not to be undone, Pete Bathum’s Light Design never fails. He showcases the talent beautifully, with his right measure of spots, colors, and shadows.

And, naturally, what’s a musical, without its brilliant musical score, and someone who has the great skill to conduct the orchestra? That person is Music Director Joe Rice. He splendidly led his accomplished orchestra (Cindi Robertson, Paulette Parsons, Karin Willman, Bethel Kohler, Debbie McKeon, Cherie Van Maanen, Sam Clark, Steve Weldon, Raleigh Newman, Anya Berger, John McCutcheon, Jenny Fenton, Diane Kolak, Karin Willman, Curt Wilson, Lois Kowalsky, Anne Morey, Lauren Murphy, Bill Fromm, Jeff Kroeger, Nathan Miller, Mike Nunn, George Bliss, Dave McKeon, Dave Kjelberg, Val Vreeland, Dan Cole, Jerry Endres, Andrew Bahle, and Stephen White) through over twenty musical numbers without many dialogue benchmarks to guide his way. His vast experience has enabled him and his orchestra to be the musical engine that propels the production forward and which never runs out of gas.

When a two-hour musical is nearly absent of dialogue and the musical score tells the whole story, in most cases, dancing enters in. In CATS, let’s just say, “A whole lot of dancing!” If you’re wearing a hat, tip it in the direction of Choreographers Philip Leete, Liz Renicke, and Kristina Nichols. They achieved no small accomplishment in having twenty-seven actors shifting, swinging, crawling, leaping, and swirling non-stop, and not only making it look easy, but having it make perfect sense.

A second bow is in order for Joe Rice, Kathy Verstraete, Philip Leete, Liz Renicke, Kristina Nichols, Al Thompson, and Pete Bathum. Without this dream staff’s quality creative investments Director Michelle Dungjen and her two Producers would have had many legitimate reasons for concern.

CATS is an ensemble, requiring the least of the cats to abound, to insure it being a successful production. With a cast this size it’s difficult to expound on individual performances. Although, I will mention a few standouts. Nichols (Rum Tum Tugger) has a superb balance between singing and movement, allowing his physicality to interpret his mood and purpose. His confidence and dynamic presence is always a welcome sight. Donna Peterson (Jellylorum) is a delightful, bright character. Her comedic ability shined through from the start. Sherry White (Victoria) is eloquent in her dance and every movement, disciplined, and brought sophistication to the stage. Ruopp (Mr. Mistoffelees, Quaxo) is exuberant, consistent, and fun to watch. It’s amazing how an eighth grader can be so poised and talented. Leonardi (Bombalurina) and Parker (Demeter) each contributed a lot of heated-sass throughout and, especially, during Macavity: The Mystery Cat. Chris Peterson (Munkustrap) handles his narrator role with energy and style. Lynne (Mungojerrie) and Cady (Rumpleteazer) were absolutely charming as the dancing twins. As an ensemble, each unmentioned cat did their job handsomely well, and collectively as a whole, the entire production was without any weak link.

The Principle cast is: Nikki Leonardi (Bombalurina), Billie Thompson (Bustopher Jones), Meg Parker (Demeter), Diana DiMarco Morgan (Grizabella), Al Lien (Gus, the Theatre Cat), Donna Peterson (Jellylorum), Allixandria Geiger (Jemima), Nan Worthington (Jennyanydots), Joshua Kiel (Macavity), Sage DeAgro-Ruopp (Mr. Mistoffelees, Quaxo), James Weston Lynne (Mungojerrie), Chris Peterson (Munkustrap), Don Cox (Old Deuteronomy), Brett Nichols (Rum Tum Tugger), Beverly Cady (Rumpleteazer), Dan Jablonski (Skimbleshanks), and Sherry White (Victoria).

Making up The Company of Cats is: Melissa Nerem (Admetus), Louis Rodriguez (Alonzo), Tania Arens (Bill Bailey), MacKenzie Fedorinchik (Carbuckety), Elizabeth Stewart (Cassandra), Shelly Taberski (Coricopat), Rachel Amalfitano (Electra), Cat Tallman (Etcetera), Becca Walton (George), and Brooke Bueby (Tantomile).

And the top-notch production staff is: Bonnie Deigh (Stage Manager), Carly McCall (Vocal Director), Al Thompson, Joe Rice, John Colvin, Daniel Jablonski, Jeff Kroeger, Richard Long, Carly McCall, Mike Nunn (Set Construction Crew), Lori Wheldon, Kathy Lauterbach, Mary McGonegle, Nancy Newman, Steve Orr, Connie Roy (Set Painting), Alexandra Billette-Curtis (Wig Coordinator), Paddy Brown, Alexandra Billette-Curtis, Kelly Curtis, Andrea Gieger, Emilee Gieger, Patt Kelsey, Hannah Kelsey, Maria McKane, Margaret Anne Slawson, Catherine Warner (Wardrobe and Make-up Crew), Bette Killian (Properties), Cinder Conlon, Carly McCall, Maria McKane, Andrea Curtis, Ashleigh Curtis (Light and Spotlight Operators), Stu Dana (Sound Design and Operation), Jeanie Gifford, Denni Don Hunting (Assistant Stage Managers), Wizard Roush (Photography), Nancy Templeton, Patty Fitzgerald, Jean Friday, June Neal, Nancy Newman, M. J. Rozek (The Lower Level Creative Team), Brian Dungjen, Michelle Dungjen, Bette Killian, Brian McCall, June Neal (Stage Crew), Pat Cole, Jeanne Ramick, Kathy and Pat Hall, Sheri Wallace, Linda Crandall (House Managers).

CATS, the musical is timeless, and ages like a fine wine. Personally, I believe this is true on account of its simplicity. It brings to mind a very special quote from Antonio Smith, “Enjoy the little things in life, for one day you may look back and realize they were the big things.” Director Michelle Dungjen’s production of CATS is a triumphant success! As Van Gogh suggested, greatness comes not necessarily to the most talented or experienced, but to those who are willing to dare, to face adversity with a smile on their face, and a whisper on their lips, saying, “Why not?”

The Producers - Pure Gold!

Reviewed by Wayne Erreca (3-6-09)

During these precarious recessionary days, with Wall Street smoldering, house equities toppling, and fraudulent Ponzi schemers stooping behind every shadowy corner, it’s a testament to the ingenious creativity of Mel Brooks’ fabulous musical, The Producers, which brings a smile to your face instead of a shower of anguishing tears.

Originally produced as a film in 1968, starring comedic giants, Zero Mostel as loveable and conniving Max Bialystock, and the delightful manic Gene Wilder as Leo Bloom, Brooks received an Oscar for Original Screenplay. Hands down, one of the funniest film comedies ever created. Then, with another stroke of genius, Brooks stages the musical version of The Producers on April 19, 2001 on Broadway, starring Nathan Lane (Max Bialystock) and Matthew Broderick (Leo Bloom), picking up twelve Tony Awards, and eventually hitting the silver screens as a major motion picture in 2005.

The Producers at the Old Town Playhouse opens with Broadway producer Max Bialystock (Phil Murphy) singing The King of Broadway after witnessing the deplorable opening of his Funny Boy (the musical version of Hamlet). Seeking refuge within his dilapidated office, Max is soon visited by the obsessively meek Leo Bloom (Brian Dungien), an IRS accountant sent to audit his books. Bloom discovers a two thousand dollar discrepancy from the flopped (Funny Boy) production and offers an off-the-cuff suggestion, advising that a producer could actually make greater profits in staging a flop, after raising more money from investors. This startling epiphany has Bialystock licking his greedy chops as he envisions bilking his current cadre of elderly women investors. He convinces Bloom to shuffle the numbers around to dismiss the two thousand dollar deficit. Together, Max and Leo, sing We Can Do It, as they conspire to seek out the worst script ever written and the most incompetent director, for their eventual cash-cow-flop-of-the-century.

Phil Murphy’s rock-solid portrayal of Max Bialystock is a combination of Mostel’s forceful charms and Lane’s subtle nuances. He provides a sturdy axis in which everyone successfully rotates around. His dynamic rendition of Betrayed at the end of Act Two is riveting and displays his vast talents. There isn’t a stage in the country who wouldn’t appreciate his splendid Bialystock. Brian Dungien’s characterization of Leo Bloom, although balanced takes a while to embrace. As an older, physically larger Bloom, with a less manic self-deprecating nature which suited Gene Wilder so well, he handsomely redeems himself with his exquisite and sensitive singing and acting, as in That Face. Dungien, an unselfish actor, complements every scene with Max and others, and it needs pointing out, he’s also quite light on his feet while dancing with Ulla (Sherry White).

The production is set ablaze when, Max and Leo, encounter German (Nazi) playwright Franz Liebkind (Brett Nichols) as he‘s singing In Old Bavaria on his Greenwich Village rooftop. Already a quality production at this point, it’s suddenly lifted several decimals during their singing Der Guten Tag Hop-Clop. Nichols performance is nothing short of brilliant, incorporating the classic Mel Brooks infectious energy. Definitely a show-stopper, which catapults the entire production forward..

Now, with their disastrous Springtime for Hitler script in hand, the cunning twosome procure the services of the very gay director, Roger Debris (Mike Nunn), and his very very gay assistant Carmen Ghia (Christopher Peterson). Just when you think this production cannot escalate any further, Mel Brooks’ comedic genius raises the hilarious bar a foot higher. I’m confident there isn’t any role Mike Nunn cannot master. His incredible portrayal of Mr. Debris is one of the finest I’ve seen yet. Peterson is perfect as the mincing, forever loyal assistant, Carmen Ghia. This particular scene, with Roger, Carmen, Max, Leo, and their gay friends, is absolutely mesmerizing as they sing Keep It Gay.

Also, bringing brightness into this zany fray, is the lovely Sherry White, who flawlessly portrays Swedish Ulla. She arrives for an audition, but also is recruited as Max’s personal secretary. White’s graceful style and confidence is quite intriguing, which not only wins over the heart of Leo Bloom, but of the entire audience. Her dancing and singing When You’ve Got It, Flaunt It is thoroughly entertaining at its best.

Small in stature, yet huge in comedic talent is Diana DiMarco Morgan’s rendering of (Hold Me - Touch Me) at the beginning of the play. She’s one of Max Bialystock’s fleeced investors seeking a few carnal favors of her own. She’s always a joy to watch!

Director Michelle Dungien deserves a tremendous congratulations for a terrific production. In assembling such a sterling cast and crew and orchestrating all of its necessary parts so efficiently, much of its success should be credited to her immense talents. The pacing, characterizations, seamless scene changes, and overall technical considerations are nearly flawless. The Old Town Playhouse, along with its inner creative core of talented directors, actors, musicians, designers, and technicians can include themselves within the realm of companies who are capable of producing top-notch musical theatre. Traverse City should consider itself fortunate to have such vast talent within its borders.

A special bow is required for Matt Archibald and Carly McCall (Vocal Direction), Kristina Nichols, Kat Brown, and Liz Reincke (Choreography), Sam Clark (Music Director), Pete Bathum (Set Designer), Joe Clark (Lighting Designer), Kathy Verstraete (Costume Designer), and Stu Dana (Sound Designer) for the wonderful technical support they provided.

Often overlooked, but unquestionably necessary are the ensemble actors, singers, and dancers who make it all work, offering great support, adding color, and a wide range of emotion and style. They are: Beverly Cady, Phil Callighan, Tom Cilluffo, Jamie Colburn, Darryn Crocker, David Curtis, Keith Firstenberg, Barbara Goodearl, Judy Heffron, Chris lambdin, Toby Lucius, Diana Dimarco Morgan, Jamie Moyers, Meg Parker, Donna Peterson, Bradley Roswell, Clare Shipstead, Judy Sines, Margaret Anne Slawson, Elizabeth Stewart, Cat Tallman, Lesley Alicia Tye, Becca Walton, and Kevin Weber.

As in all successful creative productions, many individuals are deserving of recognition. Such as: Bonnie Deigh (Assistant Director), Sam Clark (Music Director), June Neal, Jean Friday, and Barbara Goodearl (Producers), Matt Archibald and Carly McCall (Vocal Direction), Kristina Nichols, Kat Brown, and Liz Reincke (Choreography), Jean Miles (Stage Manager), Cinder Conlon and Erik Emery (Assistant Stage Managers), Pete Bathum (Set Designer), Al Thompson, Chair, Ashleigh Curtis, Richard Farrar, Jeff Kroeger, Richard Long, Barb McConnaughey, Jesse Meyer, Mike Nunn, Joe Rice, Bradley Roswell, Gene Rountree, Christian Stepp, Elizabeth Stewart, Becca Walton, and Tom Watkins (Set Construction), Lori Wheldon, Chair, Susan Bays, Nancy Newman, Steve Orr, Connie Roy, Crystal Yarlott, and Kay Zinns (Set Painting), Kelly Curtis (Set Dresser), Joe Clark (Lighting Design), Stu Dana (Sound Design), Terry Ormsbee (Sound Assistant), Kathy Verstraete (Costume Designer), Bradley Roswell (Assistant to the Costume Designer), Nancy Albrecht and Glenn Gauthier, Pinkie Hoffman, and Donna Hood (Costume Design Assistants), Jeanine Easterday, Dale George, Niki Girard, Kathy Hall, Kathy Lakey, Lois Verstraete, Jeanette mason, Amy Ruopp, and the Ladies of the Ensemble (Seamstress and Wardrobe), Jeanie Gifford and Sherry Wallace (Properties), Alexi Curtis-Billette (Hair/Make-up), Liam Curtis, Steve Starks, and Marrek Lacey (Stage Crew), Linda Crandall and Jeanne Ramick (House Manager), Jean Mallows (Production Assistant), Paulette Parsons, Linda Davis, Susan Snyder Nunn, Cynthia Van Maanen, Raleigh Newman, Lois Kowalski, Lauren Murphy, Randy Karfonta, Diane Kolak, Curt Wilson, Douglas Endicott, Bill Fromm, Jeff Kroeger, Gene Rountree, George Bliss, Mitch Ronk, Chris Mericle, Dan Stahl, David Kjellberg, Valerie Vreeland, Steven White, and Dan Cole (Orchestra)

The Producers is a fantastic, thoroughly entertaining, and inspirational production. Turn off the evening news, fold your newspapers, flip the switches on your laptops, and give yourself over to the hilarious antics of these two harmless swindlers who will definitely give more than they ever take. With those odds, it’s a sure investment you can count on!

One Flew Over the Cuckoo’s Nest

By Dale Wasserman from the novel by Ken Kesey

Reviewed by Wayne Erreca (1-16-09)

Ken Kesey’s novel ‘One Flew Over the Cuckoo’s Nest’ hit the bookstores during the tumultuous year of 1962. A turbulent decade ushering in the Beatles, a Supreme Court ruling banning racial separation on public transportations, America’s first footholds in Viet Nam, and the frightening Cuban Missile Crisis. It was a time of urgency and questioning of authority throughout all corridors of government and of our strained social policies. It was definitely a fertile time for Kesey’s “Cuckoo’s Nest’ to enter the American psyche.

Dale Wasserman adapted a stage rendering of ‘One Flew Over the Cuckoo’s Nest’ and soon witnessed its 1963 Broadway opening, starring Kirk Douglas as the iconoclastic hell raiser R.P. McMurphy. Wasserman, later remarked about its Broadway run, saying, “It was terrible. Kirk was so frightened to return to the live stage he took refuge in being lovable every moment of the play, but his character was half Christ and half con-man, and he was not meant to be lovable”. Needless-to-say, the staging of ‘One Flew Over the Cuckoo’s Nest’ wasn’t heralded as a theatrical masterpiece.

Then, in 1975, came along the greatly anticipated motion picture release of ‘One Flew Over the Cuckoo‘s Nest‘, starring Jack Nicholson as McMurphy, and Louise Fletcher as Nurse Ratched. This dark horse soon ran off with five Academy Award Oscars for Best Picture, Best Actor, Best Actress, Best Director, and Best Screenplay. It was a vindicating coup for Kesey’s original concept, Wasserman’s adaptation, and young Film Producer Michael Douglas’s visionary leadership. One a questionable flop and the other an undeniable work of genius. ‘How could this be’, one may ask? As Kirk Douglas, promptly and sadly discovered, being lovable isn’t always the wisest choice. Whereas, a relative newcomer, Nicholson introduced his legendary “Jack smile and quirky attitude” to millions of viewers who couldn’t get enough of him (and still can‘t). The original Broadway stage production was too softly tempered in comparison to the film version, which possessed a sharper dramatic edginess, timely measured comedic moments, and jaw jarring scenes from the cast.

The heart of ‘Cuckoo’s Nest’ rests in the grips of the two central characters, McMurphy (Noel Boulter) and Nurse Ratched (Rose Hollander). McMurphy, a convicted felon for statutory rape of a fifteen year old, seeks to serve his prison time more easily by faking a mental disorder to gain entrance into the more lenient mental institution, and his counterpart is the consummate professional and uncompromising Nurse Ratched. It is her obsessively suffocating authority over the in-house patients, Chief Bromden (Dale Chandler), Dale Harding (Rick Korndorfer), Billy Bibbit (John Jarrad Klapko), Cheswick (Daniel Jablonski), Scanlon (Robert VanCoillie), Martini (Richard Long), and Ruckly (Dan Goodearl), that ignites the struggle with McMurphy for dominance over who will rule the minds and hearts of the others. This classic match-up requires a white-knuckled conflict, winner-takes-all, with a do or die determination. There’s something primal about this lower-based humanistic face-off. Anything less and most audiences will be gravely dissatisfied.

Noel Boulter is energetically impudent as McMurphy and never lets up. Dale Chandler is the perfect image of Chief Bromden, holding the audiences attention without speaking a single word. Rick Korndorfer (Dale Harding) is a strong influence among his fellow patients. Dan Goodearl (Ruckly) is humorously affective when speaking his three words. Rose Hollander as Nurse Ratched does a steady job as McMurphy’s foe. Tina O’Rourke (Candy) is bright and convincing as the friendly prostitute. John Dew (Dr. Spivey) is charming and believable. Daniel Jablonski (Cheswick), John Jarrad Kapok (Billy Bibbit), Robert Vacillate (Scanlon), Richard Long (Martini) are collective fun to watch.

Also, supporting the production is Sandy (Tammy Novak), Aide Warren (Cris Pico), Aide Williams (Victor Draine), Aide Turkel (Haider Kazim), Nurse Flinn (Brittany Kuhn), along with Dancers (Tamara Deponio, Moonbeam, Jamaica Weston, Jeanette Hagberg, Megan Caplinger).

Director Chris Cooke, Assistant Director Tamara Deponio, and Producer Bob Boles have boldly chosen to gravitate to a more comedic vein and lightheartedness. Much of the dramatic moments have been tempered in spirit and style. They have assembled a fine cast of players, who have clearly followed every direction, and without fault. Although, several scene-changes should be tightened a bit. The pinnacle moment in the production is at the end of Act One, when McMurphy rallies his fellow patients into make-believing that they’re watching the World Series on a blacked-out television set. It’s a genuine moment and brought the audience to a vibrant applause.

Set Design by Chris Cooke was adequate and functional, but lacking in a claustrophobic nature, which would have greatly reinforced the restraining element of most mental institutions. Costumes by Bradley Roswell worked handsomely well, giving the show a solid realistic touch. Don Kuehlhorn’s light design, although simple, was very supportive. Choreography by Tamara DePonio, Meghan Caplinger, Jeanette Hagberg, Moonbeam, Jamaica Weston, and Holly Provenzano was appealing, yet should have been geared more toward a Native American style in both music and movement. Other staff members: Rick Fowler (Stage Manager), Al Thompson (Set Construction), Thomas Kachadurian (Lights), Stu Dana (Sound), Hedges MacDonald, Linda Crandall, Anna Norris (Properties), Margaret Ann Slawson (Hair & Makeup), and Dave & Andrea Curtis (House Managers) deserve congratulations for a job well done.

As long as authoritative institutions abuse the powers entrusted in them, ‘One Flew Over the Cuckoo’s Nest’ will continue to be a poignant testament, and reminder that the human spirit is not only precious, but essentially vital for our existence.

‘Urinetown’ - Definitely Not A Stinker!

Urinetown? You may ask yourself, “What foul joke is this?“ Who would write a musical titled ‘Urinetown‘? Before you discard its cultural significance, let me share a few other oddly named American cities, such as Yellow Water, Looneyville, Goobertown, Muck City, Belchertown, and, of course, everyone‘s heard of Truth or Consequences. This should help you to forgive, playwright and lyricist Greg Kotis, of his presumptuousness in unleashing this contemporary satirical musical comedy onto the world.

While touring Europe as a student, Kotis came across a pay-per-use toilet, which stirred no small aggravation, and he immediately began writing his outraged rebuttal against this blatant authoritative overreach. Recruiting his friend, composer and lyricist Mark Hollman, they conspired together to create ‘Urinetown - the musical’, which first debuted at the New York International Fringe Festival. Soon after, with a short run on Off-Broadway at the American Theatre For Actors, it was then produced on Broadway at the Henry Miller’s Theatre on September 20, 2001. At the 2002 Tony Awards it garnered ‘Best Director’, ‘Best Original Score’, and ‘Best Book of a Musical’. It’s fair to say, “Kotis and Hollman achieved no small feat by investing a lot of personal ‘piss and vinegar’ thrown in.”

The amusing storyline of this iconoclastic parody of such memorable classics as Les Miserables, West Side Story, Fiddler on the Roof, Annie, Evita, and even a touch of Sweeney Todd, evolves around the plight of a fictional town caught in the clutches of a twenty-year drought. Under these dismal water shortages, Caldwell B. Caldwell (Keith Firstenberg), the CEO of Urine Good Company, is forced to decree all personal toilets off limits. Only public latrines for a price, overseen by the Urine Good Company, are permissible for usage by the citizenry. If anyone, is freely caught sprinkling the daisies, they’re immediately apprehended by Officer Lockstock (Lars Kelto) and Officer Barrel (Nick Viox), who swiftly chaperone these unlucky culprits to a never-ending banishment in ‘Urinetown’. As in all great musicals, a love story does exist, between the endearing Hope Caldwell (Alissa Korson) and her heroic Bobby Strong (Brett Nichols). In not wishing to spoil your fun, I’ll refrain from disclosing their climactic ending, and if I were allowed more space, I would convey the many numerous hilarious scenes of, twists and turns, throughout this thoroughly tantalizing play.

This is a brilliant production, with a magnificent cast, a highly skilled creative staff, and should be a ‘must see’ for true theatre connoisseurs. Brett Nichols is nothing short of an Off-Broadway star and his singing is superb. Nan Worthington is wonderfully quirky and outrageously comedic as Penelope Pennywise. Lars Kelto is charmingly solid as Officer Lockstock. Jamie Moyers captures the delightful innocence of Little Sally and is completely endearing when singing ‘Tell Her I Love Her’. Keith Firstenberg confidently and masterfully portrays the protagonist, Caldwell B. Caldwell. Alissa Korson as Hope Caldwell, displays exquisite comedic timing and is a joy to watch.

A major credit to the success of this production goes to the artful and fantastic choreography by Niky Girard (who also portrays Missouri Milligan) and Philip Leete. Their combined efforts escalated the visual and physical professionalism of the entire cast. Also, in keeping step with the choreographers is Kathy Verstraete’s appealing costume design, and Don Kuelhorn’s intriguing light design. The whole supporting staff is deserving of high praise for, in my opinion, launching the best technically executed production yet at the Old Town Playhouse.

The individual making this brilliant production possible is Director Phil Murphy. Who first viewed ‘Urinetown - the musical’ five years ago in New York City and recommended it to the OTP Artistic Board. It’s amazing how he assembled such a creative cast and crew, and through his directorial expertise, has staged a true gem for the audiences of Northern Michigan.

With the current economic crisis of our times having befallen us, ‘Urinetown - the musical‘ just may be the balm for your tattered nerves. And the Old Town Playhouse promises their latrines are spectacularly clean, and no need to carry any change, for there entirely free.