Current Reviews
Murder On The Orient Express
By Agatha Christie, Adapted for the stage by Ken Ludwig
Review for Murder On The Orient Express by Glynda Welch for Dallas Theatre Journal
Review for Murder On The Orient Express by Christopher Soden, Sharp Critic
It's A Wonderful Life: A Live Radio Play
By Joe Landry
Dallas Theatre Journal's Review for It's A Wonderful Life: A Live Radio Play
Murder On The Nile
Mystery By Agatha Christie
Dallas Theatre Journal Review of Murder On The Nile
Misery
By William Goldman, based on a novel by Stephen King
Dallas Theatre Journal Review by Jenny Wood
Sharp Critic Review by Christopher Soden
Patron Review by Rusty Harding, author, playwright, actor and long time patron of RTC
There are plays that are mysteries, there are plays that are thrillers, and then – like the one currently in production at Richardson Theatre Centre, Misery – there are plays that are downright creepy..
I've never been a big Stephen King fan – although I do remember having trouble sleeping after reading Pet Sematary – and I never saw the film version of Misery with James Caan and Kathy Bates. But I can tell you, if it was anywhere near as riveting as RTC's presentation, the viewer got their money's worth.
As the play begins, Paul Sheldon (Christopher Dean) is – quite literally – in a world of hurt. The world-famous author awakens to find himself bruised and bedridden in a spare room of an isolated farmhouse in rural Colorado. It seems he drove his car off the road during an unexpected blizzard and nearly died. Luckily (???), however, Paul was "rescued" by good Samaritan Annie Wilkes (Rachael Lindley); a lonely, divorced farm owner and nurse by training. Annie managed to free Paul from the wreckage and drag him back to her house, where she tends to injuries while waiting for the snowy roads to be cleared and for phone service to be restored. She also tells Paul - repeatedly - that she is his "number one fan", especially of his critically-acclaimed "Misery Chastain" series of novels.
To say that Annie is obsessed with Paul's writing is a bit like saying the Grand Canyon is a big hole in the ground. Annie's lonely life revolves around the character Paul created – her "reason to live", as she tells Paul – and she's breathlessly waiting for the next installment of the novel to be released. She promises the incapacitated - and understandably worried - writer that she will contact his friends and family just as soon as she reads the new book. Problem is, Paul has taken an unforeseen change of direction in the series; something which does not set well (to say the least) with Annie. What follows is a gripping, terrifying game of cat and mouse, in which Paul has to use all of his wits and talents as a writer to pacify the psychotic Annie, and also try to stay alive.
William Goldman adapted both the script and the screenplay from King's novel, and did a marvelous job of toning down King's overabundant gore. Nonetheless, the terror still remains. Director Janette Oswald (along with master set-designer Eddy Herring) has created a simple, subdued, and yet effectively eerie backdrop; turning Annie's quiet little mountain cabin into a genuine chamber of horrors. Multi-colored lights (kudos to Kenneth Hall) and atmospheric music (thank you, Robbi Holman - I'll never hear Liberace the same way again) do more to generate chills and gasps than bloody axes. (Although there is that sledge hammer...)
Oswald has also done an incredible job of shaping the characters. Christopher Dean is excellent as Paul; conveying just the right mix of pain, terror, and unimaginable courage in his struggle to outwit and escape his demented captor. Kenneth Fulenwider does a great (albeit brief) turn as Buster; the local, affable, yet ultimately hapless sheriff who's just trying to do his job in searching for Paul. And Rachael Lindley is superb; morphing Annie through her terrifying "Jekyll and Hyde" transitions with seemingly effortless ease. As I told her - and quite truthfully - after the performance; "you scared me..."
Misery is running now through September 17 at Richardson Theatre Centre: Thursday evenings at 7:30, Friday and Saturday at 8:00, and Sunday matinees at 2:00. Be warned, however; this is not the usual fair for RTC. Adult language and situations are abundant, and I definitely don't recommend it for children (or even faint-hearted adults). But, if you're in the mood for a genuinely scary, creepy, and downright terrifying evening, this is it...
Boeing, Boeing
Comedy by Marc Camoletti
Review by Christopher Soden, Sharp Critic
Driving Miss Daisy
Comedy By Alfred Uhry
Review by Sara Jones, Dallas Theatre Journal
Review by Edna Elizabeth Ellsberry, Associate Critic for John Garcia's THE COLUMN
Review by Christopher Soden, Sharp Critic
Patron Spotlight Review by David Kelton (Actor, Patron, Friend of RTC)
Two hours ago, pre-show, I stated that I had heard great things about Driving Miss Daisy at Richardson Theatre Centre. Having seen the show, I know why. Let me start by saying that if you are a fan of the 1989 movie starring Jessica Tandy, Morgan Freeman and Dan Aykroyd, this RTC live stage version will not disappoint you. This is a stellar cast and a wonderful production.
Boolie Werthan was played by Brian Hoffman, familiar to the RTC audiences for his many fine performances at that venue. Tonight was no different. Mr. Hoffman was solid as the concerned, protective son who, against his mother's wishes hires a driver after she does major damage to her car, the garage and an out building.
Boolie's mother, Daisy Werthan (Miss Daisy) was performed by the very talented Karen Jordan. Her portrayal of Miss Daisy was funny, touching and, most importantly, believable as a Southern woman growing up in Georgia in the early 20th century with her prejudices and foibles likely common to the time and geography. Watching her age and grow in understanding and compassion was fascinating but perhaps not as fascinating as seeing her enter into the beginning and advancing stages of dementia. In a word, Ms. Jordan was fantastic.
Hoke Colburn was the driver hired by Boolie to drive Miss Daisy around following her car wreck. I do not have the words to adequately describe Toney Smith's performance as Hoke. His performance was nothing short of spectacular. From the language to the humor to the physical movements, Mr. Smith created a warm, honest, compassionate Hoke that he was likeable from the opening scene. It's not often I have the opportunity to see as good a performance from an actor as I saw tonight from Mr. Smith.
The set was pretty simple as it was divided into Miss Daisy's living room, Boolie's den and center stage was the car. Scene changes (and there were many) were primarily through the use of lighting. It worked well. There were as many costume changes for Ms. Jordan ... and I don't know how that was accomplished but as with all other aspects of this show, those changes were made flawlessly. Rachael Lindley put together a wonderful cast and, through her talented direction, has created one of the best shows I've seen at RTC. Bravos/Bravas to all members of the cast and crew.
In my opinion Driving Miss Daisy is a production that you want to see. Don't find yourself saying, "I wish I had seen that show because I've heard so many good things about it." My suggestion...Purchase your tickets today! https://buy.ticketstothecity.com/venue.php?org_id=587.
The Odd Couple (female version)
Comedy By Neil Simon
A PATRON SPOTLIGHT REVIEW BY David Kelton, lawyer, actor, patron and RTC family member.
Unsolicited Patron Review of The Odd Couple (Female Version) at Richardson Theatre Centre: Disclaimer: No small or pivotal role for moi in this show.
I was able to attend the final dress rehearsal of the Neil Simon comedy about two women dealing with marital separations/divorces which circumstances throw them together as the two most unlikely, mismatched roommates imaginable. Yeah, it’s a show done multiple times by various theaters over the years but this RTC production stands the test of time.
The show's main characters, Olive (Janette Oswald) and Florence (Deborah Key) marvelously headline a very deep and talented cast comprised of Sue Goodner, Sara Muir, Debbie Deverich, Laura Jennings, Martin Mussey and Jay Laengrich. Ms. Key had me laughing almost continuously with her OCD and self pitying affectations throughout the show while Ms. Oswald perfectly portrayed a slow burn leading to an inevitable explosion of emotion.
Olive and Florence's girlfriends treated us with constant laugh outloud games of Trivial Pursuit in fast paced, sometimes one-liner clever comedy ... and they do not slow down. Perhaps my favorite scene(s) involved the Constanzuela brothers, Manolo and Jesus, portrayed by Mr. Mussey and Mr. Laengrich, respectively. Their characters are very cleverly written and these two play them to perfection. I particularly enjoyed the interaction between the Constnzuela brothers and Florence ... so very funny.
The direction is spot on as would be expected in a show directed by Rachael Lindley. Some truly clever stage movement and stage pictures are one of the Lindley trademarks and she doesn't disappoint in this show. Must give a shout out to Candi Blunt, a truly talented stage manager and tireless contributor to this theater. Music and lighting enhance the production delightfully
I had never seen the female version of this show and am glad I had the opportunity. I think I like this better than the male versions I had seen. I applaud all connected to The Odd Couple (Female Version) for creating such an entertaining presentation.
Tickets are flying off the shelf (?) for this one. Don't wait to make reservations: 972-699-1130.
A Few Good Men
By Aaron Sorkin
A Few Good Men Review by Scott Lee Clayton, Associate Critic for John Garcia's THE COLUMN
A Few Good Men Review by Christopher Soden, Sharp Critic
A Few Good Men Review by David Ellivloc, Dallas Theatre Journal
The Hollow
Mystery By Agatha Christie
Dallas Theatre Journal Review by David Ellivloc
John Garcia's THE COLUMN Review by Charlie Bowles, Associate Critic
Sharp Critic Review by Christopher Soden
Plaza Suite
Comedy by Neil Simon
Dallas Theatre Journal review by David Ellivloc
John Garcia's THE COLUMN review by Genevieve Croft, Associate Critic
Sharp Critic: Christopher Soden
A Funny Thing Happened On The Way To The Forum
Book by Burt Shevelove, Larry Gelbart; Music and Lyrics by Stephen Sondheim
Review for A Funny Thing Happened On The Way To The Forum by David Kelton, actor, long-time patron of RTC
I had the pleasure of attending the final dress rehearsal of Richardson Theatre Centre's presentation of A Funny Thing Happened on the Way to the Forum. Familiar with a couple of the musical numbers but not with the plot, I had no idea of what to expect as it was nouvum ad me. Simply stated I found it to be a charming story line (two young lovers from different stations in life finding each other) populated with the overlay of an abundance of farcical characters and situations.
I was thoroughly entertained with lots of laugh out loud moments, lots of chuckles and presented with well performed solo and full cast musical song and dance numbers. The mechanics of having so many talented moving parts mesh as seamlessly as they did is a testament to the director, choreographer and musical director.
If you are a fan of musicals, light but sometimes ribald comedy, farce with opening doors and windows and mistaken identity, then this will be your cup 'o tea. I found it to be thoroughly entertaining and hope that, if and when you see the show, you too will be as entertained as was I.
Review by Jan Farrington, Onstage NTX
