Reviews

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 patrron 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

Present Laughter
Comedy By Noël Coward

Review for Present Laughter by Christopher Soden, Sharp Critic

Review for Present Laughter, Rusty Harding,, author, playwright, actor and long time patron of RTC.
(Note – this production of Present Laughter contains a role that is doubled (due to actor availability) by Nathanael Coe and Anthony Magee. This reviewer was only able to see the performance by Mr. Coe. Apologies to Mr. Magee, who is no doubt just as stellar.)
Present Laughter is very much a perennial staple for both US and British theater, no doubt because it’s one of those rare scripts that holds up well with the passage of time. Written by the unquestionably talented Noël Coward in 1939, the title is drawn from a line in Shakespeare’s Twelfth Night: “present mirth hath present laughter”. Originally set in the late 1940’s, director Jeanette Oswald has chosen to transpose this latest Richardson Theatre Centre production to the “swinging ‘60’s”; a seemingly odd choice, until one realizes that the setting allows for a unique selection of costumes and scenery, without once detracting from Coward’s essentially timeless story of sexual intrigue.
The plot depicts a few days in the life of the successful but self-obsessed British actor Garry Essendine (Robert San Juan), as he prepares to travel for a touring commitment in Africa. Amid a series of hilarious events – almost bordering on farce – Garry has to deal with a giddy young woman who is in love with him (Shea McMillan), placate both his long-suffering secretary (Kim Winnubst) and his still-devoted estranged wife (Leigh Wyatt Moore), cope with an overly-zealous – make that crazed - young playwright (Joel Hashop), and deal with a bizarre love triangle between his philandering business manager (Brian Hoffman), his alcoholic accountant (Eddy Herring), and his manager’s sultry – or is that predatory? – young wife (Katie Macune). Adding to the riotous confusion are Essendine’s house servants; an oddball Scandinavian maid (Rhonda Triana) butler (Nathanael Coe), as well as a clueless – but extremely wealthy - socialite grande dame (Carol Rice).
Aside from the 60’s setting, director Oswald has wisely chosen the perfect veteran ensemble for her cast. Robert San Juan is absolutely brilliant as the stuffy, pompous Essendine; overly-full of himself and his talent, yet still compassionate enough to recognize both the bad – and the good - in those around him. San Juan rules the stage in every scene, making the most of every (overly) broad gesture and facial expression, and delivering Coward’s sharp, sarcastic barbs with perfect timing.
Leigh Wyatt Moore is a genuine charm to watch. Obviously enjoying herself, she breathes believable life into Essendine’s extremely forgiving estranged wife, patiently and humorously shrugging off his pompous flaws, all the while trying to steer him into some sort of reform or redemption. You can’t help but share her eye-rolling frustration after discovering yet another of Gary’s sexual faux-pas.
Kim Winnubst plays Monica Reed, Essendine’s harried personal secretary, who is long-used to her boss’ idiosyncrasies and indiscretions. Like Moore – with whom she shares several scenes with just knowing smiles and glances – she accepts Gary for who and what he is. And – also like Moore – she’s comfortable in her role, making it all the more believable.
Without doubt, Joel Hashop is the show-stealer. From the moment he first enters the stage, his character - the fanatic “would-be” playwright Roland Maule – dominates the scene; quite literally bouncing back and forth in his frantic efforts to cajole Essendine into performing one of his Avant guard works. In fact, the play’s best scenes take place between San Juan and Hashop; both of who play off of each other brilliantly. Katie Macune is the seductive femme-fatale, Joanna Lyppiatt; the beautiful but bored wife of Essendine’s manager, Hugo. Everyone believes Joanna has her sights set on Essendine’s director/producer, Morris Dixon, but that may not be the case – much to Essendine’s genuine surprise. Macune seems a little stiff at times, perhaps not quite as sultry as the character demands, but she’s confident enough to believably hold her own in her scenes with San Juan.
Brian Hoffman and Eddy Herring play Essendine’s business associates, Hugo and Morris. Both actors are incredibly talented, but their roles – thanks to Coward, of course - seem to be limited to little more than shouting matches with Essendine. Yet both do excellent jobs of breathing believable life and emotion into what Coward essentially created as two-dimensional “sidekicks”.
Shea McMillan is Daphne Stillington, one of an endless string of young women who throw themselves at Essendine for a chance at fame. This could also have been just a throwaway role, but McMillan has the energy and emotion to make Daphne both real and sympathetic. A very brief role - yet played beautifully - by the talented Carol M. Rice. Rounding out the cast are Rhonda Triana as Miss Erikson; Essendine’s quirky Scandinavian maid (I loved her accent!), and Nathanael Coe as Fred, the butler. Both Triana and Coe are excellent in their roles.
Director Oswald’s choice of the ‘60s setting even includes two Carnaby Street-clad “go-go dancers” (played at different times by Bethany Brown, Penny Elaine, and Lauren Hearne), who also double as stagehands, and who preface each scene change with ‘60s dance routines & music – kudos to sound designer Richard Stephens, Sr. – and reminiscent of old TV shows like Shindig and Hullaballoo (showing my age here, unfortunately). Set designer Eddy Herring has created a very realistic period London flat, complete with a hodgepodge of period furniture and artwork. There’s even a fantastic “Warhole-esque” poster of Essendine, created by Robert San Juan himself! Audie Preston once again shines with his choice of costumes, and Robert Sims – as always – does an outstanding job of lighting & sound.
While it’s not a gut-buster comedy (like the previous production of Drop Dead), Present Laughter is still an extremely enjoyable play. And - to paraphrase the manic Roland Maul - it’s not a play to “help people or make them think,” but rather to make them laugh – which is exactly what we need these days.
Present Laughter is playing now through April 10 at the Richardson Theatre Centre, 118 W. Arapaho Rd, Ste 113, in Richardson; Thursday evenings at 7:30pm, Friday & Saturday evenings at 8:00pm, and Sunday matinees at 2:00pm. Tickets are available online at wwww.richardsontheatrecentre.net.

Review by Laura Jennings Dail. Actor and long time patron.
We are fortunate to have the opportunity to be surrounded by fine, high-quality theatre in the Dallas/Fort Worth metroplex. And every once in a while, we have the once in a lifetime opportunity to see immaculate works of art! The glorious production in which I speak, is Richardson Theatre Centre’s Present Laughter. I had the privilege of attending opening night for a non-stop, laugh a minute, piece of theatre that was both incredible technically and absolutely fun to watch from start to finish. The pacing is perfect and never slows, so buckle up!!
Immediately, the audience is transported to the mod era of the 1960s - complete with sassy go-go girls to get the audience ready to roll. Noël Coward wrote the script to be set in the 1940s. However, I’ve personally always found it refreshing when a script is so timeless, that it can easily be set seamlessly into a new decade for a fresh new spin on a classic. Eddy Herring’s set design is the perfect backdrop for the actors – using every single inch of the stage to form a monstrous, swanky London studio worthy of the lead character, Garry Essendine, an internationally renowned star of the stage. The genius lies in having the set open and vast. It becomes a grand canvas ignited by the colorful, vintage costumes and farcical characters painting beautiful pictures centered around a lovely staircase and baby grand piano.
Audie Preston has assembled a gorgeous collection of vintage mod era costumes that not only flatter the actors, but match the personalities of the characters. It’s a perfect blend of color and style down to the very last detail of jewelry pieces, shoes and belts.
Janette Oswald, Director, has assembled a masterful cast. I was most impressed that not only were the actors perfect for the roles they were playing, they all had such natural chemistry with each other. I believed the relationships. Well done, Janette, in selecting these actors to blend with each other and placing such focus on their connections to each other. They all became very real. It makes for excellent comedy, because let’s face it…real life is funny.
Hats off to the entire cast for breathing such life into these complex characters. I could spend hours gushing about each cast member, as they were all talented. Special mention to Robert San Juan’s portrayal of the spoiled and a little child-like Garry Essendine. Robert expertly drives the scenes and creates comic gold without robbing his scene partners of their own comedy and moments. Robert gives 100% to the audience and his cast mates. His character arch is profound in that Robert’s character choices and nuances show you the full heart beating beneath the exterior of Garry.
Katie Macune portrays the femme fatale, Joanna Lyppiatt, with mad skills that would put some 1940s film noir actresses to shame. She’s very cool and sly, and moves about the stage with grace and beauty. Her character is clearly the antagonist of the piece, but even as calculative and manipulative as Joanna is, you can’t help but admire her drive – and that is thanks to Katie’s skills in portraying her.
And a final mention to Joel Hashop for his side-splitting insane portrayal of Roland Maule. I don’t want to spoil the fun by giving anything away, but I will say that I ended up crying with laughter every second Joel hit the stage. Joel has a finesse of pushing the boundaries without going overboard and ends up with the audience eating out of his hand.
Present Laughter is an absolute gem that will feed your soul with laughter. It’s a witty roller coaster of delightful characters, farcical craziness, plot twists, and some tender heart filled moments that make you think about life and the people you surround yourself with.

Review by Natalie Shaw, Dallas Theatre Journal

Review by Elizabeth Goldman, actor and beloved patron.
I went to see the current RTC production of Present Laughter the other night...and did I enjoy it!!! It is a lighthearted farce written by the prolific Noel Coward.
The plot focuses on a self-obsessed (and aging) actor who finds himself in the midst of demands of his estranged wife, the women who want to seduce him, and a crazed young playwright. The scene opens with a large brooding, yet, charming portrait of the actor at the top of his staircase. When the actor, Garry Essendine, makes his entrance, he is in a somewhat state of disarray. He is suffering yet another morning after a soiree he attended after which he had graciously offered his spare bedroom to a young lady who had forgotten her "latchkey" to her own abode. Things continue to get interesting as the play evolves, but I won't ruin it by giving details. Let's just say there are women who want to seduce him, and while the actor loves the attention, he also protests (very theatrically) at the various ways his admirers take to be near to him. The star, Garry, also has an entourage of loyal and dear friends, along with the estranged wife, Liz, who are all dependent on him and he, on them, in various ways.
Garry Essendine, played by Robert San Juan, is a coddled man-child who needs an adoring audience and Garry is always "on-stage". Robert plays him with a mixture of charismatic charm and somewhat driving egomania. He matches the wittiness of Garry's lines with gesticulations that match his conceited (in a charming sort of way) selfishness with the encroaching melancholy of his aging. He is adored by younger women and while he enjoys the adoration, he also does not want any commitment since he is, after all, still married to his estranged wife, Liz. Her choice to be estranged, as he does note to her in one scene. Garry eventually has to call out some sexual subterfuge on the part of his friends and he also rids himself of his own extraneous women, which he does in a funny and tender way, involving his estranged wife, Liz. Garry is the ultimate actor, and appears in most of the production. Robert plays this part beautifully and effortlessly, taking the length of his on-stage appearance in stride, not missing a beat and not seeming to tire, in the least. He IS Garry Essendine.
Liz Essendine, Garry's estranged wife, is played by RTC's own Leigh Wyatt Moore. She plays Liz as it should be played, as Garry's devoted, yet steely and wry, not-quite, ex-wife. Liz is modern and respectful - a dignified, intelligent, supportive and gracious woman - who obviously is somewhat amused, even with a hint of disgust, at her estranged husband's goings ons. In this role, Leigh portrays all that and more, but she also brings clarity and warmth to the role, and, near the end, a sweet tenderness to this character as well. I enjoyed watching the strength of her character as Leigh portrays her.
The admirers, Daphne Stillington and Joanna Lyppiatt, played by Shea McMillan and Katie Macune, respectively, are as different as day and night. Daphne is a naive 21-year old, unsophisticated and self-deluding, yet relentless as youth can sometimes be, in her pursuit of her actor "love". Whereas Joanna, on the other hand, is glamorous, a social climber, determined, flirtatious, ruthless and shameless. She is married to Garry's friend, Hugo, and has her claws also in Garry's friend, Morris. Shea plays Daphne with the cloyingly sweetness of ardent youth and Katie plays the "innocent" seductress for all it is worth. It is fun watching her in her machinations to seduce Garry.
While I can't mention everyone in the cast, I do have to mention newcomer Joel Hashop, who plays the crazed playright, Roland Maule. The name is apropos to the character because there are times you feel Joel, as Roland, is going to leap on Garry and maul him. I have seen many plays with crazed actor roles, but I have never seen anyone play a tortured and crazed soul as Joel does. His fanatical, and grandiose obsession with Garry, while, well - crazy - is also funny to watch. He will make you laugh with his antics. Joel is that good. Watch him especially in the second act as he adds to the character with gestures that are truly eerie, yet funny. His may be a smaller part, but Joel makes the role stand out.
The last I will mention are Garry's stalwart and trusty secretary, Monica, and loyal friends, Morris and Hugo. These characters are played by Kim Winnubst, Eddy Herring and Brian Hoffman. Kim brings a motherness to her role that Garry seems to need, yet she also plays Monica as blunt, honest and patient. Eddy and Brian bring the emotional brooding and indulgence and the betrayal and irateness to these two businessmen characters, yet Morris also shows true remorse in his later "confession". These actors show the loyalty and devotion to Garry that he relies on.
I am not much of a person who bursts out with laughter. Mine is more quiet, but this play had me laughing out loud many times. I enjoyed it and had a great evening of fun and relaxation. You will too. Don't miss Present Laughter.

Drop Dead
Murder Mystery Comedy By Billy Van Zandt, Jane Milmore
Review for Drop Dead, Richardson Theatre Centre (dallastheatrejournal.blogspot.com)

Review for Drop Dead by Christopher Soden, Sharp Critic

Blithe Spirit
Comedy By Noël Coward

A PATRON SPOTLIGHT REVIEW BY David Kelton, lawyer, actor, patron and RTC family member.
I had the pleasure of attending a dress rehearsal of Richardson Theatre Centre’s upcoming offering of Noel Coward’s Blithe Spirit. This show has been done a number of times around the Dallas-Fort Worth metro area but RTC’s production is fresh, lively and simply a lot of fun. The set is perfectly suited to the time period. The lighting, music and staging add to this classic show. Noel Coward didn’t do any of the actors a favor with the amount of dialogue each must master. But the fact that this well cast group of talented actors handled the lines beautifully is an acknowledgement of their acting chops. Robert San Juan as Charles Condomine, is terribly good. The timbre of his voice, his physical comedic affectations of fear, anxiety and social mannerisms all blend perfectly in creating a multilayered astral bigamist. Carol Rice as Ruth Condomine, the loving but straight-laced mate of Charles has created a nice foil to Charles’ personality. Honestly, what wife could contend with the physical manifestation of a fun loving, attractive (but dead) annoying first wife? Carol’s character cleverly combines that disappointment, disbelief and frustration. Then enters Blair Taylor as Elvira (the first Mrs. Condomine) interestingly with lights and magically opening doors. She plays the impish, troublemaking first wife beautifully. One can only hope that Elvira ultimately gets her just deserts. Any review of this play would be woefully lacking without giving recognition to Lorna Woodford, as the eccentric clairvoyant, Madame Arcati. Woodfrod’s Arcati is divinely crazy. Her mannerisms and outlandish pronouncements are wonderful. Dr. and Mrs. Bradman (Anthony Magee and Michelle Goltzman, respectively) and Edith (Leigh Moore) round out this splendid cast. Magee and Goltzman were the perfect society couple and enjoyed many comedic moments throughout. Moore created a delightful, quirky personality in a role that would have been less but for Moore’s work. The play is set in England and the cast was asked to assume English accents but for one, a Scottish brogue by Magee (a stretch as he was ripped from the womb of Glasgow at a tender age and moved to London). All acquitted themselves well with the accents … at least to this Texas boy. Yep, sounded British to me. Rachael Lindley creatively has put together a great cast and a well-directed show. I enjoyed the evening thoroughly and imagine that most of RTC’s patrons will also enjoy the show. For tickets call the theater at 972-699-1130.

A PATRON SPOTLIGHT REVIEW BY Elizabeth Goldman, patron, actor, and RTC family
Blithe Spirit, by Noel Coward, is a delightful romp around a spiritualist medium, a husband and his two wives, one who has passed over, and one very much alive.
The husband, Charles Condomine, is an author who gets more than he has bargained for when he invites the medium, Madame Arcati, over to a dinner party because he wants to get some material for a new book he is writing. Despite the skepticism of all present, his ex-wife, Elvira, is conjured up and only Charles can see or hear her which leads to some fun and trouble with the current Mrs. Condomine. Elvira turns out to have an ulterior motive, but she has the current wife to contend with, who is a step ahead of her in some ways.
Rachael Lindley has cast this show with actors that really fit their characters. Robert San Juan plays Charles, the author husband. He is delightful in his role, both charming in his husband role and bewildered and confused when the first wife shows up (as he is quite skeptical of mediumship spiritualism). Charles is complemented by some sparkling conversations complete with witty aphorisms with his current wife, Ruth Condomine, played by Carol M. Rice. Dr. and Mrs. Bradford, played by Anthony Magee and Michelle Goltzman, round out the dinner party. Dr. Bradford isn't certain he will be able to contain his composure when the medium is present as he is highly skeptical as well, and believes all mediums are "faking it." His enthusiastic (and a bit dotty) wife is excited to be a part of the night’s entertainment. I especially like one scene later in the show where Elvira "messes with her" and Michelle plays that dottiness to a "T".
The first wife, the ethereal Elvira, played by Blair Taylor, oozes just the right amount of humor and sexiness in her role and is having a great time until she is finally confronted by some of her misdeeds.
The two characters that you can't miss due to their humorous escapades or antics are Lorna Woodford as Madame Arcati, the medium, and Leigh Wyatt Moore as Edith, the maid to the Condomine couple. These two actors are a hoot! Madame Arcati is an earnest, but quirky and bumbling medium, who is larger than life. The actress obviously enjoys playing this role and is very good at falling into her own trances literally. Edith is the exuberant maid who tries, but seems unable, to please Mrs. Condomine, especially in the pacing of her duties. Leigh plays Edith with some great physical antics, and her demeanor in trying to please the lady of the house will keep you in stitches.
Like I mentioned before, Rachael Lindley has done a great job in casting this show, not to mention her directing. She goes for laughs and they are there. Don't miss this show. RTC productions like this are always great fun and present honest escapism ...and isn't that all what we need during current times! ENJOY!

The Curious Savage
Comedy By John Patrick

A PATRON SPOTLIGHT REVIEW BY Glynda Welch. Glynda is talented actress, patron and friend of RTC.
I was thrilled to be back in a theater auditorium last night. I was eager to see Richardson Theatre Center take on one of my old favorites, and they did not disappoint. Rachael Lindley, Deborah Little Key, Karen Jordan, Budd Mahan, Samantha Potrykus and all the cast and crew, it was great to see you in action
The Curious Savage by John Patrick is an American theater classic where the bad guys get their comeuppance and the good guys win. Angst, laughter, and pearls of wisdom intermingle in this lovely little comedy. Richardson Theatre Center’s decision to stage The Curious Savage just as theater is returning to our lives is a special gift. In Director Rachael Lindley’s capable hands, the characters are allowed to be quirky but never venture into caricatures. That is the starting point of the show’s success.
Karen Jordan leads the cast as Ethel P. Savage, a widow who has decided to circle back and follow her dreams after the loss of her husband. Jordan imbues the flamboyant Mrs. Savage with passion and wit and tenderness. The antagonists in this gem are Mrs. Savage’s adult stepchildren. Senator Titus Savage (David Kelton), Lilly Belle Savage (Elise Whitmire), and Judge Samuel Savage (Jordan Pokladnik) commit their stepmother in a bid to take control of her sizeable inheritance from their father. Kelton’s senator is so delightfully oily; I checked his bio to see if he was a lawyer in real life. Whitmire is the mean girl we all love to hate. Pokladnik manages to garner a moment or two of sympathy for his character as the youngest Savage who just can’t make his decisions stick.
The residents and staff of The Cloisters are essential to our understanding of Mrs. Savage, and to resolving her family problems. This ensemble cast is wonderful. Deborah Key’s Fairy May strikes all the right notes. Every moment she is onstage is filled with wonder and delight. Samantha Potrykus as Miss Wilhelmina radiates serenity and poise. Tony Magee’s Hannibal is a study in comic timing, especially in his reactions to Fairy May. Maxine Frauenheim does a masterful job of connecting Florence’s maternity and childishness to create this complex character. Budd Mahan as Dr. Emmett is the insightful, understanding, compassionate physician we all wish we had. Quinn Angell (Jeffrey) and Kelly Lawrence (Mrs. Paddy) give us many of our moments of angst, but also leave us with great tenderness.
Kyle Chin’s set design is so flawless, you forget you’re looking at a set instead of visiting The Cloisters. Richard Stephens Sr. sets the mood with his excellent (as usual) sound design. Lighting Designer Mark Hutchins makes an impressive debut with RTC. Rounding out the excellent crew are Rusty Harding (props) and Russell Sims (backstage grip).

A PATRON SPOTLIGHT REVIEW BY Elizabeth Libby Paul Goldman, long time patron and friend of RTC.
I have always loved theatre, going to NYC to Broadway plays, The Dallas AT&T series, etc., but my heart has always been with community theatre. I love it because it provides a more intimate experience, making me feel an intimate viewer to the action just a few feet in front of me. Richardson Theatre Centre has really provided that intimacy with their current production of The Curious Savage. Without giving anything away, the plot is fun with some mystery, and the characters in this play are delightful, deceitful, and sweetly innocent. There is depth to each and every character that you get to discover as the play progresses.
I had not ever seen this play before and it has now become an all-time favorite. Each actor, in my opinion, is perfectly cast for the character they play. Karen Jordan, as Ethel P. Savage, plays the lead stunningly with all the nuances the character imbues. Her costuming is well coordinated even down to the color of her hair. Deborah Key plays Fairy May, and is delightful in this role. It seems as though it was written just for her. Again, the costuming for her character is spot on. I wish I could mention every actor as they ALL do a wonderful transformation into their characters and provide insight into their roles. The show is funny and touching. I laughed, and I also discovered I had deep feelings for the characters. This is an accolade to the wonderful acting by these very talented actors. You do not want to miss this show.

Funny Money
Comedy By Ray Cooney

Review IN THE NEWS REPORT News & Views By Carl Youngberg The plot is simple. A businessman leaves his briefcase in a pub and when he returns, someone else has picked it up and leaves theirs. No problem till he opens the case and discovers a huge amount of money. I mean, what would you do??

Review by Sharp Critic Christopher Soden : RTC’s whirlwind farce: Funny Money

A PATRON SPOTLIGHT REVIEW by actor Charles Alan Alexander! Great casts and directors inspire great audiences. There may be crickets chirping somewhere in the Dallas area but there certainly weren't any at RTC's Sunday matinee. The pacing and the gags were one of a kind. As I told the Director, there is a marked difference between English and American comedy and this cast nailed it. Before I knew it, the two hours were up and the houselights on. My kind of show. Before I forget, kudos to the crew and volunteers who make a good show even better.

A PATRON SPOTLIGHT REVIEW by actor David Kelton… If you like live theater and British farce, I highly recommend Richardson Theatre Centre’s current production of Funny Money. Fast paced … no … frenetically paced, “who’s on first” comedy that will have you exhausted if you invest in the nonsense as did I. Loads of lines for the talented cast to remember and all did, pretty much flawlessly. Aside from the show, but helpful in the overall theater experience, are the many physical changes to the theater from the improvements to the performance space and lighting to the finishing touches to the lobby. Lots and lots and more lots of time and effort have been put into making the patrons’ experience enjoyable.

A PATRON SPOTLIGHT REVIEW from actor Joe Barr.
Last Friday night, I had the privilege to watch Richardson Theatre Centre’s premiere show of Funny Money for their COVID re-opening. RTC is open and ready for in person theatre! YES!!!!
Before I get to the actors and direction, I should share that have worked as an actor at this theatre and been a patron several times. My first impressions when I walked in was “WOW!” During the dark period of COVID, RTC took the time to give the space a refresh. In large part due to Leigh Wyatt Moore and Eddy Herring and several other friends of the theatre; the theatre looks fantastic. Both in the lobby area, featuring a brand new “coffee and water” bar, the theatre itself with an all-new ceiling and lighting system and yes, even backstage. I got a tour after the show, and I was blown away! A sitting area for the cast and plenty of space for the actors to get into costume. Even the workshop got a refresh. A huge nod to Kyle Chinn for his efforts backstage.
Okay, back to the show! Director Janette Oswald assembled a stellar cast and her direction of this cast was in fact “stellar!” She appears to expertly leverage each actor’s strengths to deliver the playwright’s intention and has extracted every single bit of the comedy that the play allows. A heartfelt “bow” of respect to Ms. Oswald as her directing expertise is on full display with this production.
I won’t get into details about any of story line because it is truly a blast for the audience to experience. I mean, I was expecting to be entertained with this cast and I was. 100% fully entertained. This powerhouse cast of actors was bound to deliver. And deliver they did! Laura Jennings opens the show as Mrs. Perkins and always delivers a fully rounded, believable, and authentic character full of expression and physical comedy! Next up, Brian Hoffman jumps into the stage light. What impressed me the most while I watched Mr. Hoffman deliver his performance was that his energy never wavered. Mr. Hoffman has the lead part in this show and he was “ON” from the first second on stage and drove it with the same intensity, coupled with fantastic comedic delivery, until the end. My hat’s off to Mr. Hoffman as this was no easy feat. Next to arrive and add to the hilarity are Kathleen Vaught and Audie Preston as Mr. and Mrs. Vic and Betty Johnson. Both actors are seasoned comedic performers and played across from one another and the rest of the cast with ease. Ms. Vaught handles all of the augmentation that she brings to the character seamlessly and is a joy to watch as her character gets ensnared in the plot. Mr. Preston, as expected, lands his lines in conjunction with his well-placed and hysterical facial expressions as Mr. Perkin’s best friend. He never disappoints. Both actors interplay exceptionally well and had me laughing out loud several times throughout the performance.
Next to arrive on the scene is Mr. Anthony Magee as Davenport. Having worked with Mr. Magee during the RTC Radio Series “Theatre of the Mind”, I wasn’t quite sure what to expect from Mr. Magee for his onstage performance. I should have known that he was going to knock his performance out of the park, and he did. It was a Grand Slam! A deep hit out of the ballpark Grand Slam. Mr. Magee has several scenes that he plays “straight” to augment the other performers and then when it is his time to shine, he lands the comedy beautifully. This show features Mr. Martin Mussey as Bill. Playing the surly cab driver, Mr. Mussey has struck an appropriate balance between “professional driver” and “fussy cab” driver and had several bits of hysterical antics. Further, Mr. Mussey’s “non-verbal” and “silent” comedy drove me into a fit of hysterics. I had to make a concerted effort to pull myself back together. Tears were running down my face, and I may...just may have chortled. Adding to the story line is Slater played by Mr. Russell Sims. Every show has the straight-laced character that all of the others actors get an opportunity for their comedy to “bounce” off. However, without a skilled actor in the position of the “straight”, the comedy falls flat. It simply doesn’t work. That said, Mr. Sims, as expected, executes an outstanding performance. His facial expressions seal the deal with this character and helps drive extra tension once he arrives on the scene. And lastly and never to be ignored or minimized is the comedy genius of Mr. Ted Strahan as the “Passerby”. Mr. Strahan plays a smaller role in this play but a pivotal one. And while his stage time is limited, he wastes no time adding massive comedy to the show in partnership with his fellow actors.
While there are hundreds, thousands of shows that are produced globally, I’m sure that the casts are awesome, the shows are great and the performances outstanding. But occasionally, audiences witness a show; a group of actors and director that were “meant to be”. Any change of directing choices, the actors or their performances would have still rendered a great show but it wouldn’t have been a “Perfect Show”. And that is exactly what was on display opening night of Funny Money. A Perfect Show. Do yourself a favor and escape reality for two hours at RTC’s production of Funny Money. You will laugh until your sides hurt. My sides are still tender days later.
Get your tickets and enjoy! Joe Barr

Barefoot In The Park
Romantic Comedy By Neil Simon
Review By Rusty Harding, author, actor, playwright and engineer
Richardson Theatre Centre just kicked off its 2020 season, and – if opening night is any indication – it’s going to be absolutely stellar! Artistic director Rachael Lindley has opted to switch from her usual deft blend of comedy/drama/mystery to an entire season of comedy, starting off with Neil Simon’s quirky perennial, Barefoot In the Park. Lindley has even chosen to forego the director’s spot for this one, stepping back into a (very) rare – but absolutely brilliant – turn as actor for this particular show. Simon’s iconic play, while not as popular as it once was – and admittedly starting to show its age – is still capable of evoking hilarity, and this production is no exception. In the (more than capable) hands of director Leigh Wyatt Moore, what could have been just a routine collection of chuckles and grins turns into a sidesplitting romp. Moore has inherited Lindley’s keen eye for ensemble casting, putting together an exceptionally talented crew – both on and off stage – to make her presentation a standout.
Madyson Greenwood plays the lead character, Corie Bratter, a pert, happy-go-lucky newlywed, who has just moved into an (impossibly small) New York apartment, gleefully looking forward to starting her new life with “stuffed-shirt” lawyer husband, Paul (Jake Shanahan). The character’s role calls for an actress capable of running an emotional marathon; from wide-eyed eagerness to heartbroken fury, and Greenwood more than delivers. A veteran of numerous local productions, she is superb at adding just the right subtle textures to her characters to bring them to believable life. Corie Bratter is no exception, and Greenwood makes her a delight to watch.
Jake Shanahan is perfect as Paul Bratter. Tall, handsome, confident; he genuinely looks the part of a lawyer, but his comic timing is impeccable. Shanahan is the perfect foil to Corie’s happy-go-lucky attitude, injecting a sense of practicality to her impossibly cheerful optimism, and delivering his lines with exactly the right sarcasm and irony that Simon intended. Their scenes together are funny, poignant, and genuinely believable.
Rachael Lindley plays Mrs. Banks; Corie’s clingy mother, and she quite literally steals the show. Lindley’s performance had me almost crying with laughter. Her New York accent was virtually flawless, as was her sense of physical timing. The role calls for a great deal of physical movement and reaction – the never-seen apartment stairs are prominent – and Lindley more than makes the most of it. Her scenes with Paul and Corie are hilarious, but her interaction with the Bratter’s eccentric upstairs neighbor are an absolute standout. I can’t understand why she doesn’t do more acting, because she’s truly a gem.
Robert San Juan portrays Victor Velasco, the Bratter’s “attic” resident who defies definition. Part lothario, part playboy, part deadbeat; Velasco injects himself into Paul and Corie’s lives – and apartment – without restraint, and completely changes their lives. It’s obvious that San Juan is having the time of his life, portraying the character with a gleeful and infectious bravado that’s impossible to resist. More than once I noticed everyone in the audience grinning broadly whenever he was on stage, and his scenes with Lindley’s character brought down the house.
Rounding out the cast are Richard Stephens Sr. – as the hapless telephone repairman nearly killed by the stairs (“five flights unless you count the stoop”) – and Danny Gallagher as an equally cardio-challenged delivery man. Moore’s direction has made both of them genuine standouts, in what might otherwise be considered “throwaway” roles. Stephens is also responsible for the play’s sound design, which – as usual – includes the perfect pre- and post-show soundtrack; a perfect collection of 60’s hits which actually had people in the audience – including myself – singing along. Eddy Herring and Kyle Chinn designed and built the set, which truly evoked a cramped, claustrophobic flat of a 60’s New York brownstone. Courtney Walsh lent her myriad talents to the costuming --- a special kudos to “Mrs. Banks” outrageous ensembles – and Penny Elaine did a stellar job of stage managing and running the lights/sound (which were superbly staged by Wyatt Moore). Sky Cohen and the entire crew did a great job of scene transitions, especially when it came to – literally – furnishing the apartment between acts.
Bravo to all! Barefoot in the Park is running now through February 23 at the Richardson Theatre Centre, 518 W. Arapaho in Richardson, TX. Showtimes are 7:30 pm on Thursdays, 8:00 pm on Friday and Saturday, and 2:00 pm on Sunday. For tickets, call the theater box office at 972-699-1130 (option # 1), and I suggest you do it immediately, because – as I said earlier – if this show is any indication, the 2020 season is going to be GREAT!

Jeri Tellez-Associate Theater Critic, Associate Theater Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/02-12-2020_BAREFOOT-IN-THE-PARK/?fbclid=IwAR0d63zVlRqIOoJso0JMdU5XoTVGh5ItCgMf6stqx9WSK5OAxOXTJRTUgn8

A Chistmas Story
By Philip Grecian

Rusty Harding: playwright, actor, theatre patron
One thing that’s always puzzled me is this current trend of writers turning mainstream movies into stage plays. As I playwright, I can fully understand the opposite; a play has limited exposure, and you want it to be seen by as many as possible. But to take a movie and then scale it down for smaller audiences? The only reason this could possibly work is if the plot is truly entertaining. And that’s definitely the case with Philip Grecian’s stage adaption of the 1983 Bob Clark film, A Christmas Story, now running at Richardson Theatre Centre.
Let’s face it; unless you’ve been on a desert island or lost in the Australian Outback for the past 36 years, you’ve seen the movie. It’s run religiously – and continuously – on cable TV every Christmas season. We’re all familiar with the story of Ralphie Parker, the precocious 9-year old from 1940’s Indiana, whose one and only wish for Christmas is “an official Red Ryder, carbine action, 200-shot, range model air rifle, with a compass and this thing that tells time built right in the stock!” (Get used to that line – you’ll hear it a lot!) But, standing in his way is the insurmountable bane of all BB gun aspirers: “you’ll shoot your eye out!”. What follows in Grecian’s story – as with humorist Jean Shepard’s original plot from the film – is poor Ralphie’s attempt to overcome this irrational BB gun prejudice and win the treasured prize for himself.
Once again, RTC’s artistic director, Rachael Lindley, proves she’s the master of ensemble casting. She’s assembled a terrific balance of young and old, and put them together to lovingly recreate the nostalgic charm which – in all honesty – was really what made the film so successful. The set itself – built cleverly by Aiden Wright – is a credibly evocative collage of 1949 Indiana, from the interior of the Parker family home to Ralphie’s schoolroom, as well as a rustic picket fence to simulate the “park”; where the play’s young heroes are frequently targeted by the local bullies.
Matt Fowler plays “grownup” Ralph; a sort of narrator/muse who guides us through the story. He moves throughout the set as the story unfolds, introducing each vignette with a quiet, wistful reminiscence, eagerly – yet still somewhat sadly – recalling days gone by.
Mark Patrick Vasquez plays the hero, Ralphie, and he’s quite a talented young actor. His facial expressions alone speak volumes, especially when many of his scenes involve a reaction to “older Ralph’s” narration. We can feel – and sympathize – with his childhood angst as he patiently plots, connives, and hilariously finagles to win “Ol’ Blue” (as he’s poignantly named his coveted rifle).
Ted Strahan is “the Old Man”; Ralphie’s harried father. Strahan recently took on the incredibly dramatic role of the Foreman in RTC’s “Twelve Angry Men”, but here he’s traded the serious for the silly, and it’s obvious he’s having the time of his life. Oddly enough, his best scenes occur offstage, when he’s fighting with the neighbor’s “smelly hounds” or the family’s notoriously defective furnace. Strahan’s colorful “curses” – his “true medium”, as Ralphie explains – are rendered with side-splitting gusto. And his scenes surrounding his “major award” – an iconic plot point – are absolutely stellar.
Laura Jennings is superb as “the Mother”. It’s also obvious that she’s enjoying her role, and she plays off of Strahan perfectly. Their scenes together – especially when they spar over the Old Man’s dubious “award” – are timed to comic perfection. Kudos, Laura!
Penny Elaine plays Ralphie’s teacher, Miss Shields. Her role is somewhat minor, but extremely pivotal, as she inadvertently becomes one of Ralphie’s key elements in his quest for “Ol’ Blue”. Their “fantasy” scene together, in which Ralphie imagines winning her high praise for a homework assignment, is genuinely hilarious.
Caleb Lucas is “Randy”, Ralphie’s little brother, and he’s a very impressive young actor. While his role and dialogue are relatively minimal, he’s still a significant presence. A lot of the play’s sight gags revolve around his character, such as a “paralyzing” snow suit and a perpetual need to go to the bathroom (which has highly disastrous results during a visit to Santa). And he very nearly steals the entire show, simply by eating oatmeal – a scene which truly has to be seen to be fully appreciated!
Rounding out the stellar cast are Ralphie’s childhood friends: “Flick”, played skillfully by Thomas Breda; “Shwartz”, an equally talented Tanner Chinn; “Helen” and “Esther Jane”, dual roles superbly interchanged by Madher Debela and Kendall Grace Kepner; Olivia Fowler as one of the local bullies; and Bella Chinn as “Scut Farcas”, Ralphie’s evil “yellow-eyed” nemesis, who ultimately bears the brunt of Ralphie’s pent-up emotions over the possibility of losing “Ol’ Blue”. All of these young actors do an extremely outstanding job.
As usual, Richard Stephens Sr. has provided the perfect soundtrack; skillfully weaving holiday and/or period music that perfectly complements each scene. Penny Elaine did a superb job with recreating the period costuming. Wyatt Moore’s lighting adds just the right ambiance, and Robert Sims neatly ties everything together as the sound/light technician.
Everything from the movie is here in the play; from the music to the nostalgia - and even the Wizard of Oz homage! This is one of the few films I can definitely understand transitioning to the stage. It’s light, it’s sweet, and it’s fun. Go and experience the fun for yourself, as A Christmas Story is playing now through December 22nd at Richardson Theatre Centre; 7:30 pm on Thursdays, 8:00 pm on Saturday & Sunday, and 2:00 pm Sunday matinees. Oh, and don’t shoot your eye out…!

Little Shop of Horrors
Sci-fi Horror Musical Music by Alan Menken; Lyrics by Howard Ashman
Based on the film by Roger Corman with screenplay by Charles Griffith
Genevieve Croft- Associate Critic for John Garcia's THE COLUMN Review of Little Shop of Horrors

The Foreigner
By Larry Shue

Reviewed by Jeri Tellez, Associate Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/07-22-2019_THE-FOREIGNER/

Patron Spotlight review from Rusty Harding, playwright, author, actor and co-founder of Lunatic Theatre
Good plays stand the test of time, and good playwrights always leave you wanting more. Larry Shue was one of those playwrights. Shue belongs in the “what might have been” column of theater history — you can’t even imagine what he might have done with the rest of his career if he hadn’t perished in a plane crash in 1985. Having written two hugely popular plays; The Nerd and The Foreigner (both of which are still staples of mainstream theater today), Shue was poised to make his personal Broadway debut on the eve of his death – at the tragically young age of 39. His was a loss of promise; a loss harder to calculate than the value of what has been left behind. But at least what was left behind is the stuff of legend, and laughter.
Richardson Theatre Centre’s production of Shue’s The Foreigner, under Rachael Lindley’s impeccable direction, is nothing short of amazing. The show is played strictly for laughs – of which there are plenty – yet there are powerful moments of drama as well, which gives the show a compelling undercurrent that actually bolsters the humor.
A shy British proofreader, Charlie Baker (played to comic perfection by John Floyd), is brought to rural Georgia for a much-needed getaway. His promiscuous wife has been caught in (yet another) staggering series of affairs. Charlie, a painfully nervous man, is struggling to find his place in life, so he’s brought to America by his best friend, Froggy Lsueur (the very talented Anthony Magee); a British Army bomb expert who trains American soldiers at a nearby military base. When Charlie reveals his anxiety about being left in a fishing lodge full of strangers, Froggy concocts a story that Charlie is an exotic foreigner who doesn’t speak English, in the hopes that everyone will simply leave him alone. But the down-home Southern folk who inhabit the lodge suddenly decide to take it upon themselves to help Charlie learn English and teach him about local culture. At first, Charlie is put off, but once he accidentally overhears a series of conversations – and extremely dark secrets – he realizes he’s stuck.
Rachael Lindley is – without a doubt – the sovereign of ensemble casting. She has the incredible knack of placing just the right actor in just the right role, and always with triumphant effect. The Foreigner is no exception. Betty Meeks (a delightful Deborah Key), is the widowed inn keeper, who’s on the verge of selling the place and giving up on life, but who suddenly finds inspiration in her exotic boarder.
A spoiled young heiress, Catherine Simms (the lovely Courtney Turner) confides in - the seemingly clueless - Charlie her doubts about her impending marriage to Reverend David Lee (a perfectly smarmy Jay Laengrich), while Catherine’s younger brother, Ellard (Gustavo Rodriguez, in a genuinely standout performance), a young man whom everyone considers slow, discovers his unknown “talent” for teaching English
Add to the mix a local redneck xenophobe, Owen Musser (an absolutely impeccable Shawn Patrello), and the stage is set for an evening of unbridled comedy.
John Floyd is stellar as Charlie, the fish-out-of-water Englishman. Much of his comic delivery is in his facial expressions – which run the gamut from pained confusion to gleeful deceit – and his physical movements, which perfectly accentuate his “foreign” language and mannerisms. A scene in which he tells his captivated audience a “story” in his native tongue is absolutely side-splitting.
Anthony Magee shines as Froggy, the military man of the world who knows exactly how to spin his best lines – in a perfect Cockney accent – to the widowed Betty, and who truly wants the best for his good friend, Charlie. Magee’s stage time is somewhat limited, but he makes the most of it in every minute.
Deborah Key is a delightful Betty, a blend of backwoods sweetness and naiveté; eager to serve her guests, but terrified as to what the future may hold for her declining inn. Her baffled interactions with Charlie – the exotic “furriner” – are priceless comedic gems.
Gustavo Rodriguez is remarkable as Ellard, the younger Simms sibling, whom everyone believes is “not all there”. The challenge to this type of role is to keep from stereotyping or belittling, and – under Rachael Lindley’s skilled direction – Rodriguez manages to create an amiable, likable, believable young man who simply needs a chance to find his own talents, which Ellard triumphantly achieves when he decides to “teach” the befuddled Charlie to speak English.
Courtney Turner is Catherine Simms, Betty’s debutant niece, who is staying at Betty’s inn (“in separate rooms!”) with her fiancé, the Reverend David Lee. Turner is genuinely compelling as Catherine; a young woman who finds a much-needed sounding board in Charlie, and who unashamedly tells him her deepest, darkest secrets and fears. Catherine is arguably Shue’s least-developed character, but Turner manages to bring her to believable life.
Jay Laengrich plays the Reverend David Lee (a “distant relative” to Robert E.), who may or may not be as pious and dedicated as he seems. Lee’s stolid, amiable front masks a smarminess that hovers just below the surface, and Laengrich deftly manages to keep the façade intact.
Rounding out the cast is Shawn Patrello as Owen Musser, the county “property inspector”, who is openly – and audibly – xenophobic. Patrello is absolutely outstanding in this role – an obvious redneck stereotype, to be certain – but who plays it to flawless comic effect. Musser, who openly admits his ties to the “Invisible Empire”, makes no bones about his desire to foreclose on Betty’s inn. To him, the hapless Charlie is nothing more than an easy target for his bigoted rants, but he’s completely – and hilariously – unprepared for Charlie’s ripostes. Their scenes together are among the play’s greatest moments.
Jason Dixon and Helena Magee have created a magnificent set. It’s immediately obvious from the rustic wood and subtle colors that you’re in a very welcoming Southern lodge, and you actually seem to feel at home. Being familiar with the script, I was somewhat concerned, because Shue requires a very complex stage mechanism – which many small theaters can’t provide – for the play’s elaborate climax. But Dixon has managed to create a perfect alternative, and Wyatt Moore’s and Richard Stephens, Sr.’s spot-on lighting, sound – and delightfully spooky fog – more than achieve the desired effect Courtney Walsh – in her exceptionable debut as stage manager – keeps the scene transitions seamless, and the entire crew did a fantastic job in creating the costumes and props.
The Foreigner by Larry Shue, and directed by Rachael Lindley, is running July. 19 through August 4, at 7:30 pm on Thursdays, 8 pm on Fridays and Saturdays, and 2 pm on Sundays; at the Richardson Theatre Centre, 518 W. Arapaho Rd, Richardson, TX. (972-699-1130).
If you like to laugh – a lot – you’ll want to see this play. It’s also a great memorial to a talented writer, whose life was cut far too tragically short…

Guess Who's Coming To Dinner
By Todd Kreidler (as adopted from the screenplay by William Rose) Lunatic Theatre Company
http://thecolumnonline.com/review/06-10-2019_GUESS-WHOS-COMING-TO-DINNER?fbclid=IwAR2G8KdMNzALSDOJ5yCWOuPTdQb3xpEKn_8LJcdEOt21I_S6rgL57s6WdTs

PATRON REVIEW
Review By Glynda Welch: Actor, Director, Costumer
There is so much to praise about this production. The play, based on the 1967 film that starred Hepburn, Tracy, & Poitier, is amazingly relevant to our societal struggles today. Gary Anderson & Leigh Wyatt Moore in the Tracy/Hepburn roles gave the strong performances area theater-goers expect. Sean Massey as Dr. Prentice was equally strong, imbuing his character with gentle strength.
Truly special moments were provided by Patricia E. Hill as Tillie, Cheryl Lincoln as Mary Prentice, & Calvin Gabriel as John Prentice Sr. Hill, who has an opportunity to share her rich singing voice in this role, also shares the honesty, love & respect that show that Tillie is part of the Drayton family. Gabriel connects Prentice Sr. with every father torn between pushing & protecting his son. Lincoln is the silent wife on her husband's arm for some time before she speaks, but her beautifully expressive face showed us all her thoughts & emotions before she said a word.
Rounding out the cast were Kennedy O'Kelley as Joanna Drayton, Budd Mahan as Monsignor Ryan & Carol Rice as Hilary St. George. O'Kelley is bubbly as she first arrives home with her new fiance, but builds her strength of will as we watch when they don't get the reception she was so sure they would. Mahan's Monsignor Ryan serves as both comic relief & conscience for Matt Drayton. He moves deftly between his two purposes. Rice, as the manager of Christina Drayton's art gallery, is earnestly irritating in her attempts to solve what she sees as a problem.
Eddy Herring's elegant set, including Kasey Bush's beautiful floors, provided the perfect backdrop for this production.
Kudos to director Rachael Lindley, RTC and Lunatic Theater, & everyone involved in this Texas premiere of Guess Who 's Coming to Dinner. I hope that you will have full houses for your remaining eight performances.

Daddy’s Dyin’ Who’s Got The Will?
Comedy By Del Shores

Patron Review by Rusty Harding
One of the most famous passages from the Bible - "money is the root of all evil" - is also the most famously misquoted. The actual passage, from 1st Timothy 6:10, reads: "the love of money is a root of all kinds of evil." But, regardless of how it's quoted, it still means the very same thing – money brings out the absolute worst in everyone...
That's the premise behind Del Shores' bittersweet comedy, Daddy's Dyin'...Who's Got the Will?, now playing at Richardson Theatre Centre. Shores, a Texas-born playwright, apparently has a penchant for comedies about outrageously dysfunctional Lone Star families (Sordid Lives, Southern Baptist Sissies), and Daddy's Dyin' is no exception. The story takes place in the summer of 1986 in fictional Lowake, Texas, and follows the adventures of the Turnover family. Patriarch Buford Turnover (Budd Mahan) is dying of advanced dementia, and his family has come together to try and settle his affairs. Problem is, Buford has misplaced his will, and it is up to his four children —spinsterish Sara Lee (Debbie Deverich), preacher’s wife Lurlene (Joan Epps), beer-swilling Orville (Fred Patterson), and country singer wannabe Evalita (Penny Elaine) — to find it. The Turnover family is less concerned about Buford’s will, however, and more with bickering amongst themselves about who wronged whom in the past. Sharp-tongued Mamma Wheelis (Fradonna Griffin), Evalita’s hippie boyfriend Harmony (Coby Cathey), and Orville’s long-suffering wife Marlene (Laura Jennings) try their best to keep the peace, but even they cannot stop the family from falling apart at the seams.
Shores’ comedies have a tendency to be crass and extremely irreverent, and can easily degenerate into stereotypical, slapstick redneck farces. But not this production. Director Rachael Lindley excels at keeping everything at just the right pace, weaving perfectly-timed bits of pathos and emotion between the comic barbs. She’s assisted by an incredibly seasoned cast, all of whom have slipped almost effortlessly into their roles.
Debbie Deverich is perfect as Sara Lee, the spinster sister who has constantly lost at love, yet always has an open heart for everyone around her. It has fallen to Sara Lee to take care of her father, after the other Buford children have gone their separate ways, and Deverich brilliantly mixes her character’s altruism with an undercurrent of understandable resentment. Her touching scene with Buford, as well as her hilarious catfight with slutty sister Evalita, are among the play’s best moments.
Joan Epps is Lurlene, the oldest sibling who “found God” and married a preacher. Lurlene’s religious convictions are the subject of numerous comic jabs, and – in the hands of a different actor – the role could easily have become a “Tammy Faye” type of caricature. But Epps’ Lurlene is genuine; a sincerely dedicated woman who lives her faith and tries her best to deal with the dysfunctional chaos around her.
Penny Elaine plays Evalita, the youngest sister, and the proverbial “wild child” of the Turnover clan. She has returned to the family home after divorcing her sixth – or was it seventh? – husband, with plans to become a singer (“a cross between Tammy Wynette and Tina Turner”). She arrives with California hippie boyfriend Harmony in tow, and makes no bones about the fact that she’s only there for Buford’s money. Elaine is a comic genius in these type of roles. Her Evalita is at once a no-holds-barred, in-your-face “white-trash tramp” (as evidenced by her barely-there costume), yet ultimately reveals a quiet, poignant vulnerability that lifts her far above what could have been just a one-dimensional part. Kudos, Penny!
Fred Patterson is Orville, the only male sibling. Orville is – admittedly – Shores’ least-developed character, and really nothing more than a drunken, brutish redneck lout. But Patterson makes the best of the role, infusing Orville with genuine emotion, and even a sense of empathy. He also has a fine singing voice, which is brought to light during the emotional finale.
Fradonna Griffin continues to delight. She is perfect for the character of Mama Wheelis, Buford’s mother-in-law, who has become the de-facto matriarch due to Buford’s illness. Griffin’s Mama is a tiny, feisty fireball of verbally-eviscerating barbs that keep the family in constant, yet obviously puzzled check.
Budd Mahan is Buford, the titled “Daddy” of the play, and he proves – yet again – that he is an actor’s actor. There seems to be nothing impossible for Mahan – he slides into every role he portrays as if he was actually born to it. His Buford is incredible to watch; we laugh at his addled ramblings while he “watches” an imaginary TV show, and yet we genuinely feel his frustration as he struggles to remember what he did with his will. If every actor were as good as Mahan, what a fantastic world the theatre would be!
Coby Cathey plays Harmony Rhodes, the fish-out-of-water Californian whom Evalita has unceremoniously dumped in the middle of the family melodrama. Cathey – a veteran actor with only occasional forays to the stage – brings the hippie, vegan Harmony to believable life with a laid-back sense of humor. Harmony watches the unfolding chaos with a sly grin and a shoulder bag filled with rice cakes and “special cigarettes”. It was easy to see that Cathey was truly enjoying himself, as were all of the actors.
Rounding out the cast – but by no means leastwise – is Laura Jennings as Marlene, Orville’s abused wife. Jennings is a jewel. Her Marlene is spunky and loud – especially in letting everyone know of her weight-loss triumphs – but also subdued, and even a tad mousy, whenever Orville is throwing one of his drunken tirades. Her character makes the most blatant of all the play’s transformations, as she finally comes to terms with Orville’s abuse (with the help of Harmony’s “special cigarettes”). Her scene with Cathey in that respect is absolutely hilarious.
Daddy’s Dyin’ is clearly an ensemble piece – which is director Lindley’s forte – and she’s done a remarkable job of making sure each and every character leaps to entertaining life. The love of money may indeed be a root of all kinds of evil, but – at least in this case – it’s also the root of some side-splitting comedy.
Daddy’s Dyin’...Who’s Got the Will is playing now through May 19 at the Richardson Theatre Centre; 7:30 pm on Thursdays, 8:00 pm Fridays and Saturdays, and 2:00 pm on Sundays.

12 Angry Men
Drama By Reginald Rose

Patron Review by Rusty Harding
Everyone hates jury duty. For anyone who has ever served, you know what I’m talking about. Just the thought of having to drive (for me, anyway) all the way to downtown Dallas, and then sit (sometimes for hours!) in a dull, crowded auditorium makes me physically cringe. And if you do end up getting chosen for a panel, the only thing you can think about is how you can avoid being picked for the actual jury. What “smart-aleck” answer can you give the lawyers that will immediately have them strike you from the list? And then – if you do end up as one of the “chosen few” – all that races through your aching head is how quickly they’ll get it over with so you can go home. You don’t think about the defendant, or the case, or the fact that whatever it is they’re facing could very well change the course of their life.
That’s the subject that’s addressed in 12 Angry Men; the iconic stage play by Reginald Rose, which is currently running at the Richardson Theatre Centre. Twelve total strangers have been thrown together in a hot, stuffy jury room in order to decide the fate of a 16 year-old youth charged with murder. They don’t want to be there, and they’re not shy about saying so. Work, family, even baseball games take precedence, and the sooner they’re done, the better. But what starts as a supposedly open-and-shut deliberation quickly – and emotionally – bogs down, as the specter of reasonable doubt suddenly appears. What follows is an incredible gamut of emotions, as these twelve ordinary strangers face off with their own thoughts, opinions – and especially prejudices.
Director Rachael Lindley is like the finest of wines – her talent only improves with time. She has assembled a cast of some of the finest DFW actors around: Charlie Alexander, Gary Anderson, Michael Baker, Robert Banks, Steve Benzinger, Jacob Catalano, David Kelton, Budd Mahan, Audie Preston, Ted Strahan, Nick Tischer, and Michael Wiseman – all of these guys are among the best the Metroplex has to offer, and it definitely shows. Their chemistry on stage is impeccable. Every character is believably brought to life, and every character – regardless of how much (or how little) they contribute to the script – is crucial to the story. You feel their emotions, you hang on their words, you watch their expressions, you even feel the stuffy, palpable heat of the jury room! And, while the 1957 New York setting is admittedly a little dated, it truly doesn’t matter. What matters is watching as these men – just twelve ordinary Joes – slowly begin to realize why they’re actually there to begin with.
In many respects, the play has a great deal to say about human nature, and our own attitudes toward the civic duty of serving on a jury. It’s a sobering look at how very often our own selfish impatience can cause us to overlook small – but extremely crucial – facts. It made me actually wonder how many innocent people are convicted for crimes they didn’t commit, simply because their jury didn’t want to be there.
12 Angry Men is playing at the Richardson Theatre Centre through April 7; 7:30 pm on Thursday evenings, 8:00 pm Fridays and Saturdays, and 2 pm on Sundays. Do yourself a huge favor and see this play. It will definitely make you stop and think, especially the next time that summons arrives in the mail…

The Cemetery Club
Reviewed by Stacey Upton, Associate Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/02-04-2019_THE-CEMETERY-CLUB/?fbclid=IwAR1d0DANQ9XPA3xUdHIvrWoZZJdcS99aaFbNnj5g5yQZ_BvQXw7iIor4nE4

Patron Spotlight Review from Rusty Harding: Author, Playwright, Actor and co-founder of Lunatic Theatre Company.
There are two possible responses to life’s unsolicited choices; you can enjoy something immensely, but then reach a point where you’ve had enough. And isn’t it wonderful to be so content? Or, you can stay hungry and enthusiastic. And isn’t it wonderful to keep wanting more? When this distinction arises in the Richardson Theatre Centre’s current production of The Cemetery Club, the three main characters are deciding on another glass of wine, but their choices parallel a much larger theme – how we face the reality of growing old. Can we enjoy the feeling of having enough, or should we continue to seek something new?
Ida, Doris, and Lucille have known each other for years. Now that they’ve all reached widowhood, they make a monthly trip to the cemetery to visit their late husbands’ graves. This social ritual connects them, but also invites wisecracks about how each is handling moving on, and what it means to want more.
Doris (Karen Jordan) is the definition of contentment. Her husband’s memory is more than enough for her, and she channels her energy into indignation about the cemetery’s lousy upkeep. She also focuses a share of it on Lucille (Sue Goodner), whose swaggering accounts of her success on the geriatric dating scene scandalize Doris. Lucille hunts for clothing bargains and men with equal gusto and considers all of it invigorating payback for her deceased husband’s infidelity.
Ida (Deborah Key) is seemingly as frozen in time as Doris, but she slowly begins to wonder if it might finally be time to say good-bye to the monthly cemetery visit and leave room for “the next chapter.” Sam (Budd Mahan), the neighborhood butcher, coins that phrase to describe his own efforts to get over the loss of his wife. To Lucille, this eligible bachelor is a possible conquest. To Doris, he’s a scoundrel on the prowl and can’t be trusted. To Ida, he might be the man she’s ready to let into her life.
Director Leigh Wyatt Moore has assembled an incredible ensemble cast, and their chemistry – along with Moore’s brisk pacing –keeps the audience laughing.
Deborah Key’s performance as Ida gives the play its soul. She seems to have mastered the ability to listen onstage — and that’s no small accomplishment. Engaged in what’s taking place around her, she not only superbly portrays her character, but gives the others a foundation for their own work. The story calls for Ida to choose between Lucille’s manhunt style and Doris’ noble withering away. Ida seeks a life-affirming path down the middle, but to get there she’ll have to revisit all the turmoil and anxiety of dating. Key captures Ida’s schoolgirl panic as she frets about her makeup, then turns on a dime to immerse herself in a mature woman’s disappointment.
Jordan plays the stoic Doris to perfection. She’s chosen her path to whatever remains in her life, and she’s perfectly content to focus her energy on visiting her beloved husband, even if it’s only to clear away the dead ivy around his headstone. Her angst is seemingly genuine, and you may find yourself blinking back tears as she muses poignantly over his grave.
Sue Goodner plays the incorrigible Lucille with unreserved zeal. Arguably the funniest of the trio, Goodner romps through comic poses while unleashing the play’s main reservoir of wit. Her Lucille is a fireball of droll – and sometimes saucy – one-liners and double entendres; unabashedly willing to shock and scandalize her two friends with hilarious tales of her “social” conquests. She’s 70 going on 21, and proud of it! Budd Mahan plays Sam, the local butcher who is also widowed, and who also visits the local cemetery at the same time as the ladies. Mahan is an acting chameleon; literally able to fully transform into whatever character he portrays. His Sam is superb; a mixture of shyness, angst, and anxiety, yet eager enough to make a stab at finding new hope – and new love.
Nancy Lamb makes the most of her small role as Mildred, a (slightly) less reserved copy of Lucille. She’s the interloper; awkwardly appearing at the least opportune time – especially for Ida. Lamb’s performance is bold enough to shake the three friends from complacency, and has just enough depth to elevate her own character from a mere plot point.
Under less skillful direction, the play could be nothing more than a series of comic one-liners, but Leigh Wyatt Moore has wisely chosen to allow her actors to find their own comfortable niche with each character, and her pacing is just brisk enough to keep the action sustained and engaging. The only flaw – if it could even be called that – is the time lag of the frequent stage transitions from Ida’s house to the “cemetery”. But it’s handled quite skillfully by the backstage crew, and doesn’t detract from the overall performance.
Moore also designed the set – along with Greg Phillips – and it’s a beautiful collage of 1980’s Queens (where the play is set). Quiet pastel colors, along with plenty of photos, knickknacks, and even a piano, swiftly evokes class and period. You’ll definitely think you’re visiting a Jewish grandmother.
Glynda Welch’s costumes are perfect for the characters; well in keeping with both age and time period. Richard Stephens Sr.’s sound design is – once again – impeccable; a terrific blend of pop classics from the forties onward. Wyatt Moore proves yet again that he’s becoming a skillful lighting technician, especially in the “graveyard” scenes, when each headstone is individually and realistically isolated. Kudos to everyone involved in the play, including the (always) “unsung” backstage heroes who keep things organized and moving; Penny Elaine, Jay Epps, and Becky Byrley.
The Cemetery Club by Ivan Menchell, directed by Leigh Wyatt Moore, and produced by Rachael Lindley, is running Feb. 1st through the 17th, at 7 p.m. on Thursdays, 8 p.m. on Fridays and Saturdays, and 2 p.m. on Sundays; at the Richardson Theatre Centre, 518 W. Arapaho Rd, Richardson, TX. (972-699-1130). Take my advice and see this play before it ends. I promise you won’t regret it…

The Games Afoot or Holmes for the Holidays
A Patron Review by Rusty Harding
Little-known factoid regarding Ken Ludwig’s comic farce, “The Game’s Afoot (or Holmes for the Holidays)”: the play’s main protagonist, William Gillette, was a real person, who was a real actor, and whose most famous stage persona was – surprise, surprise! – Sherlock Holmes. In fact, Gillette’s portrayal of Arthur Conan Doyle’s famous detective – trench coat, meerschaum pipe, and signature deerstalker cap – quite literally “set the stage” for generations of stage and screen actors for years to come. Gillette was so successful in the role that he was able to build a palatial estate in his native Connecticut, which still stands to this day.
All of these elements are part of the Richardson Theatre Centre’s current production of “Game’s Afoot”, and they enhance the play’s zany, witty, and quirky components quite nicely. Under Rachael Lindley’s skilled direction – coupled with Gena and Lamar Graham’s outstanding and interactive set! – the stage is set for an incredibly entertaining evening.
The year is 1936. An unknown assailant shoots Gillette (CHUCK MOORE) during the curtain call of his last performance before the Christmas break. Fortunately, his injury is not serious, and he proceeds with his plans to celebrate the holidays with his fellow actors. Gillette invites them to his recently constructed castle on the Connecticut River, which is filled “state of the art” 1930’s technology, including an intercom, recording system, and even a hidden room (kudos to Gena and Lamar!). Also in residence is Gillette’s sweet but rather ditsy mother, Martha (SUE GOODNER). Gillette’s intent is twofold; to share the holiday with his fellow actors – the newly married young lovers, Aggie Wheeler (LINDSAY HUMPHRIES) and Simon Bright (NATHAN ISRAELSON) – along with stage veterans Felix Geisel (PATRICK VINCENT), and his wife, Madge (ISABELLE CULPEPPER). But the real motive behind the festive gathering is to see whether Gillette can discover just who might have made the attempt on his life.
No one is happy when a surprise guest arrives, in the form of the acid-tongued New York critic, Daria Chase (PENNY ELAINE), who has slammed every one of the actors at least once in her reviews. I wasn’t quite sure why there was thunder during a winter snowstorm (although I suppose it does happen), but the sound effects created a terrific ambiance, especially when a séance is conducted, and (very uncomfortable) secrets suddenly unfold. It’s not too long afterwards before the inevitable occurs – the murder of one of the guests. That’s when the mystery – along with the outrageous comedy – really kicks into gear.
As Gillette and Felix frantically try to hide the evidence – and the body – the police suddenly arrive, in the form of a quite clueless female detective, Inspector Ghoring (LORNA WOODFORD), whose investigative skills seem to be more inclined to finding food, rather than clues.
This is obviously a difficult play to direct, but Ms Lindley – as always – is up to the task. Her actors move briskly and skillfully, especially during – what have to be! -- challenging physical routines. The dialogue – rife with Shakespearean quotes and orations – is smooth and effective. There were no flubs – at least that I caught – during the performance, which was a testament to the actors’ skill.
I can’t say enough about Ms. Elaine’s performance. This is a role which she has tackled before, and she is obviously quite at ease with with the character. Her Daria is the perfect blend of evil, petulance, jealousy, and – most importantly – physical dexterity. The script calls for her to be – quite literally! – manhandled. In the hands of a less-skilled actor (or director) – this could have proved disastrous. But Elaine seems to take it all in comfortable stride.
All of the actors were outstanding. Sue Goodner, as Gillette’s wacky mother, was a virtual fireball, made even more so by a bright red wig that defies description. Chuck Moore played his role of Gillette with relish, as did Patrick Vincent. The two of them were quite convincing as old friends and seasoned thespians, complete with blustering egos. Isabelle Culpepper was obviously enjoying her role as Vincent’s put-upon but no-nonsense wife, more than holding her own during their (somewhat) volatile tete-a-tetes. Lindsay Humphries and Nathan Israelson do a splendid turn as the newlyweds who both have dark secrets, and Lorna Woodford almost steals the show as the bumbling, British-accented police inspector. (I’m not quite sure why Ludwig chose to have an English cop in 1930’s Connecticut, but it seems to work quite well).
As I said before, set designers Gena and Lamar Graham did a fantastic job bringing Gillette’s “castle” to life, most notably with the secret room. A big hand also goes to Richard Stephens, Sr., Greg Cotton, Wyatt Moore, Chad Park, Jay Epps, and Niles Winter, for the sounds, lighting, and ambiance that added perfect mood to the mayhem, as well as virtually seamless scene transitions.
Rachael Lindley also takes credit for the costuming, which was superb – especially the beautiful gowns the ladies wore. It truly conveyed a convincing sense of the 1930’s.
Collin Miller is listed as co-director, and this is his first turn as such at RTC. I’m not sure which scene(s) may have been his, but whichever they were, they were done well. Kudos, Collin!
“The Game’s Afoot (or Holmes for the Holidays)” is playing through December 23rd at Richardson Theatre Centre; 7:30 pm on Thursdays, 8:00 pm Fridays and Saturdays, and 2:00 pm Sunday matinees. Make some time during your holiday rush for some mystery and laughs. I promise you’ll have a great time!

The Innocents
A Haunting Melodrama By William Archibald
Review for The Innocents by Rebecca Roberts, Associate Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/10-10-2018_THE-INNOCENTS/

Funny Little Thing Called Love
Comedy By Jones Hope Wooten
Reviewed by Chris Hauge, Associate Critic for John Garcia's THE COLUMN

Harvey
Comedy By Mary Chase

Reviewed by Ann Saucer, Associate Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/07-02-2018_HARVEY/

Review by Carl Youngberg Harvey Comes to Town
What do you do with a six-foot invisible rabbit named “Harvey”?
Well, in the hands of playwright Mary Chase and the Richardson Theatre Centre, you create a comedy with a slight edge about polite society.
As the show begins, Veta is trying to host a society event in their home to move her shallow social climbing daughter Myrtle Mae along the path to find her proper place in local society. They had plotted to keep Veta’s brother Elwood P. Dowd away from the scene of the social climbing, but he arrives anyway. Along with his invisible (to us but not to Elwood) Pooka Rabbit.
Thus, the fun begins. While the entire cast is strong, the focus here is on two standouts. Lise Alexander plays Veta Simmons the sister who may have seen more than she lets on. Her brother Elwood is brought to life by Dan Evers, an Equity member.
Together, they are two opposites drawn together yet unable to connect. Lise has the brittle dowager down pat. Dan Evers goes to town with the Elwood character. He communicates absolute sincerity and openness in all of his behaviors. You like Dan Evers and believe him in this role.
The plot is like watching an approaching car wreck. It starts when Veta tries to get Elwood committed to the local sanitarium for treatment. Through an error, Veta ends up in the hospital therapy bath. It careens from that beginning to a crackerjack conclusion.
It must be noted the growing sophistication of the RTC productions. The set is extremely well executed, and the cast is outfitted in just the right costumes. Lighting and sound are excellent.
But it is the casting that brings this show to life. Rachael Lindley does an outstanding job of casting and directing. Harvey may be invisible, but his presence does much good in the home, the town and even the sanitarium.

Sordid Lives
Comedy By Del Shores

Patron review from Rusty Harding actor and playwright of Fly Babies: Reviewed on Friday, May 18, 2018
Every once in a while, a stage production comes along that leaves you speechless – with laughter! Such is the case with Del Shore’s raunchy, outlandish Texas comedy, Sordid Lives, now playing at Richardson Theatre Centre.
Sordid Lives is comparable to many of the famous Jones/Hope/Wooten farces, in the way it presents the more offbeat and eccentric side of life in small-town Texas. But the distinction ends there, as Shores (who wrote another popular southern comedy, Daddy’s Dyin’. Who’s Got the Will?) isn’t afraid to interject a little more raunch and profanity. (Be warned – this play is definitely not for kids!) And it's no accident that Shores features the perennial hymn, Just As I Am, at a crucial moment in the play. The cult comedy is full of people seeking acceptance as they are, or, more important, struggling to transform into better versions of who they are.
Director Rachael Lindley’s production neatly captures those character-building moments, essential to giving the play its heart. But Lindley doesn't neglect the raucous antics that give the play its laughter. She's ably assisted by a top-notch cast that breathes life into the good (and bad) folk of Winters, Texas. That fine town is the setting for the funeral of Peggy Ingram, who has died in, shall we say, eyebrow-raising circumstances. Uptight daughter Latrelle is scandalized. Gay grandson Ty, miles away in New York, is emotionally conflicted about returning home. Peggy's chain-smoking sister, Sissy, is serving sweet tea and Valium to hysterical friends. And then there's Peggy's son, known as Brother Boy. Or sometimes Loretta Lynn. Or sometimes Tammy Wynette. His homosexuality — and penchant for dressing as his favorite country-music queens — caused Peggy to have him committed to an institution nearly 20 years before. Just your typical Texas family, of course.
Maxine Frauenheim plays Sissy Hickey, a die-hard cigarette smoker who – unfortunately – chose the exact time of her sister’s death to quit smoking. A fact which only adds to her pain (both physical and emotional) as she struggles to deal with her sister’s upcoming funeral. Frauenheim is a jewel, and her comic timing is nearly perfect, especially when she tries to steal a whiff of another person’s coveted cigarette.
Jennifer Valdez is Noleta Nethercott, a close family friend whose philandering husband, G.W. may or may not have been the cause of Peggy’s death. Valdez does an incredible job as the cheated spouse, at first by drowning her outrage and sorrow with generous helpings of funeral casseroles, and then later by joining another character on a drunken crime spree (a la “Thelma and Louise”). Priceless!
Jennifer Stephen Stubbs plays Latrelle Williamson, the older – and far more uptight – of Peggy’s two daughters. It’s fallen to her to be the new matriarch of the family, and her mother’s bizarre passing (in a seedy motel room) doesn’t set well on someone who prides herself as a proper Christian member of Winters society. Nor does it help that her son, Ty, is a gay actor living in New York. Stubbs brings a true sense of righteous indignity to her performance, skillfully mixing anger, confusion, and pathos as she struggles to make sense of the senseless.
Penny Elaine is La Vonda Dupree, Larelle’s younger, rebellious sister. La Vonda has no qualms about expressing who and what the family really is, much to Latrelle’s indignation, even to the point of insisting Peggy be buried in her prized mink stole (despite the 108-degree Texas heat!). Elaine portrays La Vonda with an impish twinkle, gleefully joining friend (and co-lunatic) Noletta on the aforementioned crime spree. She wields a mean shotgun, and isn’t afraid to use it.
David Lambert is Wardell “Bubba” Owens, the owner/proprietor of “Bubba’s Office”, the local watering hole. Wardell was indirectly responsible for having Peggy’s son Brother Boy committed, a fact which still haunts him 20 years later. Lambert is a comic genius, whose skill is in his subtle, deadpan approach to his character, especially in a hilarious barroom scene surrounded by, shall we say, total nitwits. He and a couple of other characters are forced (at gunpoint) to take part in an outlandish striptease. (Be warned, however – the scene is not for the squeamish!)
Trey Albright plays G.W. Nethercott, Noletta’s cheating spouse and disabled Vietnam vet, whose prosthetic wooden legs play a major role in the play’s back story. Albright brilliantly mixes both angst and humor as he struggles to come to terms with his part in Peggy’s demise. Albright actually had to step into the role at the last minute, but it isn’t obvious from his tight, crisp, and genuinely hilarious performance
Steve Benzinger has dual duties, first as Odell Owens, Bubba’s less-than-half-wit brother, and as Reverend Barnes, who officiates at Peggy’s funeral. Benzinger’s Odell is a comic riot, mixing his (very impressive) skills with finger string while telling incredibly boring redneck stories to less-than-enthusiastic companions. His Rev. Barnes is much more straight-laced, but still entertaining, struggling to maintain dignity during a funeral which rapidly goes south.
Elaine Erback is Juanita, the resident barfly at Bubba’s Office. Juanita is, well, I’m not quite sure how to describe her character, other than to say she’s had more than a few too many, and more than far too long. Erback is absolutely precious in this role, portraying Juanita through an oblivious alcoholic haze. It’s obvious she’s having the time of her life.
Doug Fowler portrays Earl “Brother Boy” Ingram, Peggy’s “black sheep” son, who has been locked away in a sanitarium simply for being gay. Fowler’s performance is sheer magic. He finds every hidden depth of Brother Boy; innocent, sheepish, excited, dramatic, apologetic, apoplectic, and funny. OMG, is he funny! His scene in his therapist’s office is one of the most hilarious things I’ve ever witnessed on any stage.
Laura Jennings is Brother Boy’s therapist, Dr. Eve Bolinger, and it’s impossible to tell who’s crazier. To say Bolinger’s therapy is unorthodox is the understatement of the year, not to mention she’s a first-class nymphomaniac. Jennings definitely isn’t afraid to let her raunchy side shine through, and her office “romp” with Brother Boy borders on scandalous. Kudos to both actors – and Lindley’s skilled direction - for keeping things “clean” (and side-splitting!).
Quinn Angell plays Ty Williamson, Latrelle’s estranged son. Ty’s character “segues” many of the scenes, speaking to the audience as his (27th) therapist, in attempt to reconcile his sexuality with an upbringing of denial and shame. He wants to be with his family to say goodbye to grandmother, Peggy, but first he has to dig up courage and emotional reinforcement. Angell is great in the role, playing the part with a quiet – and believable – sense of personal angst. His reconciliation scene with his mother is beautifully done.
Polly Maynard rounds out the cast as Bitsy Mae Harling, the guitar-playing chanteuse at Bubba’s. Like Ty, Harling’s character acts as a transitional pivot, introducing each scene with either an offbeat country song or a perennial Gospel hymn. Maynard plays her own guitar, and she’s extremely talented. Whether she’s singing the eponymous (and slightly profane) Sordid Lives, or the poignant Just As I Am at Peggy’s funeral, she manages to skillfully tie all of the play’s twisted emotions into a neat little bow. Jason Dixon designed the set, and it’s very impressive. I particularly like the revolving transitions between Sissy’s House, Bubba’s Bar, Bolinger’s office, and a funeral parlor; all of which were accomplished in minimal down time.
Richard Stephen’s Jr.’s sound design was an added bonus, with a collection of just the right country selections: Hank Williams, George Jones, Waylon Jennings, and – of course – Tammy Wynette, to keep the atmosphere realistic. Rachael Lindley served as costumer, and – especially in the case of drag queen Brother Boy – outdid herself. Chad Park kept the scenes moving briskly with great lighting and sound, and the entire set crew, including Jay Epps and Brett Byrley, did a terrific job with what were obviously very challenging scene changes. Kudos to all! – I guarantee you’ll have a great time! Bless your heart…

Patron Review by Robyn Mead: Reviewed performance: May 12, 2018
Sordid Lives by Del Shore at Richardson Theatre Centre opens with a splendid and quirky Honkytonk number that perfectly sets the stage for the trip you are about to take to Winter, Texas as a family prepares to bury their mama. But hopefully this will be unlike any funeral you have ever attended! This family must come to grips with the embarrassing details of their matriarch’s death. I won’t tell you how she died. I will leave that tidbit for you to discover on your own! Suffice it to say that this family has all the same struggles as you and me, like what to bury mama in, just on a crazier scale – not to mention all the secrets that have been buried and are about to be revealed!
The moment you are seated the inspired sound design by Richard Stephens, Sr. sets the stage for everything that is going to come your way and his transitional music is spot on and a trip back to some fun southern songs. The set designed by Jason Dixon converts well from honkytonk to funeral home with several other divergent locations in between ablely assisted by the lighting design of Hunter Barnett. The costumes created by Rachael Lindley perfectly define each character with their quirks and kinks. The entire cast from the larger roles to the zany supporting characters completely commit to bringing these stressed out, off beat characters to life. Polly Maynard portrays the former convict turned singer who provides transitional songs throughout the show with adorable, unique style. She even accompanies herself on the guitar.
Maxine Frauenheim creates one of the most difficult roles in this show, Sissy Hickey, because in this world of really wacky characters she must play the straight woman. Jennifer Stephens Stubbs plays the uptight, socially conscience Latrelle Williamson to perfection. Quinn Angell plays her son Ty who has secrets of his own. He leads the audience through his struggles with wit, charm, and an easy style. Penny Elaine shines in the role of the wild sister, LaVonda Dupree. She is everything her sister is not in incredibly high heels. Her partner in crime, Noleta Nethercott is played by Jennifer Valdez with complete conviction. The bar flies portrayed by Steve Benzinger, David Lambert, and Elaine Erback provide laughs that also have a bitter sweet edge to them. Steve Benzinger appears later as another character which he portrayed so well that until I looked at my program later I did not realize was him. Richard Stephens, Jr. brings to life G. W. Nethercott the troubled Vietnam Vet whose disability creates the sad situation that drives the play. Richard plays this twisted man with depth and dark humor. Eve Bolinger is brought to life by Laura Jennings. She creates a perfect repressed, driven, surprising character. And, finally, the character I wished was in the play more, Earl “Brother Boy” Ingram is played with style, humor, sadness, and truth by Doug Fowler.
I will echo the reminder that is on the wall by the box office that this is an adult comedy. It has strong language, adult (sexual) situations. I would not bring children and would leave individuals to decide what age teenagers to bring based on their maturity. The themes are dark, the laughs are plentiful, and the characters are quirky and flawed. Sordid Lives lives up to its title and more!

Lettice and Lovage
Comedy By Paul Shaffer
Reviewed by Chris Hauge, Associate Critic for John Garcia's THE COLUMN
http://thecolumnonline.com/review/03-27-2018_LETTICE-AND-LOVAGE/

Lettice and Lovage
Comedy By Paul Shaffer
Reviewed By Rusty Harding, Patron
"Enlarge! Enliven! Enlighten!"
That’s the battle cry of Lettice Douffet, an eccentric tour guide with (more than) a penchant for the dramatic, in Peter Shaffer's 1987 comedy, Lettice and Lovage. Shaffer, whose previous plays include the (much) darker Equus and Amadeus, wrote “Lettice” as a star vehicle – and a birthday present – for that grand-dame of British theatre, Maggie Smith, and the role would ultimately win her a Tony award in 1990. It’s a challenging play, for both actors and director, and it’s surprising that Richardson Theatre Centre would choose it as part of their season. However, with addictive chemistry from its two leading ladies, and effective use of back-projection scenery by director Rachael Lindley, this production doesn't so much leap off the stage as it does “cascade” – more about that, later – and slowly win you over with its unending spirit.
The play is set in (fairly) contemporary England, and the action takes place in three primary locations: the Grand Hall of Fustian House, Miss Schoen's office at the Preservation Trust, and Miss Douffet's basement apartment. Rachael Lindley has chosen to solve the scenic difficulty of these settings by skillfully employing “back-screen” projections and a minimalist set. It works quite well, and allows for swift scene transitions, which is a welcome addition, given the overall length. (I’m not sure what it is about the Brits, but they seem to truly love three-act plays!)
The story opens as Lettice (Deborah Key), a deeply passionate historical tour guide, discovers that tourists visiting Fustian House, a 16th-century manor “where nothing of note ever happened”, only respond to her narrations when she presents dramatic “embellishments” of historical facts. Attendance picks up dramatically – but so do the complaints – which draws the attention of straight-laced Preservation Trust personnel manager Lotte Schoen (Karen Jordan), who sets out to remove Lettice from her post after listening first-hand to her wildly fanciful recounting of what might (or might not?) have happened on the grand staircase five hundred years before. What follows is very much a two-woman showcase, as Lettice and Lotte slowly begin to discover that the two of them have a great deal more in common than they first realize.
Key and Jordan are two extremely talented actresses, who obviously have a great time working together. Key, who has the unenviable task of filling Dame Maggie’s gifted shoes, does so with both grandness and a touch of fragility. Jordan is a more than capable foil, and her Lotte perfectly captures the frustration and angst of a middle-aged woman trapped in a dead-end career. The two of them share some hilarious scenes, as when they overindulge in Lettice’s “quaff”, a particularly strong homemade beverage (“meant to cascade, not trickle”), and then later when they try to explain to Lettice’s befuddled attorney (played terrifically by Lloyd Webb) how a near-homicide occurred during a reenactment of King Charles I’s execution (executions play a key role in the story, in fact – you’ll just have to see it).
The supporting cast is great, particularly Charlie Alexander, who plays an irascible British tourist – who knows far more about history than Lettice is prepared to accept – and Shashana Pearson – who seems to be channeling Eliza Doolittle – as Lotte's (painfully) timid secretary. Steve Benzinger, Becky Byrley, Elaine Erback, and Chad Park round out the cast in brief – but memorable – scenes as distracted and obnoxious tourists.
Glynda Welch has done a fantastic job with the costumes, especially Lettice’s historical getups. Richard Stephens, Jr. – who was also assistant director – follows in his father’s able footsteps as a top-notch sound guru, and Chris Bertholot’s lighting was – pardon the pun – spot-on. Travis Whitcraft does a fine job with lighting and sound during the scene transitions, and Chuck Moore’s back-screen projections were perfect for setting the scenes. I was amazed to see a very authentic headsman’s sword, executioner’s block, and even medieval chalices as part of the props – kudos to prop master Chad Park!
At three acts – as I said earlier – Shaffer's script is just a tad overlong, which is the only real detriment. As a lighthearted comedy, it could have been pared down quite a bit. But Lindley's skilled direction keeps things moving, and the final denouement is worth the wait.

The Odd Couple
Comedy By Neil Simon
Reviewed by associate critic Carol Rice for John Garcia's The COLUMN online.
http://thecolumnonline.com/review/01-29-2018_THE-ODD-COUPLE/

The Odd Couple
Reviewed by Riley Niksich
I recently went to see Neil Simon’s The Odd Couple at the Richardson Theatre Centre on January 26, 2018. This was RTC’s premiering show for their 2018 season. And what a way to start off a season!!! Opening night and every show since has been sold out. Patrons had to be sent out the door. I even had to sit in the Tech Booth (which had a really good view), since they couldn’t get me a seat anywhere else. Their ticket sales obviously agree with me in saying that this show knocked it out of the park. In the very first scene, Richard Stephens Sr., Rusty Harding, Budd Mahan, and Audie Preston seated around a table playing poker. The set design done by Chris Berthelot was amazing. It is one of the best sets I have ever seen at Richardson Theatre Centre. Anyway, In this scene, their chemistry and comradery clearly play out, and you would think they have been friends for a lifetime. Later in the scene, Joe Barr (Oscar) comes out on stage. Having previously worked with him before, I expected great things and he did not disappoint. He perfectly embodied the laid back Oscar, both in delivery, and physicality. Then came out Eddy Herring (Felix). When I heard he was in the show I immediately knew he was Felix. He did not have to do much to take on this role. As I have been in shows with him before, I was excited to see how he and Joe Barr would work together. They definitely didn’t drop the ball. They had amazing onstage chemistry, and played off each other’s impressive comedic timing. What really surprised me was how much they carried such a talented cast. This wasn’t all I noticed, as Richard Stephens Sr., the Technical Director at RTC had recently helped the theatre put in an all new LED lighting system. I noticed a significant improvement over past shows, and blended with the great set made the experience much better. After seeing this show, I would recommend it to anybody ages 10+ looking for a night of great comedy and great popcorn.

'Twas the Night Before Christmas
Comedy By Ken Ludwig
Reviewed By Rusty Harding, Patron
Rachael Lindley, the Artistic Director of Richardson Theatre Centre, has – among many, of course – an exceptionally unique talent. She can take the offbeat and quirky and somehow make it even more so, and almost always with the most delightful results. While most of the area theaters are performing the standard, ubiquitous holiday fare (A Christmas Carol, The Nutcracker, etc.), Rachael has chosen Ken Ludwig’s (Lend Me A Tenor, Moon Over Buffalo) silly little farce, ‘Twas the Night Before Christmas, as RTC’s seasonal offering for 2017. And it’s an excellent choice, believe me. In and of itself, Ludwig’s (very) short little romp isn’t particularly outstanding – at least in comparison to his other plays – but Rachael has, through skillful direction, a brilliant cast, and an unbelievable set, managed to elevate the mundane to near classic. The play is a somewhat “fractured” retelling of Clement Moore’s timeless holiday poem, but – instead of viewing Christmas Eve through the eyes of the startled pater – we’re treated to a more “behind the scenes” exposé of a dastardly plot to steal Santa’s “Naughty & Nice” list. There’s music, dancing, a “French-farce” sort of stage chase, sword fighting, and even hip-hop. Yes, that’s what I said – hip-hop! You’ll have to see it to believe it – word! Chris Berthelot has built a set that defies description. You’ll see an ordinary, holiday-bedecked living room transform to Santa’s workshop – quite literally – before your very eyes. (Impressive is an understatement – kudos, Chris!). Richard Stephens Sr.’s sound is a delightful addition; a collection of the more offbeat and unknown holiday songs & carols that perfectly compliment the quirky plot. Recently-added LED lighting creates a festive atmosphere, highlighting the chase, dance and (I swear it’s true!) hip-hop numbers. Once again, RTC’s cast is impeccable. Budd Mahan is “Uncle Brierly”, the play’s narrator. Mahan is an actor’s actor; an absolute joy to watch. He has the uncanny ability to slip seamlessly into almost any role, big or small, and elevate it to something memorable. His Uncle Brierly is no exception: quite, dignified, proper, and polite; a perfect storyteller, delivering his tale with a jolly twinkle in his eye. And he’s never fazed, even when confronted by a giant, talking mouse (played to hilarious perfection by Tom McKee). While “Christmas” is only his third performance at RTC, McKee is proving himself more and more to be quite the diverse actor. He actually plays a dual role: “Amos”, the mousy (pun intended) house rodent (yes, the same mouse who isn’t stirring in the house – or is he…?), and his far more courageous twin brother from Kansas, also named “Amos” (short story – but well worth hearing). McKee infuses a genuinely distinct personality into each character, and his comic timing is great, especially during the chase and sword-fighting scenes. Maddie Worley plays “Emily”, Uncle Brierly’s (wardrobe-challenged) niece, and Amos’ (the house mouse) best friend. Emily knows that something isn’t quite normal this particular Christmas Eve (maybe the stirring mouse was a clue..?) and she encourages the reticent Amos to help her set things right. Worley tackles her role with a genuine eagerness and energy, and she’s a terrific compliment to McKee. I enjoyed their frenetic chemistry. Charlie Alexander also tackles two roles; Wendell Sneed and Santa Claus, and it’s hard to tell which he enjoys more. Like Mahan, Alexander is another veteran actor who can slip easily between comedy and drama – or comedy and comedy, in this particular play – and make it seem so incredibly easy. He even looks the part of Santa: white beard and all, and the kids – and maybe even a few of the grownups – in the audience definitely seemed to perk up whenever he was on stage. Bill Olds plays Wendell’s wife – yes, that’s right; wife – “Britannia”. I can’t really find the words to describe Olds’ performance, as the mere sight of his character left me completely…well, speechless. Perhaps it was the dress, or maybe the flawless (???) makeup. Best to judge for yourself. I got a big laugh out of the character (and I’m sure Olds did, too). Shylo Demman is “Calliope”, one of Santa’s (Jewish!) elves (there are only five of them, and they don’t work Fridays). Calliope has come to Emily’s house to enlist her and Amos in a desperate attempt to thwart an evil plot to steal Santa’s Naughty & Nice list. Be warned, however – Demman’s exuberant enthusiasm is overly-infectious, especially when he invokes the “Elf Pledge”. You may find yourself – albeit “slightly” compelled – pledging along. Richard Stephens Jr. plays “Sir Guy of Gisborne” (which may or may not be his real name); one of Santa’s elves who has fallen from grace for trying steal Santa’s sleigh – you’ll never believe why – and who now has his sights set on Santa’s Naughty & Nice list (a veritable treasure trove for retail toymakers). Stephens plays the part with just the right amount of pompous, self-deprecating gusto, hamming it up perfectly during the chase and “dueling” scenes. He also does a killer hip-hop (I’m telling you, it’s true!). In addition to his remarkable set, Chris Berthelot trods his own boards quite skillfully as “Mulch”; Gisborne’s evil minion in crime. Another actor who obviously enjoys his role, Berthelot plays the part with a whining – and convincing – British accent, and he and Stephens sing a rather diabolical version of “Deck the Halls”; touting their sinister plans to disrupt Christmas (which actually had one young audience member sitting near me rather disconcerted!). But – rest assured – good ultimately triumphs over evil. The costumes and props were first class (kudos to Rachael, Pasia Omega, Laura Keller, and the rest of the crew!), and the set changes went off perfectly, especially the workshop transition. While it’s a relatively short production, “Twas the Night Before Christmas” is absolutely hilarious. It’s playing now through December 31 (extended because of the holidays) at Richardson Theatre Centre, and I promise you will thoroughly enjoy each and every second. Word…!!!

Rope
Thriller By Patrick Hamilton
Rope review by Mildred Austin, Associate Critic for John Garcia's THE COLUMN

Savannah Sipping Society
Comedy By Jones, Hope, Wooten
The Savannah Sipping Society review by Jeri Tellez, Associate Critic for John Garcia's THE COLUMN

One Flew Over The Cuckoo's Nest
Dramatic Comedy By Ken Kesey, Dale Wasserman
By Rusty Harding, Playwright, Co-founding member of Lunatic Theatre
I remember reading Ken Kesey’s contemporary classic in high school, back when it was still “politically correct” (showing my age here, sorry!), and I remember thinking that, while I didn’t particularly care for the novel’s bleak overtones, I couldn’t help be fascinated by Kesey’s non-conformist, radical anti-hero, the incorrigible Randle McMurphy. I also couldn’t help thinking how the story wasn’t so much about insanity, but rather, how society defines insanity. That’s exactly the take that Rachael Lindley has adopted in her stunning adaption of One Flew Over the Cuckoo’s Nest at Richardson Theatre Centre.
The minute you walk into the theatre, you’re convinced you’re in an institution. Jake Blakeman and Budd Mahan have designed a sterile, almost scary environment, complete with “comforting” pastel walls and a nurse’s station that seems like a kind of fortress; and indeed, the hospital’s cold and distant staff does take a sort of refuge behind the glass walls as they dispense medications and archaic psychology. You feel the same emotionless detachment the patients feel, and it isn’t pleasant. The soundtrack, created by Richard Stephens, Sr. and executed by Leigh Wyatt Moore, is an evocative blend of 60’s psychedelic rock, which tends to enhance the overall atmosphere.
The cast of the play is stellar – an ensemble of some of the finest DFW-area actors available – which is always a trademark of RTC’s productions. Robert Banks plays McMurphy; the cocky, freethinking renegade who has deliberately chosen to be institutionalized rather than serve a jail sentence. Admittedly older than the novel’s character, Banks nonetheless slips into the role comfortably and easily, and creates an extremely believable “cuckoo”; even playing much of the character to sly comic effect. His bravado against the “system” – and the diabolical Nurse Ratched – provides much of the play’s impact.
Kristi Smith is Nurse Ratched – a cold, emotionless vessel of pure evil in white stockings and heels – and she plays the part to perfection. The hospital is hers, and nothing – and no one – is going to wrest it out of her control. Her attitude toward each of the patients is nothing less than loathing; they are merely animals in her own private zoo. Smith is nearly flawless in this role, especially when she is forced to confront the incorrigible McMurphy, and the challenge he represents to her authority.
Raul Flores is Chief Bromden; the Native-American “giant”, who may or may not be the catatonic lunatic he’s assumed to be. Flores is outstanding – nearly to the point of stealing the show – and he brings this character’s inner turmoil to excruciating life. His surprising and hesitant friendship with McMurphy ultimately results in life-changing events for both of them.
The remainder of the cast are no less laudable in their respective roles: Audie Preston as Dale Harding, a self-committed inmate whose problems are more sexual than psychotic; Collin Miller as Billy Bibbit, a tragically shy recluse who wants only to be loved; Richard Stephens, Jr. as Scanlon, the bomb-making serial rapist; Jonathan Dickson as Cheswick, the paranoid schizophrenic; Gustavo Rodriguez as Martini, the delusional psychotic; and Steven Shaw as Ruckly, whose entire personality has been wiped away by electroshock therapy, leaving him little more than a vegetable. (It’s noteworthy that Shaw has only one line, repeated throughout the play – though not repeatable here – and he delivers it with incredible gusto!) Budd Mahan plays Dr. Spivey, the spineless hospital administrator; Dan Slay and Leonardo Rodriguez as gleefully sadistic orderlies; Emory Lambert as Nurse Flinn, whose time is regulated to administering medications, but who would obviously rather be anywhere else; and Sara Schochler and Kimmy Mauldin as Candy and Sandra, two hippie friends of McMurphy’s who provide a very interesting – and extremely illicit – “office party”.
Rachel Lindley always gives her actors “breathing room”, allowing them to expand and experiment with their characters, and it definitely shows in this production. All of these individuals grow significantly thorough their bond with McMurphy, and it’s a joy to watch their incredible chemistry as they make this journey.
Feven Tesfaye does a terrific job of stage managing, and the transition scenes were nearly flawless. Richard Stephens Sr.’s lighting was also spot-on, recreating the cold, impersonal glare of an institutional recreation room, and then quickly switching to an almost eerie “moonlight” for Chief Bromden’s soliloquies.
As I said earlier, Ken Kesey’s story is incredibly bleak, but it takes a hard, uncompromising look at the way society treats those with mental health issues, and forces us to realize that they are also human beings, with feelings, hearts, and ultimate worth. You might not appreciate the resolution, but you will applaud the sprit.
One Flew Over the Cuckoo’s Nest is playing at Richardson Theatre Centre for two more weekends (to Aug. 6th). Go and see it, please…

Scott Hazard, Associate Critic for John Garcia's THE COLUMN review of One Flew Over The Cuckoo's Nest

Arsenic and Old Lace Comedy by Joseph Kesselring
By Riley Niksich age 14 years old
Arsenic and Old Lace is a comedy written by Joseph Kesselring in 1939. It appeared on Broadway in 1941. With over 1,400 performances, Arsenic and Old Lace was the most successful play written by Kesselring. Arsenic and Old Lace is “So funny that none of us will forget it” (New York Times)Arsenic and Old Lace was performed by the Richardson Theatre Center, and Directed by Rachael Lindley. I went and saw the show on Saturday, February 4, 2017, and I was amazed by the set as soon as I walked in. With the smell of delicious hot-buttered popcorn* from the lobby, and the beautiful atmosphere inside the theatre as created by Set Designer Kevin Paris, and Lighting Designer Richard Stephens Sr., the stage was set for a great show.Abby Brewster was played by Karen Jordan, a remarkable actor who has appeared in many shows before at Richardson Theatre Center. I was thoroughly impressed by her portrayal of Aunt Abby, and she truly made me believe that she was a helpless old woman.Martha Brewster was played by Fradonna Griffin. Fred, as she likes to be called, was absolutely hilarious as Aunt Martha. There was never a dull moment when she and Karen were onstage together. The two of them were the most charming-religious-“evil” sisters you will ever meet. You would have thought that all of their lines were written as jokes with how the audience reacted.Josh Bangle was absolutely amazing as Mortimer Brewster and I can only imagine how tired he must have been after the workout he endured in this show. He was tied up, pushed around, he ran around yelling almost the entire show, and never once did he break character.Budd Mahan was seen as the dark and gloomy Jonathan Brewster. He looked just like the actor who originally played Jonathan Brewster on Broadway. Although not a mean person at all, Budd completely changed himself into Jonathan, and unless you talked with him after the show, you would have assumed that he was always like the way he was onstage.

Auntie Mame Comedy By Jerome Lawrence, Robert E. Lee
September 2–18, 2016
John Garcia's THE COLUMN http://thecolumnonline.com/review/09-07-2016_AUNTIE-MAME/

Red, White and Tuna By Ed Howard, Joe Sears, Jaston Williams
John Garcia's The Column http://thecolumnonline.com/review/07-20-2016_RED-WHITE-AND-TUNA/

The Mousetrap By Agatha Christie
John Garcia's The Column http://thecolumnonline.com/review/05-18-2016_THE-MOUSETRAP/

The Dixie Swim Club By Jones, Hope, Wooton
Review John Garcia's The Column http://thecolumnonline.com/review/03-21-2016_THE-DIXIE-SWIM-CLUB/

Patron Spootlight Review for The Dixie Swim Club
I suppose it's fair to say that any Jones-Hope-Wooten production is somewhat predictable, in that they all share the common thread of being set in the south, and are all populated with quirky, crazy, and incredibly eccentric characters. Dixie Swim Club is no exception, but Richardson Theatre Centre’s latest production transcends the predictable, and takes what could have been a maudlin “chick-flick” story into a hilarious, touching, and sweetly sentimental tale of enduring friendship.
Five Southern women, whose friendships began many years ago on their college swim team, set aside a long weekend every August to recharge those relationships. Free from husbands, kids and jobs, they meet at the same beach cottage on North Carolina’s Outer Banks to catch up, laugh and meddle in each other’s lives. The Dixie Swim Club focuses on four of those weekends and spans a period of thirty-three years.
Robin Coulonge plays Sheree; the somewhat obsessive-compulsive health food addict who’s fond of making the schedules for the group, along with preparing extremely offbeat – and decidedly inedible – party snacks (herring and seaweed hors d'oeuvres, anyone..?). Sheree is the “glue” that holds the group together – even making certain they know the right escape route during a hurricane – and is always there to take charge during any crisis. Yet her confident façade masks a host of personal insecurities.  Robin plays the character somewhat low-key, yet comfortably, turning what could have easily been a skittish caricature into a genuinely believable person.
Heather Walker Shin is Lexie; the outlandish party girl, who slips in and out of marriages like she does her designer clothes. Lexie is fond of men, wealth, and plastic surgery – seemingly in that order – and doesn’t seem to realize her behavior is the cause of most of the group’s ongoing friction (“what do you mean it’s not about me..?”). Heather plays her straight, skillfully avoiding any annoying “bimbo” clichés, and manages to create a character you end up truly loving.
Jennifer Stubbs is Dinah; the obvious leader of the group. A seemingly hard-as-nails Atlanta attorney, Dinah carries a cocktail shaker along with her briefcase (“and I’m not afraid to use it..!”). Dinah provides the logic and levelheadedness for the others, seemingly aloof from the sort of romantic trappings that entangle Lexie, yet it soon becomes obvious that her own life is not as stoic as she’d have everyone think. Jennifer fits the role perfectly, maintaining a terrific balance between the “iron lady” demeanor and the lonely, vulnerable woman lurking within. A poignant scene between Dinah and Lexie – when they finally reveal deep, personal secrets and fears – is genuinely moving.
Leigh Wyatt Moore plays Vernadette; a woman who has managed to make lemonade out of the endless batch of lemons life has thrown at her. Married to a shiftless lout, and with two miscreant children – “my son made inmate of the month!” – Vernadette nonetheless approaches life with a carefree and flippant attitude. Leigh is incredibly comfortable in this role, portraying the hapless woman with an obvious sense of lighthearted mirth. Her rousing, hilarious “speech” – praising the patriotic virtues of the southern biscuit – is a highlight of the play.
Rounding out the cast is Debbie Deverich, who plays Jeri; the quiet, shy, mousy girl who entered the convent shortly after graduation, but whose arrival in the first scene reveals a BIG – not to mention incredibly “un-nun-like” – surprise. Jeri’s transition from nun to – well, you’ll have to see for yourself – provides some of the funniest moments in the entire play. Debbie is absolutely stellar in this role, playing the part with just the right sense of naiveté and innocence, yet definitely not afraid to embrace the outrageous (“let’s play TV reporter and naughty weather girl…”). Priceless!
The ensemble cast is marvelous. As always, Rachael Lindley has done what she does best; allows the actors to find their “comfort zone”, and then run free with the characters. It’s obvious everyone involved is having a great time, and that attitude transitions to the audience.
Andrew Dillon did a great job with the set design. There were a few rough spots during the production I saw, but I think that was mainly due to opening-weekend jitters, and nothing detracted from the overall performance. The only “downside”, if you will, was what seemed like an overly-long transition time as the set was cleared between scenes, but Joan Leonard and Hal Heath did a terrific job, especially when you consider everything has to be done in the dark. But the addition of classic 60’s pop – I can’t remember the last time I heard Do You Love Me by the Contours! – made the wait more than worthwhile.
Once again, Richardson Theatre Centre has provided a great evening’s (or Sunday afternoon’s) entertainment. I urge you to go as soon as possible, as there are only two weekends remaining. Be sure to check out the brand-new sign just outside the main door – RTC is finally in the “big time”!

On Golden Pond By Ernest Thompson
January 22–February 7, 2016
Patron Spotlight Review for On Golden Pond By John Mead
As a multi-year patron of Richardson Theatre Center (RTC), I was both excited and nervous when I saw Ernest Thompson's On Golden Pond as the lead-off show for the 2016 Season. While I have come to expect superb experiences from this outfit, I was worried that such an iconic and emotional story might prove a stage too far. I am pleased to report that such concerns were unfounded.
First off, Thompson's script is superb in its telling of the story of the Norman and Ethel Thayer and their relationship with their adult daughter, Chelsea. While a bit slow paced in places relative to more recent scripts, the story masterfully welcomes the audience in to the lives of Norman and Ethel and their lifetime of summers spent on Golden Pond. The combination of the script and proximity of Charles Alexander's authentic set to the audience makes audience members feel a part of the family as we sit close to their conversations.
A great script and well-designed set would do little to carry this show if it were not for the well-crafted performances by both cast and director. Karen Jordan plays the role of Ethel and does a fine job of portraying a loving wife and mother who serves as the glue that binds the past and present of the Thayer family together. At various times Jordan needs to move from comedienne to stern mother to loving grandmother to nostalgic senior citizen. She managed these transitions flawlessly and I never felt I was watching an actor playing a part. Budd Mahan playing the role of Norman was the true stalwart of the show. The role of Norman requires a range of emotions, each with subtleties that are critical to the success of the show. Mahan is clearly comfortable in the role of curmudgeon, but easily slides from crusty to playful and back again as if it was second nature. Mahan's performance anchors this strong cast.
In supporting roles, both Leigh Wyatt Moore (Chelsea) and Eddy Herring (Bill) both do a fine job in roles that require authentic performances to translate both the comedy and drama of intergenerational family politics. Moore's transformation from wounded daughter to self-realized woman is both subtle and emotionally rewarding. Herring's interactions with Norman during their first meeting are priceless, as the rather shy Bill has to try to befriend Norman while not being intimidated. The interplay in this scene is one of the highlights of the show. To me, the show stealer was 13-year-old Riley Niksich who played the role of Billy Ray Jr. His portrayal was simple and honest and showed a genuine chemistry in his interactions with the difficult Norman. The growth of their relationship may well make you wish you could go to your own Golden Pond and reconnect with grandparents.
The whole production from casting to set decisions to directing were well done by Rachel Lindley who clearly knew she had a fine cast and guided them to allow the warmth and chemistry of this story to come to life. Get yourself to Richardson Theatre Center and take a most enjoyable theatrical trip back to On Golden Pond; it's time well spent.

Don't Dress For Dinner By Marc Camoletti and Adapted by Robin Hawdon
John Garcia's The Column http://thecolumnawards.org/columnonline/review/07-13-2015_DONT-DRESS-FOR-DINNER/

The Nerd By Larry Shue
John Garcia's The Column http://thecolumnawards.org/columnonline/review/01-23-2015_THE-NERD/
The Examiner Review http://www.examiner.com/review/richardson-theatre-center-s-the-nerd-delirious-preposterous-pleasure

The Bad Seed By William March
Welcome back to RTC, Frank! http://yourrichardson.dallasnews.com/2014/09/18/the-bad-seed-brings-one-of-richardson-theatre-centres-first-actors-back-to-its-stage-after-25-years/
The Bad Seed’s Rhoda: Meet Cate Stuart, Richardson Theatre Centre’s Newest Leading (Young) Lady http://yourrichardson.dallasnews.com/2014/09/21/the-bad-seeds-rhoda-meet-cate-stuart-richardson-theatre-centres-newest-leading-young-lady/
John Garcia's The Column http://thecolumnawards.org/columnonline/review/10-06-2014_THE-BAD-SEED/

The Unexpected Guest By Agatha Christie
Reviewed by Scott W. Davis, Associate Critic for John Garcia's The Column
http://thecolumnawards.org/columnonline/review/04-14-2014_THE-UNEXPECTED-GUEST/

Moon Over Buffalo By Ken Ludwig
John Garcia's The Column review: http://thecolumnawards.org/columnonline/review/02-18-2014_MOON-OVER-BUFFALO/

Trip to Bountiful By Horton Foote
John Garcia's The Column: http://thecolumnawards.org/columnonline/review/06-10-2014_THE-TRIP-TO-BOUNTIFUL/
Bountiful NeighborsGo write-up: http://yourrichardson.dallasnews.com/2014/05/24/the-trip-to-bountiful-richardson-theatre-centre-takes-you-on-a-heartfelt-texas-journey/

Interview With Rachael Lindley
http://www.neighborsgo.com/stories/58005

Mrs. Bob Cratchit's Wild Christmas Binge By Christopher Durang
John Garcia's The Column http://thecolumnawards.org/columnonline/review/12-17-2013_MRS-BOB-CRATCHITS-WILD-CHRISTMAS-BINGE/ 
Theatre Jones Published Monday, December 23, 2013
http://www.theaterjones.com/ntx/reviews/20131223140458/2013-12-23/Richardson-Theatre-Centre/Mrs-Bob-Cratchits-Wild-Christmas-Binge

Witness for the Prosecution By Agatha Christie
John Garcia's The Column http://thecolumnawards.org/columnonline/review/08-12-2013_WITNESS-FOR-THE-PROSECUTION/

The Hallelujah Girls By Jessie Jones, Nicholas Hope, Jamie Wooten
John Garcia's The Column http://thecolumnawards.org/columnonline/review/06-19-2013_HALLELUJAH-GIRLS/

Deathtap By Ira Levin
John Garcia's The Column http://thecolumnawards.org/columnonline/review/09-30-2012_-DEATHTRAP/

Laundry and Bourbon and Lonestar By James McLure
John Garcia's The Column http://thecolumnawards.org/columnonline/review/08-20-2012_LAUNDRY-AND-BOURBON-and-LONE-STAR/

Lost in Yonkers By Neil Simon
John Garcia's The Column: http://thecolumnawards.org/columnonline/review/04-03-2012_LOST-IN-YONKERS/

Crimes of the Heart By Beth Henley
John Garcia's The Column http://thecolumnawards.org/columnonline/review/02-12-2011_CRIMES-OF-THE-HEART/

To Kill A Mockingbird Dramatized by Christopher Sergal
John Garcia's The Column http://thecolumnawards.org/columnonline/review/07-05-2011_TO-KILL-A-MOCKINGBIRD/
Pegasus http://www.pegasusnews.com/news/2011/jul/05/theater-review-kill-mockingbird-richardson-theatre/

God's Favorite By Neil Simon
John Garcia's The Column http://thecolumnawards.org/columnonline/review/04-18-2011_GOD'S-FAVORITE/
Pegasus Review http://www.theaterjones.com/reviews/20110412073749/2011-04-13/Richardson-Theatre-Centre/Gods-Favorite