Show #68 "The Best Christmas Pageant Ever" at Lakewood Playhouse

No disrespect is intended to the Lakewood Playhouse, but when hearing that this show was on their season schedule, I would have called this play, "The Most Overdone Christmas Play Ever."

I mean, EVERYONE seems to do this show at one time or another. There are theaters who make this show an annual event. There are churches who perform this in place of an actual Christmas pageant. Imagine that.

The last time I saw this show, it was a youth production at a church where my then-teenaged son performed as the Dad, Mr. Bradley. Next to A Christmas Carol, this is probably the second most performed holiday show around. Can't prove that, but not too many folks will argue the point.

At first, it's hard to see why. The script is dated, with small town church references that come from a bygone era (say, about 40 years ago), and a view of childhood that sometimes strains credibility.

Barbara Robinson wrote the book her play is based on in 1972. Yep, it feels like it. Even with the child actors in Lakewood's production in 21st century dress, it can't disguise the fact that the story should have come from MY childhood days, not theirs.

But, wait. This play is not simply about a family of ruffians who come from a broken home and terrorize the other kids in their town. It's about a Christmas pageant. A re-telling of why we celebrate the season to begin with. A story about a young Jewish couple who travel far from home, can't get a room at the inn, and give birth to their baby son in a barn. It's about Jesus.

Jesus, the baby who changed the world. The savior who still changes the world, by changing people's hearts. Yeah, THAT Jesus.

I guess no matter the format, script, or staging, the story of the first Christmas still stirs our hearts. It should. It was a miracle.

Theatre has its own miracles. One of them is this: that Man (in this case, Woman) can take a "tired old script" that is used, over-used and used once again, and somehow, make it move the audience. It can still bring a tear to the eye of a burnt-out theatre goer who's already seen 67 shows before this one.

Is this miracle thanks to theatre, or thanks to God? I would guess that it's both. God and theatre, working together.

Sound implausible? No...it sounds like the perfect partnership.

Praise God for His indescribable Gift.

Photography thanks to Dean Lapin Photography

Show #58 "Tales of Edgar Allan Poe" at Lakewood Playhouse

For a fundraiser, it was pretty good. Clever, relatively easy to produce, minimal rehearsal necessary and (I am guessing) low overhead costs. Oh...and did I mention the raffle and wine at intermission?

The Tales of Edgar Allan Poe was performed last evening as a radio play. Three microphones were set on the stage and a group of actors entered, dressed in 1940s style clothing, carrying scripts in their hands.

What we were treated to was a re-creation of a radio show, complete with commercial breaks (mostly for Camel cigarettes) and live sound effects. Three of Poe's works were presented, The Tell-Tale Heart, The Raven and The Murders in the Rue Morgue.

A company of eight actors provided all the voice characterizations and effects for these stories. These effects included the jingle for Camel cancer sticks, oops, I mean cigarettes....which, by the way, sounded pretty nice.

So, what was this whole event about? This was a fundraising weekend to celebrate Halloween, the Lakewood Playhouse Friends Fund and Artistic Director Marcus Walker's birthday. The show ran two nights, Friday and Saturday. I hear the Friday night crowd packed the house. A good time was had by all.

I came on Saturday night. We were a bit smaller crowd, but enthusiastic nonetheless.

The actors were fun to watch, or should I say, listen to. As a radio play, I found the show was much more effective when NOT being watched. I either closed my eyes during the show, or looked down at the floor. Imagining the whole experience as though I really was listening to my radio was just the trick needed to really be caught up in the stories.

My friend Corrie and I sat with great attention and interest in the front row of section I. You see, both Corrie's husband Joe and my Randy were actors in this event. This was not the first time Corrie and I watched our husbands perform together at this theatre. But it was the first time I enjoyed one of their shows while looking as though I was asleep.

Afterwards, some of the actors asked me if I was bored during the show. They noticed my "sleepy" eyes and wondered. I told them they did a good job, but when I STOPPED looking at them, their performances improved!

I guess that's the way of radio. It's a treat for the ears, not the eyes.

Thanks to cast member David Philips for this photo

Show #50 "Sherlock Holmes and the Doom of Devilsmoor" at Lakewood Playhouse

Opening night of a new season at the theater....what fun! No matter how much live theatre I experience, either on stage, backstage or in the audience, I always feel that excitement of opening night.

This evening was no exception. One of my favorite theaters in the world, the Lakewood Playhouse (after all, it was at this fine theater where I met my husband Randy), rolled out the red carpet for their new season.

I started the evening with a personal greeting by Artistic Director Marcus Walker, who heartily shook hands with the patrons as they entered the lobby. I was personally escorted to my seat by Duncan Foley, the President of Board. The playwright, CP Stancich was on hand and made merry conversation with Randy and me. And after the final curtain, the Lakewood Playhouse's board hosted a fine reception complete with my favorite non-alcoholic bubbly.

But, there were also the familiar opening night mishaps that occurred as well.

You know the ones I mean. There was the french door on the set that wouldn't close without the poor actors fussing and constantly adjusting. Then there was the wardrobe malfunction that sent Randy (and the wonderful costumer seated in the second row) into hints of stifled laughter. And then there was the actor who entered the stage and promptly stepped on an actress's skirt hem.

These were relatively minor things, but to be honest, it added to my enjoyment of the evening! I kind of like imperfection. I smile when I see an actor stumble his way through an unexpected development and then see his way out of it with grace and humor. Yes, it may temporarily break the spell of the story, but it does something else. It makes us all a little more human.

But, you may counter, don't we want to see professionalism and polish when we pay to see a theatrical production? Well, yes we do.

If a production is overly filled with mishaps, then I would have criticized the show and declared that the cast needed another week of rehearsal. But, this was only a couple of small gaffes, and being opening night, very forgivable. I've experienced many an opening night as an actor, performing on a stage whose paint was still wet, whose doors had just been hung an hour before, and costumes stitched during intermission.

If I were to come back to see this show on closing night and saw the same goofs, that would be another story.

But, this was opening night at the Lakewood Playhouse, and a reason to celebrate! It was a great evening, and even the small errors were something to celebrate. Here's to another great season! Cheers!

Graphics courtesy of Lakewood Playhouse

Show #24 "The Grapes of Wrath" at Lakewood Playhouse

It's a tricky and somewhat sensitive and divisive issue for some people.

It has been the cause of riots and demonstrations. Some have been imprisoned and gone to war over this. And others have used it to give themselves a sense of entitlement or privilege.

What is this horrible issue, you ask? To put it bluntly, it is race.

In the theatrical world (as well as the television and film industries), race is no small matter. Even community theatre becomes a microcosm of the greater society in what they do, whom they represent and how they segregate.

Take a look at most theatres' season schedules. What sort of stories are being portrayed? For instance, during the Seattle Repertory Theatre's 2009-2010 season, aside from their production of August Wilson's "Fences," I believe I only saw two other actors of color on their stage all year.

Community theatre's track record is no better. At least we can applaud the Seattle Rep for presenting a story about the Black experience in America. It never occurs to most other theaters to do the same.

But to the fine folks at the Lakewood Playhouse, and their wonderful artistic director Marcus Walker, I shout a big thank you. Your commitment to include all actors in the community, regardless of ethnicity, is a tremendous and powerful statement.

"The Grapes of Wrath" is usually portrayed with an all-white cast. But here was the Joad family, with a Caucasian father and mother, but with a Black daughter and an Asian son. I also noticed other members of the ensemble who were Black and Hispanic. Suddenly, the Joad's story wasn't simply about a white family from Oklahoma during the Great Depression. It became about ALL of us.

Yes, there is an important role that "ethnic" theatre plays in our lives. Hats off to wonderful local theaters such as Tacoma Musical Playhouse, who recently staged "Flower Drum Song" and to Lakewood Playhouse, who announced as part of their 2010-2011 season, "The Joy Luck Club." These stories of America's people of color must be told.

But what of our other stories? Aside from the stories specifically about a particular ethnic group, are they not stories about ALL of us here in America?

Look around you. Do we not live, work, play and worship with our friends and neighbors of all ethnicities?

So why isn't the theatrical stage reflecting this great truth?

Ladies and gentlemen of the theatrical community, I respectfully ask you to widen the circle of your minds and hearts...and your art. I guarantee you, all three will benefit.

Production photo courtesy of photographer Samantha Camp

Show #18 "H.M.S. Pinafore" at Lakewood Playhouse

I was all set to enjoy a fun, fluffy evening of Gilbert & Sullivan's musical silliness. There was even the bonus of having Randy come along with me for the ride. (He doesn't think G & S shows are his cup of tea.)

We sat in one of my favorite sections at the Lakewood Playhouse. I had already read the program and took note of all the marvelous artists working on this show. So, I sat back and waited for the spectacle to begin...

Then I looked directly ahead of me and observed a young father with his 3 year old daughter sitting in front of us. Uh oh...what are we in for tonight???

My concern was well founded. I wondered what a wiggly pre-schooler was doing here, past her bedtime at a show that probably holds very little interest to her young sensibilities?

Then about 15 minutes into the first act, I had my answer.

Just as the chorus of singing beauties entered the stage, the little girl stood up, pointed at one of the actresses and shouted, "Mommy!"

Then, in response to that call, "Mommy" glanced toward her precious girl and surreptitiously waved at her.

I understand that a youngster wouldn't understand theatre etiquette, but Mommy should have known better. Her on-stage greeting only lead to more and more distracting behavior.

As the evening wore on, the patrons seated directly in front of and next to this little girl grew more annoyed. It was obvious to all of us. I, too, became quite annoyed, as she prevented me from enjoying some of the finer moments of the play.

It wasn't until the second act, when this child started to cry that her father finally scooped her in his arms and carried her out of the theatre. But by that time, it was too late. She had already spoiled the experience for too many paying customers.

Now, I am not anti-children. I raised two fine sons, but never brought them to live theatre until they were mature enough to understand proper audience behavior. It is patently unfair of any parent to expect this sort of propriety from a child this young.

Should theatres have a policy about babies and young children in the audience? At the risk of some people shouting "bah humbug" at me, I would say, yes. And what about cases like this, when a parent is one of the actors in the play? Well, my stage debut occurred in a play about the Vietnam War. My character, along with others, used a lot of raw language to tell the story. I did not feel this was appropriate for my young sons to watch. Even though this was one of the most exciting days of my life, Tim and David had to stay home that day.

Moms and Dads, there will other times your precious children can see you on stage. Think first about what is appropriate, both for your child and the rest of the audience, cast and crew.

It's about being a respectful actor. It's about good parenting.

Graphics courtesy of Samantha Camp

Show #9 "You Can't Take It With You" at Lakewood Playhouse

I will say this upfront: I have never really liked Kaufman & Hart's story of the crazy Sycamore family. It seems corny and dated. It seems more suited to a high school stage than a community theatre striving to be as professional in their standards as possible.

Even when I saw this show at the Seattle Repertory Theatre last season, it still felt like a cast full of pros (and they were terrific pros, at that!) were borrowing a script from a local high school drama club.

But, that's only my opinion. Others (including my dear husband) consider this play to be one of the great American comedy classics. To each their own.

There is one thing about the play that I do admire. Grandpa's philosophy about life, which appears to have spread to his entire extended family (and a few friends, too) always strikes a cord with me.

Grandpa believes that life is to be enjoyed. If you don't enjoy what you do for a living, then why are you doing it? Apparently, Grandpa was once a business type who left the corporate world for the pleasures of the stress-free, follow-your-passions life.

Quite a nice path to take, but unlike most of the world, Grandpa has an income for life from property investments made as a younger man. He also fails to pay any taxes. So, being given the luxury of NOT having to work each day, Grandpa and his family enjoy living life for their own pleasurable pursuits, be it painting, dancing, playing the xylophone or attending commencement ceremonies at the local university.

Like I said, pursuing pastimes that give us pleasure and help us develop into the unique persons God made us to be, is a very good thing. I have connected with that idea.

What his philosophy lacks is the dignity of work. Yes, pastimes must give us pleasure, but work must also be a part of life. Grandpa left the corporate world because his work gave him no pleasure. What he failed to do is find work that did give him pleasure.

Okay, okay...this is just a silly comedy about a bunch of people who don't exist. I get that. But the main ideas are still the same, whether the story is fictional or "real."

I love stories about folks who find pleasure and meaning in their work. Work is a noble thing, and to serve our fellow man in our life's work is even nobler.

I just wish this wonderful message wasn't delivered by a bunch of characters like the Sycamores. But nevertheless, it is a wonderful, inspiring message.

Graphics courtesy of Lakewood Playhouse

Show #3 "Tom Sawyer: the Musical" at Lakewood Playhouse

Okay, I admit it, I'm a stage mother.

No, not the evil kind that you hear about in the gossip columns, who bully the director and producer into giving her "baby" the starring roles with the most time on the stage.

I'm the type of stage mother who will talk up (to anyone who will listen) the artistic virtues of her talented actor son. Well...not to brag, but I've talked to my friends who are directors, producers, fellow actors and managing artistic directors of Pierce County community theatre groups about Tim.

I can't help it. He's my son. Did I mention that he is talented?

So, as the Lakewood Playhouse closes their run of "Tom Sawyer: the Musical" this weekend, I ventured out to see this wonderful production for the second time. You see, my Tim is the one playing the nefarious Injun Joe.

"Tom Sawyer," for the most part, is a knee-slappin', old fashioned good time of a story. You know, the white-washed fence, the fishing trips with Huck, the charming pre-adolescent romance with Becky Thatcher....

But then, there's Injun Joe. A politically incorrect characterization, if I ever saw one. (Yeah, yeah, yeah....I know! Mark Twain was from another era, another time, another historical culture. So, we won't dwell on that.) But, nevertheless, he is the dark and tragic figure in a musical that celebrates boyhood adventures, family values and the good ol' days.

Mind you, it was a lot harder than I thought to watch my son play such an evil character. That must be a testimony to his acting ability, because I found myself (Whoa! I'm an actor. I oughta know better!!!) blurring the line between real life and stage life. My son, the criminal outcast. My boy, the victim of racism and hate. My progeny, the bad guy. What a way to break a mother's heart.

I guess the audience must have been caught up in Tim's performance as well. When Injun Joe brandishes his knife and fights with Tom and Huck, he meets his unfortunate end. The audience applauded as Joe fell to his death in the cave.

But not me. I couldn't cheer.

It wasn't for the reason you think. Yeah, I had my heart broken by Injun Joe's tragic life, especially considering the rampant racism of his day. But when Joe plummeted toward certain doom, it meant only one thing to me: Tim's character is dead. HE WON'T GET ANY MORE STAGE TIME!!!!

Sigh....once a stage mother, always a stage mother.

I guess I really must be one of those evil stage mothers after all. Maybe...but I'm not ashamed.