Sometimes when I’m standing in line at the drugstore feeling tired and angry that the cashier is a moron, I decide to get my revenge on life by impulse-buying a Baby Ruth bar. Mainly because it’s there and I don’t like Baby Ruth bars.
My decision to go to see Happy Birthday Dear Alice was exactly like that. I made up my mind to go 15 minutes before it started because I was feeling crabby and it was happening, and I figured maybe it wouldn’t be completely terrible. I arrived late. The audience was small. I assumed my revenge had succeeded -- this was clearly the Baby Ruth of theater.
Except that it isn’t. Happy Birthday Dear Alice is good.
It’s so good, if I can manage to find the time, I will go back to see it again. If I had the time (I won’t), I would go see it for a third round. It’s that good.
If you like theater at all, I strongly recommend that you go see this show.
Anyone who has worked in the customer service industry can agree that it’s a tough business. Everyone has a story about that one customer who is too outrageous to be believed, which may not be so funny in the moment but is hilarious when recounted later.
When a situation is difficult, you need comedy to help get you through, and Ypsilanti’s Neighborhood Theatre Group (NTG) is closing its third season with Can I Help You?, a play that will help you laugh your way out of troubles.
“I've worked in customer service for over 15 years," said NTG cofounder and director Kristin Danko, "and I've been wanting to do a show about the service industry for a while. A sketch comedy show seemed like the perfect outlet.”
A colleague of mine once observed that when you ask people about their mothers, you tend to hear stories and fond memories, but when you ask people about their fathers, tears flow within minutes.
Perhaps because traditional, American modes of masculinity and emotional expression have stood at loggerheads for many generations, making father-child relationships highly complicated. Yet it’s precisely this dual struggle to connect that drives Big Fish, the novel-turned-movie-turned-stage-musical now playing at Dexter’s Encore Theatre.
“I was eager to be successful. I still am.”
When I heard chef Tunde Wey would be hosting dinners and food trucks in Ann Arbor and Detroit designed to get people talking about race in America, I sought more information.
The word that came up most was "provocative"; runner-up: "uncomfortable."
For late April and early May, Wey has brought his Saartj dining concept to Michigan, which is where the Nigerian chef came to study at age 16. This is also where he started to make his mark with (revolver), the pop-up restaurant in Hamtramck featuring a cast of rotating chefs.
The Saartj project calls attention to privilege. In one version of the project, white people were charged more than minorities for their food. In the Detroit version, diners fill out a questionnaire providing information about their race, education, and income mobility; the price of their dinner then increases according to their relative privilege.
The bare-bones thrust stage in a playroom at the Children’s Creative Center is the perfect setting for the Brass Tacks Ensemble’s production of Patrick Barlow’s playful The 39 Steps.
Barlow turns Alfred Hitchcock’s famous thriller into an imaginative comic romp. While staying true to Hitchcock’s script, the play lets four actors engage is theatrical play as giddy as many days of child’s play at the Creative Center.
Fittingly, Rajiv Joseph’s Gruesome Playground Injuries, now being staged by Kickshaw Theatre at Ann Arbor’s trustArt Studios, starts in a parochial school’s infirmary, where a deep, lasting friendship takes root between a girl and a boy who recognize in each other a common compulsion toward self-destruction.
The boy, Doug (Michael Lopetrone), is a reckless, thrill-seeking daredevil, while the girl, Kayleen (Dani Cochrane), suffers from stomach problems and later develops a serious cutting habit. The 80-minute play shows glimpses of these two characters at several different ages, between 8 and 38, but it jumps around in time, inviting us to piece together the puzzle of Doug and Kayleen’s intense connection by shifting from childhood to adulthood and back again.
Melissa Freilich loves Tom Stoppard’s plays.
“Tom Stoppard always asks you to think and feel as well,” she said.
Freilich is directing the Ann Arbor Civic Theatre’s production of Stoppard’s Arcadia, opening April 19 at the Arthur Miller Theatre.
It’s a play that combines entertainment with thought-provoking discussions of everything from poetry and mathematics to thermodynamics.
This weekend, the University of Michigan Gilbert and Sullivan Society (UMGASS) stages Iolanthe, bringing Thirsty Fairies, Peer Pressure, and one long strange trip of a dream sequence to the Mendelssohn Theater. Iolanthe is the seventh of Gilbert & Sullivan's 14 comic operettas, steeped in the class divisions and political satire of the day, with a hearty dollop of supernatural weirdness.
Directed by Greg Hassold and featuring an extremely solid pit orchestra led by Thomas Burton, this wonderfully busy production has a lot going on in every scene and is just dripping with the talent of fresh-faced leads, seasoned supporting characters, and a chorus that is plainly having a wonderful time.
“What the hell?” David MacGregor says from across a Formica table in Leo’s Coney Island in Hartland, Michigan.
This "what the hell?" is not coming from frustration or outrage, but from a sense of “what are the odds?”
MacGregor says his story is entirely unlikely. After all, he is a successful playwright living and working in Hartland, Michigan, who has received international acclaim for his works Gravity, The Late Great Henry Boyle, and Vino Veritas, all of which have been performed by Jeff Daniels' Purple Rose Theatre Company in Chelsea, where MacGregor is a Resident Artist.
It feels a bit like director/choreographer Linda Goodrich, a professor in U-M’s musical theater department, has long had a date with destiny regarding the 1937 British musical Me and My Girl.
For although the show had long been one of Britain’s biggest home-grown stage musical hits, it didn’t make its Broadway debut until 1986 -- the same year Goodrich moved to New York.
“I remember seeing it on a marquee, but I never did see it,” said Goodrich. “In fact, I’d never seen it on stage before we started rehearsals. I’d always been familiar with the music and been curious about the show, but it just never crossed my path again.”