My Week with Gemze de Lappe

by Chuck Pennington III

Gemze de Lappe & James Mitchell dance to “Another Autumn” from Paint Your Wagon in this excerpt from “The Gold Rush” broadcast (1958):

“Who are you? What do you want?”

I stumbled over my words as Gemze’s stern directness over the phone took me by surprise. It was immediately clear to me the she tolerated no nonsense or even soft introductions.

“I’m calling because I’m friends with an old co-star of yours from Paint Your…”

“Who? A name.”

“John Schmidt. He was in the chorus and was an assistant stage manager during the Broadway run. Do you remember him?”

A deep sigh.

“I’ve worked with so many people over so, so many years. I can’t… The name doesn’t… Well, it’s possible.” Gemze seemed to be searching for words. I let her lead as it seemed the wisest course of action.

“What’s this all about?”

“Well, I’m working on a project about John’s life, and I was looking to speak with people he performed with on Broadway. He was a champion pole vaulter at Ohio State University before moving to New York for a career on Broadway, and…”

“Oh, he was, was he?” Gemze cut in. “He’s still alive?”

“Yes, he turned ninety-five earlier this year. I believe you two are the same age?” I phrased it as a question as I wasn’t sure my information was correct.

“Yesssss….” Gemze slowly purred, and I felt like she was rolling her eyes on the other end of the line, as if thinking sarcastically, Thanks ever so much for reminding me.

“Do you remember Winkie?” I asked. Winkie was the other reason I was calling. While going through scrapbooks, John pointed out a photo of dancer Virginia Bosler (as she was credited) and asked about “Winkie”, which was her nickname. He was in Brigadoon (1947-1949) and Out of This World (1950-1951) with her on Broadway, but they lost contact more than sixty years before. I could find no information about her beyond the ’50s (we didn’t know her married name), but an acquaintance suggested that I contact Gemze de Lappe, one of choreographer Agnes de Mille’s dancers. Agnes choreographed Brigadoon and Paint Your Wagon and directed Out of This World; John was in all three. I was told that Gemze was the go-to person for recreating Agnes’ work and had been staging Oklahoma!, Carousel, Brigadoon, and Paint Your Wagon for various theatre companies for decades. He said that Gemze knew all the de Mille dancers and would be the person to ask about Winkie. It just so happened that Gemze also worked with John in Paint Your Wagon.

“Winkie Bosler?” Her voice perked up. “Of course, I remember Winkie. She’s a beautiful dancer.”

“Would you know how to get in contact with her?”

“Well, I… uh…” She was searching again. “Look, I’m not so good on the phone. Where are you?”

“I’m in Columbus, Ohio.”

“Well, when will you be here, in the city?”

“In a few weeks, yes, I’ll be there in April…”

“Well, come over then. Just call me the day before to remind me. You have my address?”

“Yes, the same guy who gave me your number…”

“Yes, yes, fine. We’ll talk when you’re in town.”


Gemze de Lappe as Dream Laurey in Oklahoma! (circa 1947)

Shortly after that awkward first call to Gemze, I located Winkie. Virginia Doris, her proper married name, was now ninety years old, a widow for nine years, and living a quiet retirement in Maine. I had started to form a phone relationship with Winkie before I arrived in New York on Tuesday, April 25, 2017. I was going to be in town until the following Monday morning and planned to visit Gemze that first afternoon after my morning flight. We had a long conversation the day before my flight to confirm my plan to visit her the following day. Gemze was very interested in hearing about Winkie and took down her address and phone number. Although she said she wasn’t so good over the phone, I thought Gemze came across extremely well save for when she would frequently pause for a few moments while searching for words.

“You see, I had a stroke a few years ago. Since then, I can’t always come up with the words as quickly as I’d like,” Gemze explained.

“You sound perfectly fine to me.”

“Oh, but you didn’t hear me before!” She laughed. “I was quick! I could bring up the names… And now, I know what I want to say, but I can’t… I have to work at it, to get it out so that it’s right. That’s why I have trouble on this thing,” she said, referring to the phone.

“Is it alright if I stop by tomorrow?”

“What day is that?”

“The 25th.”

“No, no, no, the day of the week.”

“It’s Tuesday.”

“Uh, yes, that should be fine. When… What time does your flight… What time will you be in the city?”

“Oh, by 9am, though I’ll probably want to…”

“Where are you staying?”

“Midtown. 9th Avenue and West 49th, at a friend’s apartment.”

“Good. Just take the 1 uptown to 96th. I’m just a few blocks away. Whenever is fine. Just call beforehand. I’ll be here, probably.”


Gemze de Lappe headshot (circa 1951)

A brighter person would have at least Googled Gemze de Lappe before meeting her. All I did was ask John about her.

“I think she was one of the showgirls in Paint Your Wagon,” he started, closing his eyes to think back. “I didn’t have much to do with her except for making sure she was on stage when she was supposed to be. I remember one time when she and Agnes went back and forth on some turn, something she wasn’t doing just right, but that’s about it,” he said.

I had only seen a few photos from the original 1951 production of Paint Your Wagon, and none of them showed Gemze. I imagined her as one of the girls brought to town to work at the brothel in the show, nothing more. Probably one of a dozen interchangeable girls, I thought to myself.

After depositing my bags at my friend’s apartment and grabbing some brunch, I made my way up to Gemze’s apartment building on West Ninety-Second. The doorman had me wait in the lobby, all black and white tile with a large circular staircase, while he phoned her. She never picked up. “She don’t hear so good,” he said and shrugged. Then he waved me up.

I rode the rickety elevator up to the seventh floor and knocked on her door, even though I saw that it was slightly ajar. It didn’t take long for her to appear. She was quite petite with curled blonde hair, a green turtleneck, and a cream and black knitted sweater. A large round medallion hung from a gold chain around her neck.

Before I could introduce myself, she started.

“I opened the door a bit when you called because I don’t always hear people knock,” she said, waving me in while I made my formal introduction and shook her hand. “Yeah, yeah,” she said, leading me past a table with some scattered mail and a letter opener, down a hallway that opened to several large rooms to the left. The ceilings were much higher than those in any other New York apartment that I’d been in, and I assumed she must have lived in the apartment for quite some time.

Painting of Gemze

“Is this you?” I asked as we passed a large painting on the right just outside her sitting room. The woman in the painting had a steely gaze, sharp cheekbones, and strawberry-blonde tufts of hair.

“A friend painted that,” she pointed out. “I’m not sure it really looks like me though, but… it’s nice. Look, come sit in here,” she said as she gestured over to a small couch in front of a low coffee table littered with black and white glossies. “I’ve got some photos and things to show you. You want anything to drink or whatever?”

“Oh, no, I’m good. I hope you didn’t go to any trouble.”

“No,” was all she said as she sat next to me, picked up a stack of folders, and began pulling out images from all kinds of productions.

“Now, what’s your friend’s name again?” I told her and she shook her head. “Doesn’t mean anything to me. It was a long time ago.” I pulled out photos of John from his pole vaulting days at OSU and from Brigadoon. “Hmm, maybe,” she said, perusing the images one by one.

“Of course,” I said, “he had a beard in Paint Your Wagon.”

“They all did!” she exclaimed then laughed. “See, I’m right here,” she said, pointing to a striking brunette with hair pulled back in a dotted dress surrounded by other dancers and bearded men. She pulled out a few more photos, several with her and a man dancing all alone. It quickly became apparent that Gemze’s role in Paint Your Wagon was far more significant than I had guessed.

“That was Jimmy… James Mitchell,” Gemze said, pointing out the handsome man in the photos. I recognized him from the photos I’d seen of Brigadoon as well as his appearance as Dream Curly in the film of Oklahoma!

Another photo was a slightly out-of-focus image of Gemze wearing a wide hat and sash, standing outside a stagecoach with a line of men gaping at her. I noticed that one of the men had John’s profile.

“I think this is John,” I said, pointing him out to her. She held the photo close to her face.

“Hmm, okay, I see… It was quite a while back, you know, but I vaguely remember something,” she said before sighing. “I’m just not sure.”

Gemze de Lappe [left] and John V. Schmidt [second from the right] (Paint Your Wagon – 1951)
Gemze proceeded to tell me about her career as she showed me photos featuring her and Richard Rodgers (“He liked me, but there was no funny business! He was known for that, but not with me!”), Vivien Leigh (“I was performing in Oklahoma! in London when she and Larry invited me over for tea. She was either in a play or film at the time of Anna Karenina. They were nice.”), Michael Kidd (“He was in London with Finian’s Rainbow and was helpful to me when I had to cast dancers in Oklahoma! Very nice, sweet man.”), and a group of Japanese women in early 1900s costumes (“I taught them Oklahoma! They were so excited, really appreciative. All-female company. They seem to crave our musical theatre over there.”).

I didn’t learn anything about John, but Gemze went into detail about her life as a dancer; studying with Irma Duncan, one of Isadora Duncan’s adopted daughters, while she was still in grade school; summers dancing for Michael Fokine as a teenager; and her long association with Agnes de Mille. She also spoke about her parents and older sister, how she was born in Virginia, lived in Baltimore, and then settled with her family in New York at around the time she was in second grade. It was terribly interesting to just let her talk, though she didn’t dwell on any topic for long. Her work with Agnes began in the fall of 1943 when Gemze was cast in the road company of Oklahoma!, which stayed in Chicago for a year. After touring with the show, she moved on to perform in the Broadway company and then to the London premiere of the show in 1947. I asked a few questions here and there, usually ones that received only a quick matter-of-fact reply. I began to see the wide span and scope of her career and began to feel a bit naive for not having prepared myself.

After her long tenure with Oklahoma!, Gemze originated the roles of King Simon of Legree in The King and I (also playing it in the 1956 film, but wearing a mask the whole time) and Yvonne in Paint Your Wagon, both on Broadway in 1951. Agnes built the choreography onto Gemze for her role as the dance hall girl who falls in love with a gold miner, played by James Mitchell. The dances between Gemze and James portrayed their meeting, courtship, and ultimately their separation, all silently through dance. Their story was the dramatic counterpoint to the main plot of the show. I was familiar with the film adaptation of Paint Your Wagon, but de Mille’s choreography was not included in it and the story was completely rewritten; it is a different animal from the stage original.

Gemze spoke of recreating Agnes’ choreography at regional theaters across the country and how people often think they can improve on it. She said that what some directors and choreographers fail to realize was that Agnes was involved in crafting the shows when they premiered, her stylized movement designed to convey important aspects of the story through dance. Her work was intrinsic to the storytelling – the music, the lyrics, the book, and the dancing.

Gemze de Lappe (left) and Agnes de Mille (right) on tour with The Agnes De Mille Dance Theatre (1953-1954)

“Now there is just a lot of showing off,” Gemze said about the current use of dance on Broadway, adding that, “They just do a lot of gymnastics, and quickly, but it’s empty. There must be a reason behind all of it. Agnes gave us that reason. She had us act our parts, even though we had no lines. Our gestures represented all kinds of different things. If the audience didn’t know what each move meant, it didn’t matter; the fact that it meant something to Agnes would come across.”

The phone rang in the middle of our afternoon talk. Gemze excused herself, walked over to her land line phone, and I listened to her side of the conversation. It reminded me of when I first called and she was startlingly direct in her tone.

“Hello? Hello? Who are you?” Pause. “Well, what’s that got to do with us? What do you want?” A long pause. “I’m not. Thank you.” I heard the soft, crisp clang of the receiver dropping into position as Gemze chuckled to herself and then walked back into the room.

“I get very angry with people when the first thing they say is, ‘How are you today?'” she said with a solicitous smile. The smile vanished and she held up a finger. “I never answer them. I never give them the sat… That’s why I said, ‘What do you want with me?’ You can get these calls from anywhere asking for money.” She laughed again. I offered to put her on the Do Not Call registry, and she said she’d welcome it.

I checked my phone and saw that I would need to leave soon to meet my friend for dinner and then get to our 7pm performance of Charlie and the Chocolate Factory. I thought about the rest of the week and how I’d be attending most of the other shows alone. I figured I didn’t have anything to lose by asking Gemze if she wanted to join me for any, though I made it very clear that she shouldn’t feel obligated at all.

“Oh, I’d love to go!” she exclaimed, and I was shocked. I had grown so accustomed to the many ways people have of saying no that I hadn’t quite prepared myself for a yes.

“Well, do you have any shows that you’d like to see?”

“Oh, any of them.” She must have noticed my eyes open wider in excitement at the possibility as she quickly added, “But just one a day. I can do a matinee or an evening, but just one or the other.” She went to get her planner to check her schedule when the phone rang again. She answered and the change in her tone let me in on the fact that she recognized the caller’s voice. When she returned she said that Friday evening was out as a friend had just called and invited her to the ballet.

“It’s either nothing or a lot at once, you know,” she said, and then shrugged. I told her I’d better map out plans with her before her dance card was full. She really laughed at that, but then turned serious. She said it was very important for her to be around people and have that interaction to keep her speech up. She said that after her stroke a few years prior she didn’t know anything was wrong until a friend came over and she began to talk to him. In her head she thought she was making sense, but all that came out was slurred gibberish. Her friend immediately took her to the hospital. She said that, with the help of her son Peter doing various speech therapy exercises with her, she learned to speak clearly again, but she sometimes still struggled to find the right words.

“If I go too long without talking or whatever, it’s like I start to lose some of it, regress a bit. Talking over the phone doesn’t help; it needs to be that back and forth in person to keep everything going.” She went on to explain the torment of being completely fine mentally but having people talk around her as if she didn’t understand or was somehow deficient.

We planned to see the musical Groundhog Day the next night, Present Laughter with Kevin Kline that Saturday night, and then play things by ear on Sunday afternoon. I knew I could score discounted tickets and she was all for it, lamenting the high cost of Broadway.

“I have only seen one show recently, and I just hated it. I don’t want to see it again. Ham… It’s difficult to see, but I thought it was just loud. The dancing didn’t mean anything. I don’t want to see Ham…” Gemze mumbled and it sounded like she said ham sandwich. I imagined a plot about a deli and the rising cost of commercial real estate in the city.

“What in the world…” I searched my mental list of currently running shows. “Do you mean Hamilton?”

“Yes, that’s it! Hamilton. I didn’t like it at all! I’d be glad to see anything but that.”

I openly laughed. “Well, there’s no way I could get us tickets to that! I saw it last year anyway.”

“Well, what did you think?”

“I liked it a lot, but it isn’t for everyone. The music has reached a different generation, and if it helps bring more people into the theatre, then I’m all for it.”

“Yes, that’s true,” Gemze sighed, adding, “It just isn’t for people like me.”

Gemze de Lappe and Chuck Pennington III (April 25, 2017)

The next day began with luck. I won the online ticket lottery for a deeply discounted ticket to see Glenn Close in Sunset Blvd. at the 2pm matinee. By 5pm, I was headed uptown so we would have plenty of time to talk, have dinner, and get to the show at 8pm. I met Gemze at her apartment (her door was ajar again) and was delighted to find that another pile of photos and programs were waiting on her coffee table for us to go through.

“There may be some things of interest there,” she said as she waved a hand over towards the collection of prints and folders. “I keep a lot back here though,” she continued as I followed behind her like a puppy dog. Gemze walked through her kitchen on the right and stopped at a room just past it with shelves packed with files, boxes, and tapes. This little room seemed to serve as not only her archive but also as a place where cans of food and plastic bags were stored. I spotted slides, two open boxes of custom-made DVDs, quite a few VHS tapes – most labeled, some not – some audio tapes, and a great many tan folders full of what appeared to be notes, photographs, news articles and the like.

“Wow,” escaped from my lips before I could stop it. Gemze giggled.

“Yes, it’s a lot. I need to put things… I know where things…” Gemze was pausing again.

“Well, it would be incredible to go through and organize all of this,” I chimed in. She nodded and then shrugged. “Do you mind if I look through some of it?”

“Sure, whatever,” she said, leaving me behind as she left the room. I gathered up some discs and tapes that seemed promising and then brought them into her sitting room, where she was already seated.

“Maybe we can look at some of these later,” I said, a bit embarrassed that I had grabbed such a large pile of media. Some discs had Post-Its attached to their cases with notes like “good picture – bad sound” or “rough at beginning,” and others weren’t labeled at all.

“I use some of those for when I have to speak somewhere or need to see something,” Gemze said, adding that quite a lot was video of rehearsals as well as performance footage of herself and of productions she staged. There were also incongruous items such as JFK’s inauguration and a 1960s TV special about George Gershwin thrown into the mix. “People give me things all the time,” she explained. “Sometimes it’s for work, and sometimes it’s because they think I might be interested.”

We spent the next hour talking about Agnes de Mille, musicals of the past, and misconceptions about age. I didn’t get a chance to look through the new treasures she found or sample any of the videos at that time.

“I’m a dancer, and we stick around a long time,” Gemze reasoned when I asked if people treated her differently because of her age. “I know people in their hundreds and they are just fine. Aside from the stroke, I’m really pretty good. I still do barre work, not as often as I should – but I do.”

“It seems like show people are made of a different kind of stock than the rest of us,” I added, mentioning how John still drove and lived alone without any help. Gemze seemed impressed by that and added that it was the theatrical training of their generation that made the difference.

I told her that I was annoyed when people would speak to seniors as if they were children in a loud, slow, sing-song way.

“Oh, it’s the worst,” Gemze said and sighed. “But I have some friends who have started to act like what people expect them to act like because of their age. I was out with a friend, who is just around my age, and lately – whenever we pass a stroller or a dog – she starts to coo and babble. I say, ‘Why are you acting like that? Snap out of it.'” We both laughed at that remark. I couldn’t imagine no-nonsense Gemze putting up with any of that.

As I knew nothing of the neighborhood, I relied on Gemze to pick the place where we would eat. For this night, she chose Gennaro, just a few blocks away on Amsterdam. “It’s good, and they don’t overcharge,” she added after confirming that I was okay with Italian food as we entered the elevator.

“Gennaro,” I repeated, “like Peter Gennaro, the choreographer?” I knew the name from hearing Judy Garland announce The Peter Gennaro Dancers on episodes of her variety show. I thought maybe she’d be surprised that I would know of him due to my otherwise limited knowledge of dance, but all she did was nod and then exited the elevator. Gemze waved at the lobby attendant without stopping and only slowed when she came to the steps that would lead out of the building. Once we were outside, she pointed in the direction where we were going and then stuck out her hand.

“Now, I’m slow, but I’m strong,” she said. “I don’t need any help, but just hold my hand to keep me steady.”

Gemze de Lappe (circa 1944)

“We’ll need a cab,” Gemze declared when I suggested we take the subway. I lost track of time back at her apartment and then at dinner, so I knew that we had better get downtown quickly to be nice and settled before the show.

Our cab was an SUV with a sliding door. I opened the door and, figuring that she might need some help getting in, said, “Ladies first.” Gemze pointed for me to get in. I gestured back at her to enter. She pointed again and grunted. I obeyed and climbed in.

As I slid over to make room for Gemze, I saw her lift one leg up into the car, grab hold of one of those straps along the roof, and, with a swift turn and no sign of exertion, leap inside and pull the door closed. I was speechless. She was unfazed.

“Where is the show again?” she asked. I told her that it was at the Virginia Theatre on West 52nd. She looked out the window to see in what direction the driver was headed. “If he knew what he was doing, he’d take us down 9th Avenue,” she said loudly enough for him to hear.

While waiting for Groundhog Day to begin, I filled Gemze in on Andy Karl, the star of the show; how he’d just won an Olivier Award for his performance in the London production, injured his knee during Broadway previews, necessitating the cancellation of some performances, how he had pushed through to perform on opening night, and how he was now alternating performances with an understudy while healing. She seemed very interested in the background.

“Who are we seeing?”

“Well, Andy is scheduled for tonight, but he didn’t do the matinee.” Gemze gave a grunt of recognition. Just before the show started, one of the ushers passed us. He quickly turned back around and asked if we’d like to move down to seats closer to the stage. We were already in good seats, I thought, at the rear of the orchestra on the left.

“I know that we have a few seats closer on this side that are free,” the usher said and smiled. It must be Gemze, I thought to myself. She looked like someone important, and I’m sure I looked like an odd escort for her.

“I’ve never had this happen,” I whispered to Gemze after we were re-seated. “Usually I sneak down to a closer seat once I spot one free.”

“Yes, very good of him,” Gemze agreed. I asked if I could take a photo of us and had my phone up on selfie mode before she could protest. I think she liked that she could see herself on the screen of my phone to judge the angle before I snapped. She smiled, and I gave a goofy grin and caught it. The same kind usher smiled at us, and I leaned in to whisper to Gemze.

“Can I tell him who you are?” Gemze shot me a look like I had just asked her if she’d like to hear me fart the national anthem.

“No….” she quietly hissed as the orchestra began to play.

Gemze de Lappe & Chuck Pennington III at the Virginia Theatre (April 26, 2017)

Andy Karl was indeed in the show that night, and he was terrific; acerbic and swift, wry and jocular – his character slowly learning to be more honest and sincere as he kept reliving the same day over and over.

“See the brace?” I asked Gemze on the first occasion that we saw Andy putting on his dress pants upon getting out of bed, the first of many times he would be in t-shirt and boxers in the show. The brace appeared to be one of those spandex-like types, and was white with his left knee poking out. She gave a slight murmur of agreement. At intermission we remained seated and talked.

“Did you ever have any injuries as a dancer?”

“No, I was fortunate that I was never dropped, but most people twist something or other now and then. I find properly warming up helps to prevent that.”

“What is that supposed to mean?” I asked, pointing at the scrim displaying a projection of dozens of clocks in varying sizes and shapes, all showing different times.

“It’s because it doesn’t matter,” Gemze explained. “He goes through things again and again so that time no longer means anything. Whether they are all different or the same, it no longer matters.”

No sooner had she finished her sentence than the clocks became animated and all switched to the same time, 6am. The point was clear. I turned to Gemze and she gave a slight grin, as if to say, See? I told you.

Gemze de Lappe (right) in Paint Your Wagon (1951)

After the show, I asked Gemze if she would mind if I waited at the stage door to see Andy Karl and maybe get a photo or autograph.

“No, go ahead. I’m going home.” The guilt hit me quickly.

“Do you want me to go with you? It’s alright. I can come back another time.”

“No,” she assured me, already walking down the block like a steadfast soldier. “The bus stops right up here. I’ll be fine. Good show. Talk to you tomorrow.” She waved without looking back. I was worried whether she’d be okay, but then I thought that after spending most of her life in the city, Gemze knew precisely what she was doing and needed no coddling.

Gemze de Lappe and James Mitchell in a publicity still for “The Gold Rush” broadcast (1958)

I heaved a sigh of relief when Gemze answered her phone the next morning. “Ah, so you got home okay?”

“Of course,” she replied, as if there existed no possible reason why she wouldn’t have made the trip just fine.

After we had conversed for a bit, I asked if I could stop by that afternoon to view some of the videos in her collection. I was on my way to view some material at the New York Public Library for the Performing Arts and would just be a few subway stops away.

“Eh, fine, whenever,” was her response, noting that she would be done with lunch by 1pm.

I arrived closer to 2pm at Gemze’s building, and the doorman, having recognized me from the previous two days, just waved me on. I felt like I was now on some special list or something – Gemze approved, I thought to myself.

“What are you doing tonight?” she asked.

“My friend Michael and I are going to a concert of Babes in Toyland at Carnegie Hall. Kelli O’Hara is in it.”

“Good, good,” she said, then asked what was next on the agenda. I reminded her that she was going to the ballet the next night with a friend and that we were going to a show Saturday night. She nodded in agreement, and I told her we could plan on dinner somewhere before the show.

“Leave that to me,” Gemze asserted and then laughed to herself.

Gemze de Lappe and Richard Rodgers (circa 1957)

“What about you?” Gemze asked after our dinner was served at City Diner, which seemed to be one of her regular haunts from the way our waitress and the rest of the staff greeted our entrance. It was Saturday night.

“What about me?” I asked, stupefied that she could possibly care. We had discussed her parents, how they met, and the acrimony between her and her older sister that prevented Gemze from visiting the hospital on the night that their father died. She had mentioned her two sons and pointed out framed black and white photos of them that were on the wall in her bedroom. She had said her husband was a musician but had “never made enough money,” whatever that meant. We had viewed many videos of her dancing and talked about her work. I had nothing to offer in comparison.

“Well,” she said, “I know you like theatre, that you’re working on this project, and that you’re from Columbus. Do you have any people?”

“Don’t remind me,” I groaned. She laughed and then started to eat her dinner as I elaborated. I told her that I was the middle child of three boys, and that I was estranged from both brothers for nearly twenty years. Unlike most people who react with a pitying “such a shame” to that news, Gemze seemed to understand and didn’t ask me to elaborate. I told her that my older brother was from my mother’s first marriage.

“How many times has she been married?”


“Eight! How does that happen, I wonder,” Gemze said as she took a bite of her meal.

“My guess is it started with someone asking her,” I said offhandedly.

It must’ve tickled Gemze as she started to choke and laugh at the same time. She covered her mouth with her napkin and looked away from me.

“Are you okay?” I asked, my voice full of panic as she continued to cough. This is it, I thought to myself. Now I’ll be known as the person who caused Gemze de Lappe to choke to death.

I started to get up to approach her. I was prepared to do the Heimlich maneuver, but Gemze shot me a look and held up a flat palm to me, as if to say, I’ve got this, kid. With a few more coughs and clearings of the throat, she regained composure.

“See? I’m fine,” she assured me. “Just went down the wrong side is all.”

“I’m sorry, I wasn’t trying to be funny. It just is funny, not so much ha-ha as peculiar. One guy she married three times. THREE TIMES.”

Gemze held out a hand horizontally at eye-level and then slowly lowered it, as if instructing me to lower my volume without saying a word. Her blue eyes were fixed on mine, and I followed her silent command.

“I’m sorry, I tend to sometimes get loud when taking about my family,” I explained, though Gemze had already returned to her dinner as if nothing had happened.

Agnes de Mille (left) and Gemze de Lappe (right) on tour with The Agnes De Mille Dance Theatre (1953-1954)

We took the bus to the theatre, Gemze’s preferred mode of travel outside of a cab. She said she no longer took the subway because of how fast people moved around her on the stairs. We had three-quarters of an hour before the 8pm curtain, so I figured there was plenty of time. I hadn’t been on the bus in many years; it was nice but extremely slow. We made it to the corner of West 44th just five minutes before the hour.

“What theatre is it at?” Gemze asked as she clasped her right hand in my left and we walked along the sidewalk.

“The St. James.”

“Ah, my old stomping ground,” she said. That made me realize how she must have performed there in the original productions of Oklahoma! and The King and I so many decades ago. I was speechless, or at least I was until tried making a little small talk as we walked slowly towards the theatre.

“You know, you’ve lived in this city through so many phases… ,” I began. “I hear it was so much cleaner and classier in the forties and fifties, and then how it was so dirty and dangerous in the seventies and eighties. I’ve only ever known it to be safe and bright like it is today. When was the time you thought the city was at its worst?”

“NOW,” Gemze roared, without missing a beat.

James Mitchell and Gemze de Lappe in a publicity still for “The Gold Rush” broadcast (1958)

I picked up our tickets at the Will Call window. As I had feared since we were pressed for time, our tickets were in the mezzanine. It was always a crapshoot as far as seat location with these discounted tickets, and I dreaded the slow ascent, as everyone else seemed to already be seated. It was a few minutes past the hour now.

As we began to climb the steps to the mezzanine, Gemze insisted that she was fine. She held tight to the banister and took it a step at a time. I kept pace behind her, just in case she needed any help. As we neared the top, an usher looked at us with a concerned face when she saw Gemze. I could tell that it was the look of someone who knew they were in the presence of someone very old, which also reminded me of how people react when holding newborns if they aren’t used to it, afraid that they might damage them. “Is she alright?” the usher mouthed to me. I nodded that she was. I’m so glad that the usher didn’t ask out loud if we needed any help, or, God forbid, reach out a hand to offer it unsolicited. I had made that mistake earlier in the week with Gemze, only to be shot down with, “If I need help, I’ll ask for it. Or if you see me in trouble you can offer, but only once. I’m not as frail as I may look.” She wasn’t being mean, just direct and to the point. I appreciated it and followed her direction.

The performance of Present Laughter began precisely as we were seated.

“Well, this is very funny, isn’t it?” I asked Gemze at intermission.

“You like it?”

“Yes, but I’m not the type to laugh out loud much. I’m not sure why.”

“Yeah, I know what you mean,” she agreed. “It’s very good, but I also saw it years and years ago with Scott… George C. Scott? It was good then, too. Yes,” she started, then switched gears. “Did you hear the woman to my right? ‘Ha ha ha ha!’ People don’t laugh like that,” Gemze stated. I said that I hadn’t heard her.

“And this woman in front of me playing with her hair and moving about, leaning this way and that, did that bother you any?” I felt ashamed to admit that I didn’t notice it at all, and Gemze shrugged, saying that my height probably had something to do with it.

A few minutes into the second act, the audience rocked with laughter at a witty line. I heard the forced “ha ha ha ha” of the lady to Gemze’s right. I glanced at Gemze and she rolled her eyes back at me.

It wasn’t until the show was over and we remained seated for a bit to allow the audience to disperse that I noticed the women with the poofy blonde hair in the row ahead of us. As she gathered her belongings to leave, she looked back at both of us and smiled, no doubt thinking perhaps I was a grandson taking my grandmother out to a show. I heard Gemze start to speak, and the woman turned to face her.

“Pardon?” the woman asked as she smiled a little wider and leaned in.

“I said that it was very difficult for me to enjoy the show with all of your moving about and playing with your hair. It was very distracting.”

The smile drained from the lady’s face like water going down a drain after a stopper was removed.

“Oh, uh,” the woman stammered, obviously caught off guard. I could do nothing but watch this unfold. “I’m, uh, sorry.”

Gemze seemed satisfied. “Yes, well I thought you should know.” The lady turned and made a hasty getaway. Gemze then turned to me and made a quizzical face.

“That woman looked at me like I was going to give her a compliment. What did I have to compliment her about?” She held her expression for a moment, shook it off, and then extended her hand for me to help her up.

Gemze de Lappe as “the girl who contributed to the delinquency of miners” in Paint Your Wagon – drawing by Doug Anderson (Theatre Arts Magazine, September 1952)

“You want to come up for some tequila?” Gemze asked as we exited the cab that dropped us off in front of her apartment.

“Yes, yes I would,” I said, perhaps a bit trance-like. I’m not sure that I had ever had tequila before, but if there was ever a first time to try it, this was it.

What Gemze referred to as tequila was a fruity margarita mix, which may have had little to no alcohol in it.

“A friend gave me this, and it’s quite refreshing, don’t you think?”

“Yes, I like sweet drinks. This is light.”

“I find just a nip of it helps me sleep,” Gemze said, seating herself across from me as I sat cross-legged on the floor, shuffling through photos. I started asking her questions.

“Well, he liked women too though,” Gemze stated when I asked about one of her famous dancing partners whom I had heard was gay. “Or he seemed to,” she said, then took another sip. “Oh, who knows anyway. Whatever.”

“I heard from John that people in the theatre were known to be gay but it wasn’t discussed. No one made a big deal about it back then.”

“Yes, we knew, but it didn’t matter. It doesn’t matter. There are all these people with prejudices…”

“It’s like that song in South Pacific,” I said. “You have to be carefully taught to hate all the people your relatives hate,” I continued, splicing together two lines from different parts of the song, knowing that I was preaching to the choir.

“Well, that’s one thing I can say that my children are not is prejudiced. No. They wouldn’t have dared to be prejudiced around me,” she said and laughed. Then she was quiet for a moment. “They are good people and had a good bringing up.”

“I guess people teach what they know. You taught your sons just like you were taught by your parents and their parents before them.”

“Well, no, I don’t think so. I don’t think my grandparents on either side were that accepting. I credit my parents for breaking the cycle. I think they made an effort to seek out others – different cultures, ethnicities. I remember when I was a little girl in Virginia and then Baltimore that my mother couldn’t stand the small-minded people. I don’t think either of my parents could, and so we moved here. You can’t survive here unless you embrace it all,” Gemze warned.

We chatted a bit more before Gemze said that she was going to go lie down but that I could stay and look at things as long as I liked. I took her up on that and made a pile of tapes and discs that I was interested in borrowing. I asked about the possibility of her lending me some of this material as she walked me to the door, all dressed in her nightgown for bed. I thought I would have to sell harder, but she agreed immediately.

“Oh, sure, no problem. Now we have something tomorrow afternoon too, yes?”

Gemze de Lappe (left) & Vivien Leigh (right) (London – 1947)

On Sunday, I arrived at Gemze’s around noon with my friend Michael, to have lunch with her and then see what last-minute tickets we could score for the matinee. Upon entering the apartment, I could see that Gemze was feeling under the weather, and she sounded congested when she greeted us.

“Maybe it was because of dinner last night,” I said, thinking back to the choking incident.

Michael, who’d had dinner with Gemze and me earlier in the week and remembered how vibrant Gemze appeared, asked her what happened. Gemze pointed at me and smiled as she sniffled.

“Oh, I made a joke while we were eating and Gemze choked on some food. My timing was bad.” Gemze laughed in agreement, but even her laugh sounded a little labored.

“Let’s go have some lunch,” I said, adding that we didn’t need to try to see an afternoon show if she wasn’t feeling up to it. She looked at me as if I had started speaking a different language.

“What? Really? But what…” I could tell she didn’t want to disappoint me.

“We can come back here and talk and watch more of your videos. I have a show tonight at seven, so it’s not like I’m not going to see a show today. We can have all of this time to take it easy and enjoy ourselves.” She could see that I was sincere and smiled back. I know that she would’ve gone on our date whether she felt up to it or not, but she could also see that I honestly meant what I said about just spending the afternoon with her.

“Okay then,” she said as she extended her hand to me.

Gemze de Lappe (left), Agnes de Mille (center) and James Mitchell (right) in a publicity still for “The Gold Rush” broadcast (1958)

After lunch, Gemze, Michael and I returned to her apartment. While we had full meals, Gemze opted for one hard-boiled egg.

“Michael, you need to write down your name and number,” Gemze said. “I like you, and I don’t like many people.” After spending a week with Gemze, I could think of no better compliment. I assured her that I would write his information down for her and said that, now that they knew each other, maybe he could take her to the theater sometime.

“Sure, good,” Gemze said as she excused herself to the bathroom. When she was out of earshot, Michael turned to me and whispered.

“You know when we were walking back and you stopped into that deli and Gemze and I were waiting outside?” Michael asked, referring to when I ran in to get some aloe vera juice for her to try after she had replied that she’d never had it. I figured she would like the taste after the drink she had shared with me the night before.

“Yeah, I’m sorry that took so long,” I apologized.

“No, it isn’t that,” Michael said. “Gemze and I were talking, and then it seemed like she was somewhere else. She looked up at me and said, ‘Weren’t we in a show together?’ I thought she was making a joke, so I laughed, but then she said, ‘I have a photo of us in Paint Your Wagon in my apartment. I’m sure of it.'”

This surprised me, as Gemze had never seemed to have any kind of lapse in all the time that I’d spent with her. Based on my experience with other seniors, I told Michael that sometimes, when they were tired, it could lead to some mild confusion or disorientation.

Michael continued: “I told her gently, ‘I’m not old enough to have been in Paint Your Wagon. I wasn’t even born until five years after it closed.'”

“Well, hell, at least for a moment she saw you as someone who she thought she was in a show with! I’d be thrilled if she mistook me for an usher!” We both laughed at that as Gemze returned. We said our goodbyes to Michael and then retreated to her living room, where there was a television and a VHS/DVD combo player.

“Now I want you to try some of this with me,” I said, holding up the large green plastic bottle.

“What was that again?”

“Aloe vera juice. I can only ever find big bottles of it like this here in the city. It’s delicious.” I didn’t want her to have to get up, so I asked if I could go get us some glasses. She waved me on. I returned and started to pour.

“Just a little, now,” Gemze warned. “I want to see if I like it.”

We toasted, and I waited for her response.

“Oh, this is nice,” she said, seemingly surprised.

“I thought you’d like it,” I gloated, pouring more for her as she held out her glass. “I’m so glad you were open to trying it. I can never get anyone else to taste it.”

“But it’s so refreshing,” Gemze said between sips. “Who wouldn’t like this?”

“People who don’t want to try something with which they aren’t familiar, I guess.”

“Well, I had never tried it, so why not?” Gemze reasoned. If only people half your age felt the same way, I thought to myself.

I was granted permission to play videos in Gemze’s collection. Gemze was silent as she humored me, allowing me to play segments of her performing in De Mille’s A Rose for Miss Emily ballet in 1971, teaching The Duncan Technique in a documentary from 1990, and performing all of the dances from Paint Your Wagon in a 1958 television special. At one point I said to her, “You performed this same dance from Paint Your Wagon on television in 1958, and then you did it again with a different partner in 1980. I would think that it wouldn’t be as good of a performance so many years later, but somehow it’s even better. How is that? Here, let me show them both to you to see what I mean.”

Gemze looked at the television and studied herself dancing nearly sixty and then forty years before. I thought to myself, Ah, this is the moment where she imparts some deep wisdom about dance and performance. I waited with baited breath. As the second performance concluded, Gemze turned to me to speak.

“I was a better actress by then,” she declared, adding nothing more. Next I played a video of the same dance performed by two other people in 2006 at an event honoring Agnes de Mille. The choreography was the same, but something was missing.

“Now,” I said, “they appear to be doing the same dance, but I don’t feel anything watching them like I do when I watch you do it.”

“Yes, I tell them when I teach this piece – all of Agnes’ work – that they need to act!” Gemze exclaimed, moving her hands. “These young dancers… They can physically do so much, are very impressive, but they don’t know how to act! They don’t teach acting in dancing anymore, and that’s sad. It’s when you feel something during a performance that makes the audience feel something. You can say the same lines, walk the same steps – all of that – but if you don’t feel anything, then it’s dead.”

Gemze de Lappe & James Mitchell in a scene from Paint Your Wagon as performed on tour with The Agnes De Mille Dance Theatre (1953-1954)

After another hour or so of viewing and then discussing more material, it was time for me to leave. I had with me a large bag full of various tapes and discs, still awed that Gemze so easily trusted me with this amazing material.

“Now, I should be able to return all of this in a few weeks. I can mail it back to you here and send a hard drive with all the…”

“Yes, yes, that’s fine,” Gemze responded, clearly unconcerned about the details. I looked back at Gemze, told her how much I enjoyed our week and appreciated her putting up with me.

“We need to settle up. How much do I owe you?” she asked, and reached for her purse. “My part of the tickets and our dinners.” I had paid for everything, saying that it was easier that way and we’d settle up later, but I had no intention of taking a cent from her.

“You were my date, and now I have the bragging rights. I get to tell everyone I spent the week taking out an Agnes de Mille dancer.” I smiled. Gemze rolled her eyes at me and shook her head. She clearly thought I was silly. “Look,” I said, “it wasn’t much. You were a cheap date. The show tickets for both of us altogether came to less than one regular priced ticket to a show.”

“Fine.” That satisfied Gemze. It was true though. For me to accept anything would’ve felt blasphemous after how much I surely must have gotten on her nerves that week. At least I also got a few laughs out of her, though.

“Say, there is something you can do for me. That clock there,” Gemze said, pointing at the round clock on the wall above her television. I hadn’t noticed it, as it was partially obscured from where I was sitting by some plaques and small items on top of the entertainment center.

“I keep getting the time wrong, thinking it’s earlier than it is. You see how it is hanging there? See if you can fix that.”

The clock was angled to the left, so that even though it was around 4pm, a quick glance without attention paid to the numbers around the perimeter made it look like 3pm.

“Oh, I’m sure I can fix this,” I said, reaching behind all that was in front of the clock. I didn’t want to move anything as I knew how particular some people could be over the smallest things.

“Move things out of the way,” Gemze said, reading my mind. I obliged. The main plaque – a silver circle encased in glass attached to a black, engraved base – was the one I picked up and moved to the side. I was surprised by its weight, and I did a double take when I read that it was an honorary Tony Award given to Gemze in 2007. I gulped.

After I had pulled the clock it off the wall, I found that the web of string and metal on its back would not allow it to hang properly without some work. “Gems,” I said, shortening her name a bit. “This thing has… Maybe we can prop it up somewhere, because it just won’t…”

“Oh, never mind,” she waved away my effort as I kept trying to adjust the clock on the wall. “It’s a little better anyway.” The improvement was quite small to me. I returned her Tony Award to its proper place with care and reverence.

As we were saying our goodbyes and shared a hug, I looked at her and felt a little funny. She knew something was on my mind and waited.

“There is so much more I want to talk to you about,” I said, lamenting the fact that I wouldn’t be able to return until the fall at the earliest. “But I have a feeling you’ll be around for quite a while.”

“Oh, I do too,” Gemze quickly agreed. She said it with confidence, as if she wasn’t quite sold on the concept of mortality. Maybe she’d consider it in the future, but I got the impression that the idea of death held no interest for her.

James Mitchell & Gemze de Lappe in a scene from Paint Your Wagon as performed on tour with The Agnes De Mille Dance Theatre (1953-1954)

I called Gemze the next three nights. On Monday, it was to let her know that I had arrived home safely. The next two nights, I asked her questions about some of the footage I had started to review. The calls weren’t long or involved, and partly I was inventing reasons to call to check on her. I would never have said that, as I’m sure it would have annoyed her, so I made sure I always had a legitimate question to ask.

I didn’t reach her on Thursday, so I left a message. When her voicemail said it was full on Friday, I feared the worst. I couldn’t shake the feeling that something was wrong, but who was I? I wasn’t a relative or close friend. Still, I begged Michael to visit her apartment to check on her. When he did, he learned from the doorman that Gemze had had a stroke. Fortunately, she’d had an afternoon appointment on Friday with friends from out of town. When she didn’t arrive and there was no answer to any calls, a neighbor was notified to check on her.

From May to November, Gemze was shuttled between the hospital and a rehab facility. She suffered from paralysis on one side and couldn’t speak at first. Through Michael, who met and exchanged information with some of Gemze’s friends at the hospital, I was able to keep tabs on her. When I had finished compiling all the material that I had borrowed, I supplemented it with as many ballet videos and documentaries as I could find. I loaded up a tablet with it all and sent it to Michael to take to her. He visited Gemze and reported back that they watched some videos together and, though her speech seemed to be limited to “yes” and “because,” she was clearly interested in what they were viewing. He said that she wasn’t able to operate the tablet herself, but we hoped maybe visitors could spend time viewing things with her.

I called every week or two, and the staff was good about taking a cordless phone to Gemze and propping it up so she could hear me and respond. Our conversations might have been awkward as her vocabulary was terribly limited and descended into incoherence when she ventured outside of her limitations, but we were able to communicate. I phrased questions so they could be answered with a yes or no. And Gemze had so many ways of saying yes, each with variations in inflection and tone that said so much. She was mentally completely present but trapped without her words. It was just like how she had described her stroke from several years before, only this time the damage was far more severe. It must’ve been agony, and yet she always sounded alert. I mailed her prints of photos I found on eBay of her dancing with James Mitchell, and I let her know that copies of all the wonderful material she allowed me to organize was sent to The Agnes de Mille Working Group as I knew that so much of it would be important for students of dance to study. That comment resulted in an incredibly emphatic “yes” on her end of the extension.

I was looking forward to visiting Gemze in New York with John and his eldest son Flip the week before Thanksgiving. We were going to be in town to attend a 70th anniversary production of Brigadoon. Five days before we left I received word that Gemze had passed way. I couldn’t quite believe it as, stroke or not, she seemed indestructible. Her obituary appeared a week later and was quite an elaborate item in The New York Times. In accordance with her wishes, there was no funeral service.

Plans were made for a tribute to her in the new year. As luck would have it, I was in the perfect position to edit together a memorial video of Gemze including excerpts from her work and using her voice as well as that of Agnes de Mille from interviews stored on the tapes I had borrowed. It was not my intention when I digitized the material that it would be used for such a purpose, and I’m sure Gemze didn’t give it a thought either at the time, but less than a year later that is what happened.

I knew Gemze’s reach was far and wide, but it was never more apparent than at her tribute in February. So many people spoke of her work and dedication, and then the audience responded with thunderous applause after the tribute video was shown as well as rare vintage footage of Gemze and James Mitchell dancing the “Another Autumn” ballet from Paint Your Wagon. I hope she would’ve approved as the video went through nine drafts while I questioned everything, wondering what Gemze might think. Don’t use that music over the Dance Jubilee footage as people might think it’s from Carousel, I imagined her saying.

I was so happy to see her included in the In Memorium segment on The 72nd Annual Tony Awards broadcast recently, though her credit as choreographer was only one of her titles: teacher, actor, mentor, and dancer were some of the others.

“I’m a dancer,” I remember Gemze saying more than once when I would ask some question about discipline or her stamina, as if that title summed it all up. Maybe it did.

20180600_Tony Awards
Gemze de Lappe from the In Memorium segment on The 72nd Annual Tony Awards broadcast (June 10, 2018)

Here is the video I created for Gemze’s tribute:

Gemze’s bio from The Agnes De Mille Dance Theatre tour program (1953-1954)

CLICK HERE for Gemze de Lappe career highlights

CLICK HERE for Theatre Arts article on Gemze de Lappe (Theatre Arts, September 1952)

BELOW: Tribute announcement and program (February 23, 2018)

20180200_Tribute announcement20180200_Tribute program 0120180200_Tribute program 0220180200_Tribute program 0320180200_Tribute program 04

Central Ohio Live Theatre Resources

Last fall I assumed the position of President of SRO Theatre Company, which has severely limited my ability to review local theatre (please hold the applause). I now receive many requests for information on local theatre, ranging from auditions, script submissions, unsolicited resumes – you name it. I have a list of website links on this blog to assist people in finding the answers to so many of these questions, but in this day and age it seems to “like” and “subscribe” to a company’s events on their Facebook page is the easiet and most efficient way of keeping on top of things. There are also several groups that are helpful to join as well, in addition to some performance and audition calendars.

Here I am posting links to many important resources; some are websites, but many more are Facebook pages or groups. This list is not complete (is any list ever?), and I aim to add to it in time. It doesn’t include the many fine high school theatre departments as I found that many either didn’t have websites and Facebook pages or that they weren’t always up-to-date. There is also no distinction between professional, semi-professional, and community theatre in this list. Still, this is a good starting point to add to your Facebook “likes” and bookmarks for the time being.

I believe that fans of theatre will see more theatre if they know of all the options available. I also don’t believe one theatre company has to do poorly for another to do well (I know several theatre companies appear to feel differently). Unless we are all doing the same shows at the same time, we aren’t in competition. At SRO, we now have a policy to display as many cards and flyers for other theatre companies as we receive at our performances. We don’t ask for or expect other companies to follow that practice; some are open to it while others are silent, and that’s fine. The bottom line is I want everyone to succeed and to help connect theatre with the community. While there may be individual people within certain organizations that I feel try to denigrate and dismiss other companies and their work, I find that, by and large, the artists, technicians, and audiences just want to come together and enjoy the experience of live performance.

Please help me add and correct this list by posting comments.



Columbus Makes Art (GCAC events)

Columbus Theater Events

My Auditions Calendar (Columbus, OH)

My Performance Calendar (Columbus, OH)



Central Ohio Auditions

Grandview Carriage Place Players – Audition Page

I Support Local Live Theatre

Shameless Production Plugs of Central Ohio Theatre

Theatre Audition and Job Notices



Actors’ Theatre of Columbus

Arena Fair Theatre

Available Light Theatre


CATCO is Kids!

Columbus Children’s Theatre (CCT)

Columbus Civic Theater

Curtain Players


DNGinc Productions

Eclipse Theatre Company

Ember Women’s Theatre

Evolution Theatre Company

Gahanna Community Theatre

Gallery Players

Hilliard Arts Council

Imagine Productions

King Avenue Players

Little Theatre Off-Broadway (LTOB)


Mine4God Productions

Ohio Musical Theatre Institute

Onyx Productions

Original Productions Theatre

Out of the Box Community Theatre (OOTBCT)

PAST Productions Columbus

Performing Arts Creative Ensemble (PACE)

Pickerington Community Theatre

Red Herring Productions

Shadowbox Live

Short North Stage

State of the Arts Productions (SoArtsPro)

Tantrum Theater

The Tipping Point Theatre Company

Westerville Parks & Recreation Civic Theatre

Worthington Community Theatre



Ashland University Theatre

Capital University

Denison University

Ohio State University Department of Dance

Ohio State University Department of Theatre

Ohio State University School of Music

Ohio University Lancaster Theatre

Otterbein University Theatre and Dance

Theatre Columbus State



Beavercreek Community Theatre (Beavercreek, OH)

Bespoke Theatre (Columbus, OH)

The Black Box Improv Theatre (Dayton, OH)

Dare to Defy (Dayton, OH)

Dayton Playhouse (Dayton, OH)

Dayton Theatre (Dayton, OH)

Dayton Theatre Co-op (Dayton, OH)

Dayton Theatre Guild (Dayton, OH)

Frontgate Theatre Troupe Productions (Dayton, OH)

Human Race Theatre Company (Dayton, OH)

The Lancaster Playhouse (Lancaster, OH)

The Libby Art and Theatre Company (Dayton, OH)

Licking County Players (Newark, OH)

Magnolia Theatre Company (Dayton, OH)

The Musical Theatre Initiative (Dayton, OH)

On Stage Dayton (Dayton, OH)

The Playground (Dayton, OH)

Roundtown Players (Circleville, OH)

Sinclair Community College Theatre (Dayton, OH)

UD Studio Theatre (Dayton, OH)

University of Dayton Theatre, Dance, and Performance Technology Program (Dayton, OH)

Weathervane Playhouse (Newark, OH)The Zoot Theatre Company (Dayton, OH)

Children of Eden (Dare 2 Defy – Dayton, OH)

In lieu of a full review, here is a promotional video I created for Dare 2 Defy’s Children of Eden, which runs for only three performances this weekend in Dayton, Ohio. I attended the dress rehearsal and found the score catchy, the choreography highly inventive, and the cast of nearly fifty full of energy. I was worried that this would be somewhat like Stephen Schwartz’s Godspell, but it wasn’t in the slightest. Though the stories of Adam and Eve, Cain and Abel, and Noah and his ark are told, they are treated more like literature than a Bible lesson, making the subject matter highly accessible to any audience, be they believer or Atheist. *** 1/2 out of ****

Once on This Island JR. (Columbus Children’s Theatre – Columbus, OH)

What’s it about?

Once on This Island JR. is an abridged version of the acclaimed Broadway musical Once on This Island, which premiered in 1990 and ran for over a year. Based on Rosa Guy’s novel My Love, My Love, and with music by Stephen Flaherty and music and lyrics by Lynn Ahrens, the musical tells the story of Ti Moune, an orphaned peasant girl on a small island in the French Antilles, who rescues Daniel, a rich planter’s son from the other side of the island, when he wrecks his car during a storm. Ti Moune falls in love with Daniel, even promising her soul to Papa Ge, a Demon of Death, if Daniel’s doesn’t die. Daniel’s life is spared, and Ti Moune works to nurse him back to health. Daniel’s family soon appears to take him back to their side of the island and to a life of privilege and wealth the complete opposite of Ti Moune’s home. Against the advice of her adoptive parents, Ti Moune sets out to return to Daniel, certain that her love for him will be returned in kind; little does she know that Papa Ge, to whom she has promised her soul, and Erzulie, the Goddess of Love, have a wager going with Ti Moune’s life to determine which is stronger: the power of love or the power of death.

Photo: David Heasley

Is it worth seeing?
Absolutely! Granted, this is a version of the show with a few songs cut and altered, but the basic story and the best, most lively songs are still intact. This production runs about an hour in length and is appropriate for ages six and up, but by no means is this a show that only children can appreciate.

I must say that, as a big fan of the original show, I went into this altered “JR.” version more than a bit concerned. The color element, an intrinsic part of the original story (the poor side of the island has dark-skinned peasants while the affluent part has light-skinned rich folks), has been surgically removed from this edition, opening up the musical to be performed by all races and ethnicities; the classism is still there, but this time around skin color isn’t a factor. The result isn’t blasphemous like say an all-white production of A Raisin in the Sun or The Color Purple might be, but important songs that serve to explain more of the plot (“The Sad Tale of the Beauxhommes,” “Some Say,” and “Some Girls”) have been cut. The big love song “Forever Yours” has also been trimmed down to almost nothing; still, this adaptation (approved by the creative team) is successful in turning a show with some mature themes and concepts into one palatable for children and adults alike. This is one musical for which every track on the original cast recording is worthy; in fact, it might appeal to adults more than kids.

Director Ryan Scarlata guides his Summer Youth Performance Conservatory cast of teens and pre-teens deftly, always keeping the action moving. The cast is energetic with talent and spirit to spare, and their ensemble singing is notable for the clarity in their diction. So often ensemble numbers can sound unfocused with moments being unintelligible, but that is not the case here; in fact, the overall sound design is spot on, with the pre-recorded orchestra track at an appropriate level to allow the vocal performances to dominate. Jeffrey Gress’s multi-level set looks a bit reminiscent of Mamma Mia with its beachy coloring and bold blue sky, but it suits this story very well, as do the saturated colors and patterns of the costumes (save for those worn by the affluent side of the island, a wise choice to visually show the difference between the social classes).

Photo: David Heasley

Standouts in the cast include Sara Tuohy as Ti Moune, her voice possessing a purity that is thrilling; Amirah Joy Lomax as Asaka, Goddess of the Earth, whose performance of “Mama Will Provide” is engaging enough to inspire spontaneous dancing from the audience (they didn’t do it at the performance I attended, but I would not be surprised to learn if it happened); Kyle Channell as Tonton Julian and Megan Masciola as Mama Euralie are caring foster parents to Ms. Tuohy’s Ti Moune, their voices full of genuine affection and heart when they warn her of seeking out Daniel; Katie Wagner as Erzulie, Goddess of Love, whose rendition of “The Human Heart” is instilled with wisdom beyond her years; and Maria Dalanno as Andrea, Daniel’s betrothed (Sorry! Spoiler alert!), brings nuance to a character that can be played as just a snotty mean girl; Ms. Dalanno appears too clever to play just that one note, as here she ranges from skeptical to annoyed to concerned and finally empathetic to Ti Moune’s feelings.

The source novel derives inspiration from Hans Christian Anderson’s The Little Mermaid with its sad conclusion intact, and yet the ending of Once on This Island JR. is filled with hope for the future. The message of parents needing to allow their children to explore the world and make their own mistakes is quite clear, as is the point that sometimes it takes just one person to go against the grain to change the future, no matter how many naysayers are on the sidelines.

Once on This Island JR. is not as sterling a show as in its original version, but this children’s adaptation comes awfully close. Only those familiar with the original show will sense the changes, and judged on its own merits this is one production that I can highly recommend.

My rating: *** 1/2 out of ****

Photo: David Heasley

Where can I see it?

Once on This Island JR. continues through to August 7th in Columbus Children’s Theatre’s Park Street Theatre located at 512 Park Street in downtown Columbus, and more information can be found at

Photo: David Heasley

The Fantasticks (Short North Stage – Columbus, OH)

It’s funny how some plays can become such a part of popular culture that they can feel like you’ve seen them before even if you haven’t. The Fantasticks, the long-running 1960 Tom Jones-Harvey Schmidt musical about two neighboring fathers pretending to feud in the hope that their children will rebel and fall in love, is one of those evergreens, a musical that is akin to a rite of passage as each new generation discovers and embraces its charms. The Fantasticks isn’t a great work, but its memorable score, including such standards as “Try to Remember,” “Much More,” and “Soon It’s Gonna Rain,” has done much to solidify its reputation.

Photo: Jason Allen – Emma Coniglio (Luisa) and Robert Carlton Stimmel (Matt)

Now Short North Stage presents their version of The Fantasticks, only this time director Jonathan Flom has changed its setting and locale to Oklahoma circa April 1935 during The Great Depression, more specially after a great dust storm that has left much death and destruction in its wake. Not a word or song has been changed to accommodate this interpretation, and yet what emerges in this production injects new life and relevance in the all-too-familiar story of boy meets girl/boy loses girl/boy gets girl back. Mr. Flom’s production, with a sprawling set by Jonathan Sabo complete with mounds of dirt and partially buried farm paraphernalia, is presented in the round with limited seating around the perimeter of a raised wooden platform (the room’s support beam is cleverly dressed to appear like a tower); the overall effect is one of inclusion, like the audience is a part of the action.

Photo: Jason Allen – Brian Hupp (El Gallo) and Emma Coniglio (Luisa)

The cast is uniformly excellent, exuding a kind of familial affection for one another that permeates past their roles. Brian Hupp makes an oddly dangerous and elusive El Gallo, a fresh take on this character all dressed in black; Robert Carlton Stimmel plays Matt with energy to spare, and Emma Coniglio has a way of playing a bit spoiled as Luisa that isn’t cloying; Doug Joseph and Ryan Stem, as the fathers of Matt and Louisa respectively, should be listened to carefully for their humorous ad libbing as they bicker with each other in the way that only great friends can do; Mr. Joseph and Mr. Stem both have a way of embodying the spirit of both mother and father that makes their investment in the future of their children all the more significant.

Photo: Jason Allen – (left to right) Robert Carlton Stimmel (Matt), Kate Lingnofski (Mortimer), and Alex Lanier (Henry)

Though her stage time is brief, Alex Lanier makes a dizzyingly bombastic Henry, the old actor who helps to stage an attempted abduction of Louisa to help Matt appear to be a hero; Kate Lingnofski as Mortimer, Henry’s sidekick, has a staunch posture and walk that is highly individual and comedic; her goggles, cap, and scarves conjure images of a Chaplinesque Amelia Earhart. Megan Valle plays The Mute, and she is also responsible for the choreography that feels so organic that it can be difficult to tell when it starts and ends; Ms. Valle acts silently with an expression that looks as if she’s on the cusp of saying something quite profound, the story of Matt and Luisa’s courtship playing out in front of her being the one respite from the world around her.

Photo: Jason Allen

Short North Stage’s The Fantasticks has a wistful, dreamlike quality to it, almost like recalling a memory through a haze of sheer muslin. All of the familiar songs and characters are there, but this telling has more of an urgency and relevance to it; the love and joy of the young lovers is more poignant with The Great Depression as a backdrop. This reimagining doesn’t feel forced or heavy-handed at all, and the simplicity of the story has never felt more welcome a luxury. Aside from the intimacy of experiencing this production in the round, there is an added benefit; many times I caught myself glancing at the smiling faces of other audience members on the opposite side of the performing space. I’m sure I sported an incongruous smile as well since the sweetness and hopefulness of this production is infectious. “Aren’t you glad we came out tonight?” I heard a lady ask her friends as we all exited the theatre after the play. Everyone agreed that seeing this production of The Fantasticks was time well-spent.

**** out of ****

The Fantasticks continues through to August 14th in The Green Room at The Garden Theatre located at 1187 North High Street in downtown Columbus, and more information can be found at

Marni Nixon at Symphony Space (April 10, 2016)

I was fortunate enough to work on some videos for one of Marni Nixon’s last public appearances at Symphony Space on April 10, 2016. She couldn’t have been more humble or gracious. I told her, “I think it’s wonderful that you’re finally recognized for all of your great work.” “It was such a long time ago,” she added. “But,” I continued, “people will be listening to and enjoying your performances long after everyone in this room – including us – are long gone.” She smiled.

Here is some audio I recorded of the event:

Program cover for the event
Ted Chapin, President of the Rodgers & Hammerstein Organization, and theatre historian Michael Portantiere moderated the discussion with Marni.

Here are additional videos created for the event.

Montage of Anna and the King of Siam (1946) and The King and I (1956):

Pop covers of songs from the score of The King and I:

Collage by Jeff Marquis
Marni Nixon & Chuck Pennington III (me)

West Side Story (Columbus Children’s Theatre – Columbus, OH)

How lucky am I to be able to see full productions of the two biggest Broadway hits of the 1957-1958 season all in the same week? One night I get to see The Music Man at Weathervane Playhouse in Newark, and the next night I’m enjoying Columbus Children’s Theatre’s West Side Story! Both are now revered as classics, were made into very popular and faithfully adapted films, and for well over fifty years have been performed thousands of times a year all over the country from high schools to regional theatres. One can’t really be considered a fan of musicals without becoming acquainted with these evergreens; their songs pop up all the time in popular culture, and chances are you’ve heard some of them even if you didn’t know from where they originated.

Photo: David Heasley

Meredith Willson’s The Music Man was the big Tony Award winner in 1958 and the longer-running hit, but West Side Story, with a searing Leonard Bernstein score, lyrics by the up-and-coming Stephen Sondheim, book by Arthur Laurents, and choreography courtesy of the legendary Jerome Robbins, has emerged as the more serious classic. Inspired by Shakespeare’s Romeo and Juliet, the action has been transplanted to the Upper West Side of New York City in the 1950s as rival gangs, the Jets (who are white) and the Sharks (who are Puerto Rican), fight for dominance. Caught in the crosshairs are Tony, a sometime member of the Jets, and Maria, the sister of the leader of the Sharks, Bernardo. Tony and Maria meet at a school dance, fall in love, and try to stop the gangs from fighting to discover things will only get worse before they begin to get better. With nearly every now song an established classic (“Maria,” “Tonight,” “Somewhere,” “I Feel Pretty,” and “America” to name but a few), West Side Story continues to capture the heart of each new generation, thanks to the 1961 film and the play’s continued popularity. This current production, featuring Columbus Children’s Theatre’s Summer Pre-Professional Company of performers ages sixteen to twenty-two, is about as engaging and rousing a production as one is likely to find, “pre-professional” or not.

Photo: David Heasley

These Jets and Sharks dance, fight, and spit with equal intensity (stage combat aided by William Goldsmith), and each performer appears fully cocked and ready to attack anyone who gets in their way. I remember some snickering from my classmates when we watched the movie in high school during the opening dance sequence; no one would dare to scoff at these Jets and Sharks, especially once they see them believably kick and punch each other to the ground! It’s interesting to note that all but two of the Jets and Sharks are wearing identical black Converse Chuck Taylor All Star shoes, a nice visual reminder that they have so much more in common than they seem to realize.

Photo: David Heasley

As sweet and innocent as Tony (Andy Simmons) and Maria (Elizabeth Blanquera) are in this production, they can’t help but appear less exciting when stacked next to the excellent supporting cast: Austin Ryan Backus as Riff exudes confidence and swagger; Matthew J. Mayer II makes an intense Bernardo; Odette Gutierrez del Arroyo is a firecracker as Anita but also heartbreaking; Will Thompson plays Doc like a wise, concerned older brother, making an impact in a part usually ignored; and Charlotte Brown should be watched closely in the small role of Rosalia, especially for her hilarious facial expressions during the dance at the gym.

Photo: David Heasley

The only serious flaw in this production occurs during the ballet (which is not in the film). This ballet leads into “Somewhere” and begins strongly with Riff and Bernardo reappearing after the violent end of the first act; then, inexplicably, a little boy climbs out of Maria’s bedroom window, down over the fence, sings “Somewhere” at Tony and Maria (now dressed in just a slip), and then scampers back up to from where he came. Though staged a bit differently, this addition of the character “Kiddo” and reassignment of the song was made by original book writer Arthur Laurents for the 2009 Broadway revival he directed; it was widely criticized then, and it’s inclusion in this production is a glaring sore spot. It has nothing to do with the ability of the kid playing Kiddo; the moment comes off as schmaltzy and like a lecture to the characters, bringing to mind this verse in Isaiah: “And a little child shall lead them.” I began to wonder why a little kid was squatting in Maria’s bedroom and if someone should let her know.

Photo: David Heasley

Luckily everything gets back on track when some of the Jets sing “Gee, Officer Krumpke,” far funnier with lyrics and gestures that were greatly toned down for the film. This is one of several scenes in which Jordan Feliciano as Baby John is a riot, donning a mop on his head and squeaky voice. As humorous as this sequence is, Ms. Gutierrez del Arroyo’s “A Boy Like That” that follows it is conversely serious and impassioned. Songs were moved around for the film to provide a more consistent tone for that medium, but the flow of the original play works marvelously on the stage.

Photo: David Heasley

Director David Bahgat incorporates many design elements from the film (unavoidable with its popularity) and expands upon them, the Jets costumed in blue and yellow and the Sharks in purple and red; the lighting is also used in this color motif effectively without being too obvious. Mr. Bahgat keeps everything moving at a brisk pace (save for the aforementioned break in the ballet), and he guides his cast into making each line sound like it is theirs and theirs alone. I’ve seen several productions were the actors copy each line reading as it was done in the film; that isn’t the case here at all, and many times so much more humor and character comes across because of it. He keeps his actors moving all around the audience, maintaining an immediacy that a lesser director wouldn’t bother trying to create. The marvelous set designed by Jeffrey Gress represents all of the different locations needed for the story, elements of which extend out around the audience, making this what I would consider an environmental staging; a low chain link fence separates the audience from the cast on the left and right sides, Doc’s storefront is between the center and right seating areas, actors often enter the center rows of the audience and sit alongside them, and (depending on where one is sitting) Chino (Frank Ruiz) can be seen stealthily sneaking down the alley between the center and left section of seats leading up to the intense climax.

Photo: David Heasley

The four-piece band led by Zac DelMonte kicks into high gear during the “Tonight” quintet and rumble, though the limited orchestration takes a little time to get used to at the start of the show. Nicolette Montana does a fine job of recreating iconic moments from Jerome Robbins’ original choreography, adding and changing bits here and there to suit the space and production demands; aside from a moment during the prologue when the Jets shout “Ha!” and jut their hands out into the audience, Ms. Montana’s work is commendable and adds so much to this overall splendid production.

Photo: David Heasley

Except for a few missteps (mostly minor), Columbus Children’s Theatre’s West Side Story is nearly impossibly good. With action occurring from all sides of the theatre and an energetic cast that knows this show like seasoned pros, this West Side Story is one to see no matter how many times you’ve seen the play or movie before. Most of the performers appear to be exactly in the right age range of the characters they are playing, from late teens to early twenties, but this is the exception rather than the rule when compared to the film or Broadway productions of this show. The “us verses them” struggle between the Jets and the Sharks is still relevant today; one need only to watch the daily news to see how fear of the “other” continues to incite violence and be used politically to pit people against one another. 

*** 3/4 out of ****

West Side Story continues through to July 17th at Columbus Children’s Theatre located at 512 Park Street in downtown Columbus, and more information can be found at

The Music Man (Weathervane Playhouse – Newark, OH)

It might be hard to believe now, but West Side Story and The Music Man competed against each other at the 1958 Tony Awards, with The Music Man walking away with the Best Musical prize as well as three of the four acting awards! It’s not that Meredith Willson’s The Music Man isn’t a good show; it’s just that with time (and the hugely popular 1961 film adaptation), West Side Story has emerged as arguably one of the greatest musicals ever and the one from that season that made the biggest lasting impact on popular culture. Still, the story of “Professor” Harold Hill selling band instruments and uniforms from town to town, convincing families to invest in their children’s musical “gifts” (Harold himself can neither play an instrument or read music), and wooing Marian the Librarian is the kind of old-fashioned, sweet and simple crowd-pleaser that has made it an enduring favorite for nearly sixty years now; how nice to have it return in an enjoyable production at the Weathervane Playhouse in Newark right around Independence Day.

Photo: Chad DiBlasio (

The Music Man is a slice of Americana set in Iowa during the summer of 1912 when the biggest news of the day included the local gossip and happenings within the town, not what was going on anywhere else in the world. It was a time of traveling salesmen, including the type that would make a big sale and then skip town as quickly as possible once the customers found that they had been mislead. Harold Hill is just that kind of salesman, promising to form a marching band and teach music to the children of the town only to disappear once the instruments and uniforms arrive. It is a con he has been working for years, making it difficult for the honest traveling salesmen who find themselves unwelcome in towns burned by Mr. Hill’s tactics. All of that is about to change when Harold arrives in Iowa, bewitches the town, and earns the affection of the town librarian, Marian. With a score containing “Seventy-Six Trombones,” “The Wells Fargo Wagon,” “Till There Was You,” and “Ya Got Trouble,” The Music Man is an enjoyable work, one that also shows how easy it is to convince people of anything you want so long as you keep telling them what they want to hear (brings to mind this election season, doesn’t it?).

Photo: Chad DiBlasio (

Layne Roate plays Harold Hill, tough shoes for anyone to fill as Robert Preston, who originated the role on Broadway, preserved his performance in the popular 1962 film adaptation. Mr. Roate wisely doesn’t try to copy him; his Professor Hill seems far more human and relatable than the template, yet he doesn’t reinvent the character entirely. He may not be able to master Mr. Preston’s speed or diction in “Ya Got Trouble,” but Mr. Roate’s “Till There Was You,” in which he expresses his love to Marian, is sincere in a way Mr. Preston’s was not in comparison. His Harold is still a sneaky salesman, but what he really sells isn’t instruments or uniforms but hope. Sure, he may be planning to disappear as soon as the checks clear, but he has a knack for making a lot of people happy in the process.

Photo: Chad DiBlasio (

Natalie Szczerba is a kind and emotionally accessible Marian Paroo, completely believable in the moment when she decides not to expose Harold for what he really is to the town when she sees his positive effect on her lisping brother, Winthrop. Ms. Szczerba doesn’t make Marian a pushover at all, but she isn’t as militarily strident as Shirley Jones was in the film either. This Marian’s “Goodnight, My Someone” feels like a hope-filled prayer, and Ms. Szczerba and Mr. Roate’s chemistry is immediately apparent. Do we know they are going to end up together? Sure, but the joy is in watching it happen.

Photo: Chad DiBlasio (

Standouts in the supporting cast include Brad Johnson as Tommy, the rowdy boy courting the mayor’s daughter, and Ricardo Locci as Charlie Cowell, the salesman looking to expose Harold’s past to the town. Neither part is particularly large or defined, but these two performers bring a lot to the table. Mr. Johnson’s energy and bright smile as Tommy would be cloying if it didn’t come off as so naturally naive and youthful. Mr. Locci’s Charlie is the kind of anvil salesman you’d definitely want to steer clear of; when he starts to get close to Marian, Mr. Locci comes off as genuinely slimy and a real threat to her safety! This Charlie has an ax to grind alright, but his motive is to hurt Harold, not save the townspeople from being swindled.
Photo: Chad DiBlasio (

Director Kevin Connell and choreographer Tracy Wilson have their work cut out for them with such a large number of children in the ensemble; and yet, everyone has their own space and something to do, even when the action extends into the auditorium and within the aisles. While there may not be a lot of complexity to much of the dancing, everyone seems to be doing their part and appear glad to be there. The production moves quite well, and that includes the moments when there are forty people on the stage, which is no small achievement.The set is made up of three panels to the left that represent the colors of American flag, a large newspaper advertisement that serves as the pool hall in the center, and the Paroo home to the right. The Paroo’s house swings around to reveal the living room and is quite well-executed; the vintage ad being on the building for the pool hall looks quite odd, and the panels to the left that rotate to reveal books (for the library) leave a lot to be desired. Still, Jennifer Sansfacon’s lighting brings a surprising array of colors to scenes; the cues shift subtly to support the action at hand, a highlight being the pastel blues, pinks, and greens during “Shipoopi” and some other crowd numbers. Ms. Sansfacon also keeps the entire stage dark save for a single light several times to focus the audience’s attention on the more intimate moments.
Photo: Chad DiBlasio (

There is a lot of joy to be found in Weathervane Playhouse’s The Music Man; I honestly think one would have to put forth effort not to have a good time. The overall positive, cheerful effect of this production far outweighs its relatively minor deficits. This is family entertainment that isn’t icky sticky sweetness, yet it also isn’t trying to be “hip” and alienate half of the audience. The Music Man exists in a specific time and place, and how nice it is to see it live in a production as happy as this one.

*** 1/4 out of ****

The Music Man continues through to July 9th in the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at

Jekyll & Hyde: The Musical (Weathervane Playhouse – Newark, OH)

“The only thing constant is change,” Dr. Henry Jekyll says to the board of governors early on in Jekyll & Hyde: The Musical; although he was referring to medical science in the show, he could just as easily be referring to the play itself. This is a work that has been workshopped, recorded, revised, augmented, and re-recorded so much since its world premiere in 1990 and subsequent original Broadway production in 1997 that one can never be quite sure what revisions will be a part of any licensed production. Such is the fate typical of composer Frank Wildhorn’s musicals, as The Scarlet Pimpernel and The Civil War are two other problematic shows with which he continues to tinker. Jekyll & Hyde: The Musical (the most current licensed version anyway) opens the Weathervane Playhouse season in a production that offers quite a fresh take on the material and features the best two lead musical performances I’ve seen locally this year.

Photo: Chad DiBlasio (

Based on the Robert Louis Stevenson classic novella Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll & Hyde: The Musical features music by the aforementioned Mr. Wildhorn with book and lyrics by Leslie Bricusse; the original 1997 Broadway production ran for just under four years, itself a product of two previous developmental recordings, and yielded several subsequent tours as well as a flop 2013 Broadway revival. No matter the incarnation, the show is about how Dr. Henry Jekyll’s search for a way to separate the good in all mankind from the bad in an effort to obliterate the latter. His experiments bring about Mr. Hyde, an alternate personality comprised of only the worst qualities of himself. As the two forces struggle for control over the same body, Emma, Jekyll’s fiancée, and Lucy, Hyde’s whore, are caught in the crosshairs of the struggle for dominance. The show seems like Mr. Wildhorn’s answer to Andrew Lloyd Webber’s The Phantom of the Opera; indeed, many musical motifs are recycled for different songs throughout, and it doesn’t take a musicologist to hear the influence of Lloyd Webber’s show on this one.

Photo: Chad DiBlasio (

Director Adam Karsten has radically reimagined this Jekyll & Hyde: The Musical to present it on a mostly bare stage with a platform that opens to reveal a pool of water used quite effectively in several scenes. Translucent plastic tarps surround and cover the stage, revealing the vestiges of hanging portraits and chairs. The expert lighting design by Jennifer Sansfacon utilizes bold strokes of red and purple to establish settings, casting specific shadow designs onto the stage. Ms. Sansfacon also makes sure the pool of water glows an eerie indigo, and she seems the perfect partner for Mr. Karsten to create this new vision for the show.

Photo: Chad DiBlasio ( – Connor Allston (Jekyll/Hyde) and Myha’La Herrold (Lucy)

The problems begin almost immediately in the opening scene when Dr. Jekyll visits his father in a mental institution. In that scene it makes some sense that patients of reduced ability would perhaps be crawling and sliding around on the stage; it comes off as terribly overwrought, uncomfortable, and even laughable when the writhing around continues throughout the play and extends into the audience with planted actors. Still, Mr. Karsten should be congratulated for trying something different with the material; the use of water and light is really quite terrific, and why not add some blood and stripping cast members into the mix? I suppose the disrobing is to amp up the sex appeal, even though the sight of the youthful cast slowly disrobing, dipping their hands into buckets of stage blood, and slathering themselves with the goo – while a striking image – made me think, “What a mess… Good thing everything is covered in plastic.”

Photo: Chad DiBlasio (

There are some really quite good songs scattered about, such as “Someone Like You,” “A New Life,” and the popular anthem, “This is the Moment.” Music director Kevin Wines presents the music effectively reducing the bombastic nature of the score to sounding understated and supportive of the talented cast’s singing. Every time I see this musical I find more and more of the book has been trimmed away, leaving a mostly sung-through show behind; it’s great to hear the near constant music be as well-managed as it is here.

Photo: Chad DiBlasio ( – Myha’La Herrold (Lucy) and Connor Allston (Jekyll/Hyde)

The reason to see this show is for the performances by Connor Allston as Dr. Henry Jekyll, Myha’La Herrold as Lucy, Natalie Szczerba as Emma, and Layne Roate as Jekyll’s lawyer and friend, John. Mr. Allston is dedicated and determined as Dr. Jekyll, and his transformations between personalities are almost entirely represented by a slight shift in tone and a change in his intention; no laughably drastic facial changes, growling voice, or stooped limp here. Mr. Allston is able to convey the change internally in a way that resonates naturally, seemingly with little effort, and his voice is quite strong and moving; his goal to help mankind feels genuine, even if his experiments are destroying his and the lives of those around him in the process. Mr. Allston has the kind of masculine stage presence and vocal prowess that, even at his incredibly young age, should make anyone dream of seeing his interpretations of classic roles in Man of La Mancha, Guys and Dolls, South Pacific… You fill in the blank.

Photo: Chad DiBlasio ( – Myha’La Herrold (Lucy)

Ms. Herrold is every bit Mr. Allston’s match as the prostitute Lucy. At first she might seem miscast physically being that she is black and bald, but nothing could be further from the truth. Ms. Herrold challenges what might be considered traditional beauty by being by far the most interesting and striking woman on stage, and this is a show full of attractive actors. She has a mournful lament to her singing as Lucy in “Someone Like You” that is as heartbreaking as her moment of hope is thrilling in “A New Life.” Her voice is sometimes too powerful for the technical director to manage as some of her stronger notes cause light, brief distortion over the speakers; nevertheless, Ms. Herrold is touching and a memorable talent to watch. The way she handles her final confrontation with Mr. Hyde is intense and requires great technical skill to pull off as the pressure of the moment is mostly on her.

Photo: Chad DiBlasio ( – Connor Allston (Jekyll/Hyde) and Myha’La Herrold (Lucy)

Ms. Szczerba has quite a bit less to work with in terms of characterization as Emma, but she does wonders with what is there. She’s appealing in a way that would make her a natural fit for Dr. Jekyll, and her singing voice is particularly striking during “In His Eyes,” her unlikely duet with Ms. Herrold’s Lucy; their voices are so different in style that they don’t compete with each other as I’ve heard other performers do with this same song, resulting in a beautiful mix of their voices that allows both to be heard. Mr. Roate has even less to work with as John, but he can be counted on to deliver his lines with weight and seriousness, effortlessly slipping into a warm singing voice. There is one brief moment where Mr. Roate invades Mr. Allston’s space in a way that comes off as so intimate that I thought the two might kiss; they don’t, but that silent moment has an incredible amount of subtext because of Mr. Roate’s actions.

Photo: Chad DiBlasio ( – Connor Allston (Jekyll/Hyde) and Natalie Szczerba (Emma)

Jekyll & Hyde: The Musical isn’t a great show, no matter which revised production or cast recording is being evaluated. This production takes risks with the material that fail as often as they succeed, and yet the sheer force and will of its four talented leads elevate this to being a show worth seeing; seriously, they are that good. This definitely isn’t the same Jekyll & Hyde: The Musical that I saw on its original Broadway tour, or the video of the closing Broadway cast (starring David Hasselhoff), or even the 2013 short-lived Broadway revival (thank goodness); this production is a different animal, but one that is consistently interesting to experience even when it misses the target.

*** out of ****

Jekyll & Hyde: The Musical continues through to June 11th in the Weathervane Playhouse at 100 Price Road in Newark, OH (around 45 minutes outside Columbus), and more information can be found at

Little Shop of Horrors (Tantrum Theater – Dublin, OH)

Inspiration can sometimes come from the most innocuous material. I’m sure schlock film director Roger Corman never dreamed his 1960 grade-Z, low-budget, black and white wonder The Little Shop of Horrors would be transformed into a successful off-Broadway musical, be turned back into a film, and still be performed over thirty years later all across the country. Tantrum Theater, a new theatre company with ties to Ohio University in Athens as well as the City of Dublin, is now presenting Little Shop of Horrors as their premiere production in the Abbey Theater within the Dublin Community Recreation Center (I had to use the GPS on my phone to find it). This was my first experience at the facility; it looks state-of-the-art and proves to be a perfect fit for this irreverent dark comedy of a musical about love, fame, and a singing carnivorous plant. 

Photo: Daniel Rader – Jhardon Dishon Milton (Seymour)

Little Shop of Horrors premiered off-Broadway in 1982 and launched the careers of lyric and book writer Howard Ashman and composer Alan Menken, the team who went on to write the scores to Disney’s The Little Mermaid and Beauty and the Beast. The show ran for over five years, was adapted into a hit 1986 film, and finally premiered on Broadway in 2003. The action centers around Mushnik’s Skid Row Florists, a struggling shop in a slummy area where Seymour Krelborn, a rather nerdy guy, works alongside blonde bombshell Audrey. All of their fortunes change when Seymour discovers a “strange and unusual” plant that brings fame and fortune to him and the shop. The catch? The plant needs warm, fresh blood to thrive, and Seymour is faced with the ethical dilemma of finding the plant (whom he names Audrey II) dinner in the form of less than savory people that the plant reasons “deserve to die” anyway. The score is peppered with catchy songs like “Suddenly Seymour,” “Downtown,” and “Somewhere That’s Green,” and the story is written in a tongue-in-cheek style. Director Daniel C. Dennis guides this production while maintaining a light touch, possessing an obvious affection for the characters and the time period that shows in the joyful pep in many of the performances and the impressive use of color in the design concept.

Photo: Daniel Rader – (left to right) Sara Reinecke (Audrey), Colin Cardille (customer), Brandon Whitehead (Mushnik), and Jhardon Dishon Milton (Seymour)

Standouts in the cast are Jhardon Dishon Milton as Seymour, still playing the geek card but with a lot of heart; Sara Reinecke as Audrey, playing her as more than just a squeaky-voiced ditz; Brandon Whitehead as Mushnik, just right as the sneaky boss; Byron Glenn Willis sounds like he is having fun as the voice of Audrey II (though he sometimes has trouble finding his place in the music); Basil Harris is a riot as the evil dentist Orin, but he also plays a variety of other small roles (at times reminding me of Robin Williams with his timing and delivery); Kelsey Rodriguez sparkles in her solos as Ronnette, one of the three girls that comment on the action throughout the play; Jon Hoche brings personality to Audrey II as the lead puppeteer; and Colin Cardille has a memorable moment in a small part as a customer at the shop, his wide grin and impossibly genial manner fitting perfectly with the tone of the piece.

Photo: Daniel Rader – (left to right) Brandon Whitehead (Mushnik), Kelsey Rodriguez (Ronnette), Kristin Yates (Crystal), Sana Selemon (Chiffon), and Jhardon Dishon Milton (Seymour)

The most striking element of this production is the incredible set designed by C. David Russell, complete with a turntable to transition from being on the outside to the inside of Mushnik’s shop. There are signs and billboards overhead to denote the period, which is also aided by the limited black and white palette that extends to the costumes; bits of color begin to appear little by little as Audrey II grows, and the effect is most attractive and reminiscent of the use of color in the 1998 film Pleasantville. The band is conveniently housed on stage to the left within what appears to be a brownstone with open doors and windows.

Photo: Chuck Pennington III – Set Design: C. David Russell

With so much to recommend this piece, there are some notable deficiencies. There is a distinct lack of energy in some of the supporting players as they don’t always seem to be actively present and working to sell their parts. The tempo of the music is also much slower than I’m used to hearing with this score, though it seems to pick up the pace a bit after the intermission. Much of the choreography comes off as an afterthought and robotic as well. None of these problems keep the show from being diverting overall, but those familiar with the show will take note.

It’s funny how a familiar work of art (I’ve seen and listened to this show many times) can take on a different meaning depending on the context in which it is experienced. Just listen to the lyrics of “Don’t Feed the Plants” at the end of the show, with references to “unsuspecting jerks from Maine to California” being “sweet talked” into feeding the plants blood as they continue to grow. It isn’t hard for me to relate that to some of the rhetoric being spouted by politicians currently running for President, no matter which side of the aisle you may sit. The song now sounds to me like we shouldn’t give attention to anything that will ultimately be destructive, a lesson learned too late by the characters in the show (let’s hope we as a country are more fortunate come election time). Ah, but I digress…

Photo: Daniel Rader – (left to right) Kristin Yates (Crystal), Sana Selemon (Chiffon), Kelsey Rodriguez (Ronnette), and Jhardon Dishon Milton (Seymour)

Little Shop of Horrors is an auspicious debut production for Tantrum Theater. If the production values for this show are any indication, they are a serious new contender in the area. While I may take issue with a few of the performances and the pace of the music, this is a very enjoyable production overall. The set is top notch, the voices are all strong, and the humor all comes across. The group of people I attended with all left impressed and looking forward to Tantrum’s next production.

*** out of ****

Little Shop of Horrors continues through to June 25th in the Abbey Theater located within the Dublin Community Recreation Center at 5600 Post Road in Dublin (it’s a huge building with a large flag in front), and more information can be found at