May 8-10: North Middlesex DHS students get Grease-y

Students at Parkhill’s North Middlesex District High School are preparing their annual dramatic performance, this year producing the musical Grease: You’re the One that I Want. The play runs May 8, 9 and 10 at 7 p.m. at the high school. “We thought it was something the students would be excited about performing,” says music director Rod Culham. “It has 50s and 60s rock, and that’s always fun to do and yet fairly simple. And the story line is where they are: teenagers in high school. It has love relationships that involve being bad and good.
“Contrary to popular belief, I don’t think kids have changed that much since the 50s. There are differences, of course, but there has always been the investigation of good and evil, the excitement of sexual tension, and the element of teasing each other, the questioning of adult authority. The same sorts of things that were relevant then are still relevant today.”
Sandra Smith directs the play, with technical direction by Rick Pardo, costumes by Lindsay Denning and choreography by Andrea Wegg. The production involves a cast of more than 20 students, six instrumentalists, and many adults assisting.
Tickets are $8 for adults and $6 for seniors and students, and are available by calling the school at 519-294-1128.

Romantic Comedy about Selling the House

Real Estate
By Allana Harkin
Performed by Scott Robert Fink, Keira Loughran, Carly Street, Brendan Wall.
Directed by D. Michael Dobbin
Grand Theatre Production
Grand Theatre, London
March 11 to March 29, 2008

Live! On Stage!
By Mary Alderson

Joel is a writer, who has churned out a couple of mystery novels, but now life’s crises are getting in the way, and he’s suffering writer’s block. His wife left him for another man, and his widowed elderly father has moved into a seniors’ residence, so Joel is back living in his parents’ lakeside home. But the bills have piled up and he’s forced to sell the house, which his Dad built for his Mom when they were newlyweds. His flaky real estate agent is determined that this will be her first sale. Then things get worse – his ex-wife shows up with her pretentious boyfriend, and his Dad dies.
And somehow, this is a romantic comedy on stage at London’s Grand Theatre. The plot has all the components for laughter and the writing is fairly clever. The tale has some suspense: we know Joel will end up with a woman – but which? He would love to reconcile with his estranged wife, yet he’s interested in his real estate agent.
The cast of Real Estate is impressive – all have interesting and extensive theatre backgrounds. Yet somehow, they have missed the mark. They haven’t pulled together to create the chemistry for good romantic comedy.
Scott Robert Fink is excellent as Joel. We get comfortable with him right away. In fact, as the audience was coming into the theatre, Joel was on stage, stretching and scratching, looking in the mirror and checking out the food stuck in his teeth. Joel is just on the verge of being labelled a loser, yet we recognize some redeeming features. Fink makes Joel a likeable guy and soon we’re on his side.
But then, along comes Emma, the real estate agent. She, too, is on the edge of loser-dom, and unfortunately, Keira Loughran, in playing the part, isn’t able to save the character. I think the playwright intended that we like Emma – she’s quirky but still we’d enjoy her company. Loughran failed to bring us on side. Loughran has an impressive background at the Stratford Festival; in fact, she was outstanding as Valeria in Coriolanus. But she lacks the facial features and comedic timing to make Emma likeable. The part calls for a Lucille Ball type – slightly too chatty, a little annoying, but we still love her.
Similarly, the casting of Carly Street as ex-wife Estelle is questionable. Again, Street has a remarkable theatre background, having played in the Toronto’s Lord of the Rings. But Street was unable to make us understand why Joel would want her back, after she cheated on him. Even when they kissed, the chemistry wasn’t there.
Brendan Wall plays the pretentious boyfriend Ted. Again, the character’s comedy hasn’t been fully developed. When the city-boy snob carrying his man-purse shows up in the country, there is potential for more laughs. His manner of speaking didn’t sound like a city lawyer-turned-business-tycoon – he dropped his “ing” endings (doin’, comin’), which belied his background.
The set is very good – the lakefront home among the trees is complete. It looks like any elderly couple’s home with the tacky old couch and chair and an array of family portraits on the wall. The front of the cottage lifts up and we are invited inside, not just peeking through the windows.
Director Michael Dobbin did much better in finding the comedy a few years ago with the Black Bonspiel of Wullie McCrimmon, a delightful play about curling which the Grand presented. Real Estate, written by Canadian Allana Harkin, has the potential to be a touching story with plenty of laughs, but it requires a cast with strong comedic timing the ability to create chemistry.
This show was sponsored by the London – St. Thomas Association of Realtors and on opening night the audience was made up real estate agents (I know this, having moved twice in the last seven years and buying & selling a couple of houses. I recognized several of them….). And the real estate agents appeared to be enjoying themselves. The best laugh of the evening was when Emma said that real estate agents also have to be psychologists. Their clients are going though change and stress, and the agent has to know how to deal with it. In the audience, many heads were nodding as the chuckles rippled across.
Real Estate continues at the Grand Theatre in London until 29. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently employed with the Ontario Association of Community Futures Development Corporations.

Sexy Laundry at Grand Theatre

Saving 25 Years of Marriage

Live! On Stage!
Review by Mary Alderson

Sexy Laundry
By Michele Riml
Performed by Roger Dunn and Lynne Griffin
Directed by Rosemary Dunsmore
Grand Theatre Production
Grand Theatre, London
January 15 to February 2, 2008

In the Grand’s current production, Sexy Laundry, a couple in their 50s spend a weekend at an upscale hotel trying to get romance back into their marriage. In the end, the audience might wonder if they succeeded – although the playwright intended they would. Instead, it seems like they just proved that they are comfortable together. While it may not be romantic, being comfortable is not a bad thing.
It’s the story of Alice (Lynne Griffin) and Henry (Roger Dunn), both fifty-plus, who have been married 25 years. Alice convinces Henry to spend a weekend together at an expensive hotel to rekindle the flame in their marriage. She brings along a copy of “Sex for Dummies” which she picked up at the library. This, of course, has to produce laughs. Alice has marked pages with sticky notes, and Henry is embarrassed about leafing through the book. They try massage, sharing fantasies, and exploring each other’s bodies while blindfolded, but nothing is really working for them.
The story moves along with some tender moments, and some arguments that get nasty. They even threaten divorce, but in the end they finally seem to be comfortable with each other.
Both Griffin and Dunn are good in the roles. Both have extensive acting experience, and have worked together in the past, once as a couple on the TV show ‘Til Death Do Us Part. They also both appeared in the Bob & Doug McKenzie cult classic, Strange Brew.
The pair handles the lines well, and the play offers some very funny moments. In those moments, both actors demonstrate very good comedic timing. And they have the facial expressions to create comedy. Carrying a two character play is a lot of work – copious lines to learn, with never a break from being on stage. But both actors call on their experience to pull it off. Director Rosemary Dunsmore has brought out interesting characters from both Griffin and Dunn.
So if there’s a weakness with Sexy Laundry, it’s in the script. Too much of it doesn’t ring true. If a couple really needs Sex for Dummies, then it is amazing that they’ve lasted 25 years together. Henry, who emphatically says he hates dancing, is then dancing around the stage. Alice’s black leather outfit is just too far over the top. The most difficult to accept are the gender stereotypes – she’s worried about her bulging midriff, he is concerned about climbing the career ladder. And their children, the one thing they truly have in common, are glossed over.
At times the script takes the pair on a roller-coaster ride – they have a affectionate moment, immediately followed by a fight. The emotional changes are too abrupt.
So while there is a good premise, with a first rate cast and periodic moments of laughter, a neater script could have sustained the comedy.
Sexy Laundry continues at the Grand Theatre in London until February 2. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently employed with the Ontario Association of Community Futures Development Corporations.

Back to Broadway for Huron Country Playhouse in 2008

By Casey Lessard

Drayton Entertainment is sticking to a formula that works for its 2008 season at Huron Country Playhouse, presenting Broadway hits and home-grown originals on its two stages.
The season includes: My Fair Lady, Sorry… I’m Canadian, Dirty Rotten Scoundrels, and A Funny Thing Happened On The Way To The Forum on the main stage, and I Love You, You’re Perfect, Now Change at Playhouse II.
“After receiving so many accolades this year, people keep asking us how we can possibly top ourselves,” says artistic director Alex Mustakas. “It’s a very difficult challenge, but one that allows us to reach new heights of creativity. The result is a very diverse mix of productions, but each one will carry our signature stamp of top-quality professional entertainment at an amazingly affordable price. Now, more than ever, people can experience epic Broadway productions and esteemed talent right in their own backyard.”
Between its six venues in Grand Bend, Drayton, Penetanguishene, and St. Jacobs, Drayton sold 225,000 tickets in 2007. Already, the box office has sold 50,000 for 2008.

Here’s a summary of the season from Drayton Entertainment:
The 2008 Season kicks off with the lover-ly musical masterpiece, My Fair Lady. Egotistical professor of phonetics, Henry Higgins, makes a wager that he can transform unrefined Cockney flower girl Eliza Doolittle into a lady – and fool everyone into thinking she really is one, too! But when Higgins’ scheme is too successful, he faces the prospect of losing Eliza forever. Will he admit he’s grown accustomed to her face before it’s too late? My Fair Lady runs June 3rd to June 21st.
Sorry … I’m Canadian is a pageant of political patriotism, starring gifted comedian Neil Aitchison. Join us for an entertaining trek across our vast country, and relive the magic of the Great Canadian Song Book: gems like “O’Siem”, “Alberta Bound”, “Fox On The Run,” “Black Fly,” “Song of the Mira,” “I’se the B’ye,” “Sonny’s Dream,” “Farewell to Nova Scotia” and many, many more. Sorry…I’m Canadian celebrates our distinct heritage and offers a fresh take on what it means to be a proud Canadian through a charming blend of music, humour, and political satire. The production runs June 24th to July 12th.
Drayton Entertainment has scored a major coup with Dirty Rotten Scoundrels, as the Broadway sensation will be making its Canadian premiere this summer, July 16th through August 9th. Based on the popular film, the production follows the dastardly deeds of two con men engaged in a mirthful battle of wits. Prepare to have your heart stolen in this hilariously clever take on the ultimate con!
The season ends with A Funny Thing Happened On The Way To The Forum, August 13th through August 30th. This fun-filled vaudevillian romp traces a day in the life of Pseudolus, the craftiest slave in Rome, as he tries to win the heart of a dim-witted courtesan for his master’s son in exchange for his freedom. Armed with the witty lyrics and toe-tapping tunes of legendary composer Stephen Sondheim, this irreverent production is one of the funniest musicals ever written.
The 2008 Season is proudly sponsored by Lavis Contracting and A Channel.
Playhouse II, Grand Bend
I Love You, You’re Perfect, Now Change is a frothy, fun look at the absurdity of love. Explore the entire spectrum of romance and its many forms – from dating to marriage, the agonies and triumphs of dealing with in-laws and newborns, trips in the family car, and pick-up techniques of the geriatric set. The production runs July 16th to August 30th.

Ticket Information
Drayton Entertainment offers flexible subscription packages that enable theatregoers to book tickets to any performance, at any theatre, for any date. When theatregoers buy tickets to four, five, six, or even seven different productions, they could save more than 33% off the regular ticket price. Individual theatre tickets are $37.00 for adults; $20.00 for youth 18 and under, and $30.00 for preview performances.
To receive a complimentary 2008 Theatre Guide, call the Box Office at (519) 238-6000 or 1-888-449-4463 or visit www.huroncountryplayhouse.com.

A Grand Canadian Classic

Anne of Green Gables
Adapted by Donald Harron, from the novel by L.M. Montgomery
Music by Norman Campbell
Performed by Jennifer Toulmin and cast
Directed by Susan Ferley
Musical Direction by Andrew Petrasiunas
Choreography by Kerry Gage
Grand Theatre Production
Grand Theatre, London
November 21 to December 30, 2007

Live! On Stage!
Reviewed by Mary Alderson

Jennifer Toulmin steals the stage in the Grand’s current production of Anne of Green Gables – and well she should! She plays the lead role, Anne, capturing the precocious orphan just the way the character leaps from the pages of the classic Canadian novel.
Toulmin has electric energy as Anne, filling the Grand’s stage with activity. Her voice is Anne’s voice, keeping the gregarious chatter entertaining and endearing. Her four years’ experience playing Anne at the Charlottetown Festival is very apparent, and she makes the show a delight. Toulmin has just the right amount of “perky” without going over the top, and moves forward with Anne’s journey, maturing but not losing her charisma.
The Grand presents the musical version of the delightful novel, first penned by Lucy Maude Montgomery in 1905. It’s a story that has enchanted Canadian girls for generations, its popularity spreading round the world over the years. An aging brother and sister, Matthew and Marilla, want to adopt a boy to help out on the farm, but somehow, Anne, a gifted and very melodramatic orphan arrives at their home, Green Gables. Anne’s spirit gets her into mischief, but also brightens the lives of those around her.
Norman Campbell and Donald Harron turned the engaging story into Canada’s most popular musical in 1963, and it has continued to charm audiences in Charlottetown for 44 years. Anne of Green Gables has graced stages all across Canada, enjoyed a run in New York, appeared around the world, and is extremely popular in Japan.
The Grand’s version does justice to the institution that is Anne. An excellent set, careful attention to the music, and a strong cast are in place. Douglas Chamberlain is a wonderful Matthew, bringing more spirit to the part than is usually seen. Charlotte Moore creates humour with Mrs. Lynde, the town gossip, and Karen Coughlin (last year’s Belle in Beauty and the Beast) is a delightful Miss Stacy, the schoolteacher who is Anne’s kindred spirit.
It’s nice to see Ingersoll’s Anwyn Musico as Prissy Andrews. Anwyn is an alumna of the Grand’s High School Project, and was recently a finalist on CBC-TV’s Triple Sensation. Some local children round out the cast at Avonlea School: Henry Firmston, Seth Maraccio, and Jenna Quinn, all of London, and Kyla Musselman of Stratford.
Credit once again goes to Director Susan Ferley for her attention to detail, and to Andrew Petrasiunas for his excellent musical direction. The audience leaves the theatre singing the catchy tunes, such as “Ice Cream”, “Humble Pie”, “Open the Window” and the spunky “I’ll Show Him”. Or they are moved by “The Words” or “Wonderin’”. Choreographer Kerry Gage animates the cast, calling on her solid Charlottetown experience in the back-to-school ballet and the egg race number at the picnic.
It’s a slice of Canadiana that should be part of everyone’s education. The Avonlea School on the Grand’s stage is the best place to learn Anne’s story.

Anne of Green Gables continues at the Grand Theatre in London until December 30. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently employed with the Ontario Association of Community Futures Development Corporations.

A Story of Love, not War

Could You Wait?
Book & Original Lyrics by W. J. Matheson
Original Music by W.J. Matheson, Louise Pitre and Diane Leah
Performed by Louise Pitre and W.J. Matheson
Directed by Miles Potter
Grand Theatre, London
October 23 to November 11, 2007

Live! On Stage!
Review by Mary Alderson

Could You Wait?, a new musical to start the season at London’s Grand Theatre, has been billed as a war story. With Legion members greeting patrons at the Grand’s entrance on opening night, the impression was given that this was a World War II play. But Could You Wait? is a story of love, not war, set in the early 1940’s. Yes, there is a war going on, but it’s almost forgotten as the plot is wrapped up in the romance of Matt and Mary.
When the action begins on stage, we meet Matt and Mary, an elderly couple out on a seniors’ bus trip today. They are revisiting the Royal York hotel, which apparently holds significant memories for them. Mary is thrilled, but Matt says they should have taken the trip to Casino Rama.
Then the clock jumps back in time. Mary and Matt meet at a dance in Halifax. He’s in the Navy and is just heading off to war. He’s a Saskatchewan farm boy, or “plough jockey” and she’s a French Canadian Catholic. The romance develops shyly through the mail, and both express concerns about what their mother would think. Mary moves to Toronto, and Matt, on leave, has to find his way to meet him there, planning to pop the question and ask her to wait for her. The proposal is made in the luxurious Imperial Room at the Royal York.
Mary is played by Broadway star Louise Pitre (the mother in “Mamma Mia” in both the Toronto and New York productions) while Matt his played by her real-life husband Joe (W.J.) Matheson. You may remember them in the Grand’s outstanding production of For the Pleasure of Seeing You Again last February. Matheson wrote this show for Pitre, and the two obviously enjoy working together. They collaborated on some of the songs, together with musical director Diane Leah.
It’s a heart-warming story, and the music is wonderful. Their original works are mixed in with some old favourite war songs, such as “I’ll be Seeing You in All the Old Familiar Places” and “The White Cliffs of Dover”. Both Pitre and Matheson have beautiful voices – whether they’re rendering spellbinding solos, or singing together in harmony, their vocal performances are flawless.
The couple also dance together. There are some romantic waltzes, but a favourite is the lively jive to the great swing song “Steppin’ Out”. Credit goes to another husband and wife team who handled the choreography: Janet Kelley and Glen Kerr.
The story contains a few anachronisms, but Matheson can be forgiven for taking some poetic licence. The elderly Matt comes on stage carrying a Simpsons shopping bag, but says he’d rather be at Casino Rama – I don’t think Simpsons and Casino Rama ever existed together in the same time frame. Lyrics in one song mention Diefenbaker, but I doubt that Dief was making much news during the 1940s. And the song “Steppin’ Out” was not popular until after the Second World War.
But no one said that it was going to be a history lesson – instead it offers us much to learn about romance, love and life.
Could You Wait? continues at the Grand Theatre in London until Remembrance Day, November 11. Tickets are available at the Grand box office at 519-672-8800 or 1-800-265-1593.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently employed with the Ontario Association of Community Futures Development Corporations.

Play examines church politics

Reverend Jonah
Blyth Festival
Until September 1

Southcott Pines resident Paul Ciufo is a financial planner in Exeter by day, playwright by night. His first professional stage production, Reverend Jonah, premiered at the Blyth Festival last weekend to positive reviews.
Ciufo’s story-line: “Reverend Jonah is a brand new minister out of seminary. He shows up at his first church in a fictional small town in Huron County called Gilvray.
“He’s the darling of the church at the outset. Then he encounters a woman who was pushed out of this church 10 years before because she started living with another woman. The United Church generally is in favour of being tolerant and accepting of gays and lesbians so he says, ‘You have to let me make this right and bring you back into the church.’ And that’s when all hell breaks loose.”

As told to Casey Lessard

I knew a minister who came into conflict with the powerful families in his church and who was pushed out. It was really devastating to him. That really prompted me to want to write about conflict in churches.
A lot of people believe the church is supposed to be this loving place and sometimes it’s just a place of just vicious politics and people jockeying for power. All these worldly things and negative things about us as people - there should be no place for that in the church.
I also had a relative who was a minister; I was close to him growing up and he struggled with addiction. He died quite young. I think I’ve always wanted to write about him.
Ministers are often such giving people and spend all their time helping people. Sometimes they can become quite blind to their own problems and their own burdens. It can take a great toll on them.
The title character Jonah is struggling with an addiction and some other burdens and he doesn’t really attend to those things because he’s so focused on what he has to do as a minister.
The stakes are extremely high because the minister’s guidance doesn’t affect the wealth of shareholders in the here and now - it affects the immortal fate of the congregation and their very souls. They have a huge burden. Biblically it’s spelled out that they are held to account like a shepherd for his flock. The minister feels a great responsibility for the congregation on a very high level.
Early in my research I watched this amazing documentary about a woman who was a United Church minister and I very vividly remember her being at her husband’s birthday party and the phone rang. Someone had just suffered a tragedy and needed comforting and she had to leave. It really is all consuming. It’s very tough to escape the demands of it. It’s unpredictable.
Not everyone is of one mind and conflict is inevitable. It shouldn’t happen in a church. Idealistically you’d hope there wouldn’t be that terrible conflict that you often hear about, like how a minister leaves and half the church leaves over an issue that was dividing a congregation.
When people are mistreated in that context, a place that’s supposed to strive to be kind and loving and above things like jealousy and greed, maybe it cuts even deeper.
I know a woman who many years ago had a child out of wedlock and her church would not baptize her child. She has never been back. When she saw a public reading of my play a year ago - it was read out to about 50 people so it wasn’t a production with costumes - she was in absolute tears afterwards. It stirred all that up about how hurtful being rejected by a church can be.
Perhaps we’re idealistic about churches. If you have idealized expectations of a church and they are dashed, maybe that’s what wounds so deeply. Look at people who are harmed by ministers or priests. That person is supposed to be a representative of God. That person is supposed to be nothing but kindness and love and comfort. Your expectations are so great and your hope is so great.
My sister, who lives in Saskatchewan, goes to a church where a homeless man in the church stands and talks to the Member of Parliament who attends the church. That to me is what church is all about. What happens out in the world should all be stripped away because none of that is important to God.

Exciting to see local work on stage

Reverend Jonah
By Paul Ciufo
Performed by Darren Keay, Michelle Fisk, et al.
Directed by Marie Beath Badian
Blyth Festival Production
August 8 – September 1, 2007

Live! On Stage!
Review by Mary Alderson

Grand Bend Playwright Paul Ciufo hopes people will consider both sides of the conflict, with his new play that premiered last week at the Blyth Festival. Ciufo, a resident of Grand Bend works as a financial planner in Exeter, and writes and re-writes plays in his spare time. Reverend Jonah is the story of the new young minister who comes to a small town in Huron County to become the pastor at the United Church. Very soon, his youthful ideals are put to the test.
Jonah meets up with Phyllis who was kicked out of the church previously because she is in a lesbian relationship. It’s clear to Jonah that she should be back in the church that she once loved. But how to get there is not clear, and Jonah agonizes over the decisions he must make – to the detriment of his health. To Stacey, a quietly controlling church leader, homosexuality is sinful, and Phyllis does not belong in their midst. Stacey believes the young Jonah is misguided and assumes it’s up to her to maintain the status quo. Ciufo has cleverly woven together a very complicated story to create a worthwhile evening of reflection, grabbing and holding the audience’s attention.
Darren Keay is excellent as Jonah – he goes from youthful optimism to being torn apart, with his principals in conflict with the reality he’s facing. Michelle Fisk is also excellent as Phyllis – she shows us the exterior toughness that Phyllis has been forced to develop, but also reveals the gentle interior in a realistic manner. Randi Helmers is good as Stacey, quiet and demanding at the same time.
Adding depth to the plot are characters Barb (Rebecca Auerbach) as Phyllis’ partner, and Rachel (Ingrid Haas) who is Stacey’s daughter and develops a relationship with Jonah. Hands-on, hardworking church members Di (Elizabeth Thorpe-Hearn) and Fred (Jefferson Mappin) complete the cast. Mappin’s excellent portrayal of Fred also supplies some comic relief as the very intense story unfolds.
Credit goes to director Marie Beath Badian for bringing Ciufo’s characters to life. She has created them realistically – you’d recognize them as your fellow church members or your neighbours.
At the preview performance, some lines were flubbed, but we assume that will be corrected by opening night. The set – made up of sliding stained glass windows representing the church, that also become office walls, a store front or patio doors – moved too slowly and unsteadily at times. We hope that, too, is smoothed out as the show continues.
But overall, it’s a very moving story, addressing a difficult, divisive issue. It will leave theatregoers with much to consider and perhaps even offer a path to tolerance and inclusiveness.
It’s exciting to see a production written by a local playwright brought to life on stage. Credit goes to Blyth Festival for bringing great Canadian talent to the forefront.

Reverend Jonah continues in repertory at the Blyth Festival Theatre, Blyth until September. For tickets, call the box office at 1-877-862-5984 or check www.blythfestival.com.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently the Community Economic Development Officer with the Sarnia-Lambton Business Development Corporation.

Legends deserve R-E-S-P-E-C-T

Legends
Huron Country Playhouse
Until September 1

By Casey Lessard

It’s not too often you get to see 1960s music “legend” Tiny Tim on stage at the Huron Country Playhouse, and quite frankly, I’m not too sure how many people would pay to see him. This is one time you should consider doing so.
“I remember watching (Tiny Tim) on the Johnny Carson Show,” says Keith Savage, who pays tribute to the super-strange ukulele-playing singer of “Tip-Toe Through the Tulips” in Legends, running until September 1. “I am old enough to love all this music. I went on YouTube and you see him. He was not extremely pretty. (Laughs) It’s fun to be him. I wanted the bigger nose.”
Savage and his co-stars do such a good job of portraying rock’s icons, it’s easy to suggest you may have a hard time getting a ticket for Legends, on now until September 1.
“It’s a sequel to Twist and Shout, the British Invasion,” says creator and director Alex Mustakas. “That idea I got when I was in New York City once. I got tickets to see the David Letterman Show, which happens in the old Ed Sullivan theatre. I got the idea to create something that’s like a live television taping. We needed to find the right theme. I had an idea for the British Invasion for a long, long time. That was such a hit I thought, ‘How can we follow this up?’”
The answer was a retirement show for Roy Solomon, the television-host character based on Ed Sullivan. All of the legends of rock ‘n’ roll are invited to celebrate Roy’s 20 years in the television business.
“It’s a thin story line,” Mustakas admits, although it’s doubtful anyone in the audience will care. “It’s obviously about the music. That’s what it is. We actually touch on 105 songs. It’s music that I grew up with and love. There isn’t a song in the show that everybody doesn’t know.”
“It’s great music,” says Adele MacKenzie, one of the many cast members born after most of the show’s music was produced. “Anyone growing up through the ages listens to this stuff so I know it all already. Dance is my first love but I get a chance to do some lead vocals as well. Everyone gets featured which is why I really like this show.”
Paying tribute to memorable musicians and their work is very hot in this area, as evidenced by the touring song-and-dance troupe, the Lambton Main Street Players, and Parkhill’s Star Dust dinner theatre, which exclusively features tribute acts.
“It’s a very nostalgic time,” says celebrity impressionist Houston MacPherson, who introduces the legends’ different songs and does some of his own. “I did a lot of work in Vegas for a year-and-a-half, and everything there is nostalgic. All the shows are legend-based. People want to hear those good times. I think that’s primarily their reason. There’s a lot of trouble in the world. Those were happy times.”

See also Mary Alderson’s review of this play.

Musical Pioneers Rock the Stage

Legends: A Salute to Musical Pioneers
Conceived, written and directed by Alex Mustakas
Musical Director Bob Foster
Choreographer Gino Berti
Drayton Entertainment Production
Huron Country Playhouse, Grand Bend
August 8 – September 1, 2007

Live! On Stage!
Review by Mary Alderson

The balcony had better be reinforced at Huron Country Playhouse. With the show Legends: A Salute to Musical Pioneers currently on stage there, the audience is dancing and singing along. And that balcony is bouncing in time with the music.
Remember Twist & Shout: The British Invasion of two years ago? Well, this is the sequel. TV host Roy Solomon (The Ed Sullivan-like character) is retiring after having 1,000 shows on the air. So the audience is treated to clips of all the greats (but we get to see live re-creations) who have graced his stage, plus some have returned to honour Roy.
Huron Country Playhouse is set up to resemble a TV studio, with cameramen at both sides of the theatre. On big screens at both sides of the stage we see commercials or clips from the 50’s and 60’s, interspersed with close-ups of what we’re watching on stage.
Well over 100 songs and medleys are presented: memorable favourites such as Jerry Lee Lewis’ Whole Lotta Shakin’ to Roy Orbison’s Pretty Woman, along with medleys of the Beatles and Monkees, and even a Motown set. A cast of 12 very talented singer/dancers bring hit after hit. Joining the 12 are Keith Savage as announcer Sheldon Lubliner, and Houston MacPherson, a celebrity impressionist, who brings us the likes of Jack Nicholson or George Burns, as well as all the old crooners.
Everyone will have a favourite that evokes a memory. The showstopper is Danny Williams singing Bridge Over Troubled Waters with musical director Bob Foster. You may remember Williams from Twist & Shout when he brought the house down with Procol Harum’s Whiter Shade of Pale. He also recreates the Hollies sound with He Ain’t Heavy, He’s My Brother, an emotion-filled favourite where Williams’ amazing voice is probably better than the original version. Another favourite is Ange Pagano portraying Janis Joplin with Me and Bobby McGee. The list of hits goes on.
Keith Savage, always popular with the Huron Country Playhouse audience, provides the comedy. In fact, the audience laughs as soon as they see Savage’s buck-toothed smile. As well as being the amusing announcer, Savage has several other roles – a magician (and some tricks are revealed), Tiny Tim tiptoeing through the tulips, and the lead Crypt-Kicker bringing us The Monster Mash.
Legends is an excellent production of good music and good fun. If you’re thinking about going, order your tickets immediately; it will sell out soon.

Legends continues with eight shows a week until September 1 at Huron Country Playhouse, Grand Bend. Tickets are available at the Huron Country Playhouse box office at (519) 238-6000 or Drayton Entertainment at 1-888-449-4463.

Mary Alderson offers her view of area theatre in this column on a regular basis. As well as being a fan of live theatre, she is a former journalist who is currently the Community Economic Development Officer with the Sarnia-Lambton Business Development Corporation.

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