EVIL DEAD THE MUSICAL – LIMITED SHOWING AT CENTER STAGE – ADULT ONLY VERY BLACK HORROR PARODY BY LAKE CHARLES’ NEW AND BRAVE BLACK MARKET THEATRE GROUP

 

SHORT TAKE:

Adult VERY black humor musical based on the cult horror classic Evil Dead trilogy.

WHO SHOULD GO:

Adults ONLY with a taste for macabre comedy and who wish to encourage the efforts of our newest theatre group, Black Market Theatre, to put on more nouveau plays that Lake Charles might not otherwise get an opportunity to see.

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LONG TAKE:

I have seen the social commentary that was Night of the Living Dead, the parody of zombie movies Shaun of the Dead, the apocalyptic World War Z and the over-the-top comedy Zombieland.

Now as my eighth grade social studies teacher used to say: "You can bury me face down because now seen everything!" Evil Dead the Musical is based upon the parody zombie horror flick of the same name that became a cult classic in the 80s starring the otherwise pretty much unknown Bruce Campbell.

Evil Dead the Musical plays through Halloween at our own Center Stage here in Lake Charles, at 3426 Ryan next to the Mellow Mushroom, and is being put on by some very familiar faces out of the McNeese University Theatre Department. Buy your tickets HERE.

Three husband/wife teams contribute to the mayhem which put this show on. Jessa and William Lormand direct and Jessa plays Cheryl, sister of the intrepid hero, Ash. William doubles in the band which plays live music along with Bryce Louviere and Daniel Fontenot.

 Ash is Timothy Smith and his bride Sarah is Linda, appropriately, Ash's love interest. Lara and Luke Connally, who have appeared in numerous productions around town, including Kiss me Kate and The Secret Garden, play, respectively, Annie, daughter of the ill-fated scientist and Jake, the ill-fated hillybilly neighbor who foolishly guides them to the cursed cabin. Tyler Brumback and Amy Phillips, who have portrayed love interests on stage before, most notably in The Secret Gardenplay Scott and Shelly, the bawdy weekend roommates. Ed and the voice of the possessed moose head (you've got to see it to know what I'm talking about) is Joey Boyette, another veteran of local theater. KBYS' own radio personality Curry Burton is the Voice of Knowby. And Nikki Guillory plays a deadite.

The premise is that 5 college students, with far too much time on their hands, set out for a weekend of debauchery at an abandoned cabin in the woods.

Things turn REALLY ugly when it turns out the cabin belongs to a scientist who unwisely set loose demons with an ancient book of the dead. Beset by demons and attacked by trees in need of an exorcism, one by one each of our intrepid heroes are dispatched and zombiefied, (from the movie) until only Ash is left standing with a sword in one hand and a chainsaw for his other hand.

If it sounds gruesome…it is. But it is all done very lightly. Evil Dead the Musical is to zombie horror stories what Bullshot Crummond was to the detective genre, a vehicle to poke fun at every trope ever written.

Everything is as far over the top as possible, from the gore to the raunchy jokes to the gratuitous profanity. Even one of the songs has a title and chorus which prominently features the "f" word.

All is performed by our locally grown thespians with all the ridiculous enthusiasm and robust absurd abandon you might expect from a group of very talented actors given leave to ham it up in a zombie vaudeville.

This is a very adult show. The venue itself requires identification to prove that you are 18 or older just to get in, as liquor is served on the premises. Although nothing explicit is seen, there are a lot of sexual gestures and references as well as a lot of blasphemous profanity. Those extremes are deliberately gratuitous as part of the parodic elements of the comedy.

The show is not for everyone, but if you could enjoy a combination of Rocky Horror Picture Show with Shaun of the Dead, while keeping the other above cautions in mind, then head out for our local production of the hit play Evil Dead the Musical. Having a chance to see these very nice, seemingly normal people portray these extremely bizarre parts is reason enough to go support the efforts of this troupe. Black Market Theatre has obviously put in an enormous amount of effort to bring this play to Lake Charles. And if we want to see more off-beat and unusual productions come to Lake Charles then, if you are of the right temperament and age group, you should go support the Black Market Theatre's foray.

A final warning, this is a public venue that allows smoking and when I got home I had to wash every stitch I had on, from my sweater to my pony-tail holder. So be advised, if you have any respiratory problems, this could be a serious health issue for you.

So KUDOS! to the Black Market Theatre Group (connect with them by clicking their name) for daring to put on such a boldly different production and thanks to Center Stage for being good sports and agreeing to host this venture. I look forward to future adventurous collaborations at this newest addition to Lake Charles' theatre venues put on by this newest Lake Charles theatre company.

JUST SO'S YOU KNOW:

As a point of interest, Evil Dead hit the cult circuit in the 80s as a breakout movie for Bruce Campbell. Anyone interested in this genre might find a similarly avant-garde film starring the same Bruce Campbell which both parodies the mummy movie concept and does legitimate respectful homage to, of all people, Elvis Presley. The movie is Bubba Ho-Tep and is of the same rough cloth somewhat bawdy and gory comedy. However, it is set in a nursing home, and respects the limitations of its indigenous characters. Bubba Ho-Tep might be described as the mild flavor version to the Evil Dead "slap your mama"-style spicy horror movie. Bubba Ho-Tep actually even has a certain gentle charm and intelligent theme to it about growing old without growing insignificant; and God finding a purpose for you even when you no longer believe you have one yourself. Heady stuff for the same guy whose iconic earlier character features a chainsaw replacement for a hand.

THE SUMMONING OF EVERYMAN – WISDOM FOR THE AGES AT MCNEESE’S TRITICO THEATRE – BUT, ALAS, ONLY THIS WEEKEND!!

SHORT TAKE:

Lovely, one-act, historic cautionary tale on what ultimately matters most at the end of one's life.

WHO CAN GO:

Appropriate for all audience members.

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LONG TAKE:

SPOILERS

The Somonyng of Everyman – no my keyboard does not need a new battery and I have not let my spell check run wild – is the original spelling of a 600-odd year old play, transliterated into modern English as The Summoning of EverymanCharles McNeely has wisely chosen to direct this cautionary morality play, and it is to the edification of his cast, his students, McNeese University, and the Lake Charles theater going community at large, where this play succeeds magnificently. The story is about "Everyman", a representative for all of humanity, who must, as we all do, eventually make an accounting of his life. In The Summoning of Everyman this accounting is before God. But even those without faith, if considering their own mortality, might find themselves making an analysis of the way they have spent their years, and the lessons of Everyman are well advised.

It is a common modern warning than in your final hours you are unlikely to regret not spending more time at the office. There is wisdom in this philosophy too. That when on the threshold of what Hamlet called the "undiscovered country from whose borne no traveler returns," it is only in the recollection of those deeds of generosity, kindness, and expressons of love you are likely to find comfort.

In Everyman, the main character confronts his failings in relying on the fickle and often devious worldly concepts, each personified by a different actor: Sin, Fellowship, Kinship, Worldy Possessions, and even Beauty, Strength, Discretion and the Five Wits (the Inward of which are not listed specifically in the play's script but were well known at the time as: Common Sense, Instinct, Imagination, Memory and Fantasy, OR could also be interpreted as the Outward Wits of the Five Senses: sight, touch, smell, hearing and taste), all of whom abandon Everyman in his hour of need as he approaches the Throne of God for Judgment.

Written during the Tudor period (between 1485 and 1603), the script is in Middle English with author unknown, though likely a churchman or several churchmen, possibly based upon a series of homilies. Rendered in simple, child-like, rhythmic, rhyming poetry, the language is rich in lyricalness, imagery, and a sense of historical context.

The play was composed during a period of relative peace, just after the threat of Black Plague had finally begun to decrease, as the feudal system was ending, literacy was on the rise and the Catholic Church was at the center of everyone's life. Subsequently, there was opportunity for the civilized European world to reflect with a certain quietude upon the meaning of existence and what it means to prepare for death. Not that this culture did not already keep such considerations at the forefront of their lives, but with an island of historic comparative tranquility, the population at large could meditate thoughfully in a manner in which it had not been able to for some generations.

Everyman at last seeks out his Good Deeds and Knowledge. It is only when together, they lead him to repentance and Confession, that he begins to see the path to redemption.

The stage is sparse and appropriately vague, creating a historically universal atmosphere with ragged, cobwebby drappings on several levels of risers. The actors are in modern casual dress as an "Everyman" might present him or herself. Most of the performers portray more than one character and the character of Everyman is portrayed, during different confrontations with his own failings, by a succession of actors and actresses. This too lends a subtle conceptual air of ubiquitousness – that ALL or any of us are Everyman who must some day, possibly quite unexpectedly, come to an accounting.

More or less in order of their first appearances: Himshree Neupane introduces, then at the end dismisses, us as the Messenger and also plays Fellowship, Beauty and takes a turn as Everyman. Essense Means is one of those who demonstrate sin and Everyman, as well as Goods. Sean Hinchee is one of those who struggles against sin in the introduction and personifies Confession. Hannah Jolivette is Death and takes a turn at Goods. PZ Stanford lends his voice to the portrayal of God, stands in for Everyman at one point and personifies Discretion and the Five Wits.  Jennifer Tolbert portrays another aspect of sin, as well as Kin, and plays the key character of Good Deeds.  Ariel Pete takes a turn at Strength. Madeline Smith is on stage for sin and characterizes Knowledge. Markell Jolivette helps introduce the World of Sin. All gift the stage with their enthusiasm and energy.

In the end, it is bluntly spoken, that only your Good Deeds will companion you into the afterlife, and I think this can be agreed upon as a Universal maxim among believers and unbelievers alike.

CS Lewis cautioned against chronological snobbery – the bias against the old in favor of the new. This 600 year old play is a shining example of Lewis' persipacity, as much enlightenment can be gleaned from this simple, poetic, one-act, six-centuries old play, which you will discover if you are wise enough to attend this beautiful play at McNeese's Tritico Theatre, 4205 Ryan St Lake Charles, LA 70605, this weekend.

So click to get your tickets at: the McNeese Box Office or call 337-475-5040.

 

I LOVE YOU, YOU’RE PERFECT, NOW CHANGE – MUST SEE MUSICAL COMEDY FOR MARRIED COUPLES

SHORT TAKE:

I Love You, You're Perfect, Now Change is a very very funny musical comedy revue about dating, marriage, men, women and relationships.

WHO SHOULD GO:

For adults in general and married couples in particular. Might be an awkward first date but is positively a MUST SEE for married couples.

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LONG TAKE:

I Love You, You're  Perfect, Now Change is the latest play showing at ACTS Theatre from August 3 through 12 at 7:30pm, and Sunday matinees at 3:00pm. I was privileged to get permission to attend the dress rehearsal and must say it was some of the most fun I have ever had in the theater!

A musical comedy revue of twenty skits with over 40 characters and costume changes, are played by four very gifted actors. Clay and Markie Hebert, Kelly Rowland and Casey Doucet make up the intrepid quartet who sing and act up a storm of laughs and a few bittersweet tears.

They all have AMAZING and powerhouse voices with NO INDIVIDUAL MICROPHONES! They sure don't need them. I would have sat for 90 minutes and enjoyed listening to them sing random songs out of any Broadway collection but each of the diverse vignettes is fitted with a catchy song crafted specifically for the tone of the short story it tells sung by its own unique characters. The wide story range stretches from poignant to snarky to slapstick to tender and all will make you smile as they lead you, not only from the beginning of relationships through their maturities, but guide you through every possible emotion a romantic might have.

Clay Hebert does double duty as director, aided by his assistant Ashley Mayeux. Clay was most recently in Godspell. Markie Hebert was the female lead in Dirty Rotten Scoundrels. Casey Doucet just won an ACTA for his Shrek in the play of the same name. Kelly Rowland is a powerful mezzo-soprano with a flare for comic timing. There is a fifth member of the troupe who is not seen but heard. Andrew Steiner delights the audience with live piano accompaniment, expertly blending these four strong voices.

This is a hilarious send up on the loneliness and difficulties of dating, the challenges of marriage, the tragedy of divorce, and the optimism that it is never too late to find love. With twenty musical vignettes presented for your approval, there is something for everyone involved in the marriage adventure. 

Kelly Rowland and Casey Doucet portray an ecclectic collection of characters who are, at turns: hilariously ridiculous, heartwrenching, and adorable.

Clay and Markie Hebert also have a wide variety of personalities to perform, but the scenes where Clay and Markie play man and wife are especially charming as they are married in real life with three little boys. So, for them, this play isn't an observation but a strange kind of out-of-body experience, as they humorously have an opportunity to re-emerse themselves in the excitement, pratfalls, heartbreak, frustrations, and soul fulfilling contentment that highlights the different stages of dating, and varied relationships, with the hope of culminating in the lifetime marital committment.

Make your plans quickly as you'll likely want to see this gem more than once and it only runs through August 12. Get your tickets at ACTS THEATRE

TEXAS SHAKESPEARE FESTIVAL – ASTONISHING ACCOMPLISHMENT AND WELL WORTH THE TRIP TO CHARMING KILGORE, TEXAS

In Kenneth Branagh's brilliant comedy A Midwinter's Tale, about a disparate group of actors trying to put on Hamlet during the Christmas season in a very short period of time, Joe Harper pep talks to his discouraged cast: "In Shakespeare's theater, a six week season would have produced 35 performances of 17 different plays including, at times, four world premieres."

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Well, theTexas Shakespeare Festival, outdoes even the Bard in their 33rd season, managing the Herculean task of 47 performances of six plays in a scant four and one-half weeks, plus accomodating a guest company from China who does a 7th one-night-only show.

Graciously hosted by Raymond Caldwell, the Founder and Artistic Director, and John Dodd, the Managing Director, the TSF company started June 28 and closes July 29. They give nine performances each of two different Shakespearean plays, and three other classics, plus seven showings of a new children's show. This year they did a 1920's musical version of Shakespeare's romantic comedy Love's Labour's Lost about a King and three of his friends who forswear women for 3 years just before political circumstances require they meet with the lovely princess of France and her three equally lovely attendants. They also did the rarely seen Shakespeare play King John, covering this seminally incompetent and often cruel king in the best possible light Shakespeare could muster. The other classics were Moliere's Tartuffe, a comedy exposing the hazards of entertaining hypocricy, and, the musical version of the old classic serio-comic The Rain Maker, about a man who comes to a drought stricken town promising to change the weather, only to change the dynamics of the townspeople instead. They also did four performances of The Belle of Amherst about Emily Dickenson and 7 showings of the children's play The Lovely Stepsister.

While only the four major plays are left and then only this weekend, it is worth noting that the TSF is well worth the distance you might have to travel to get to this small, friendly, spotlessly clean, theater-geared and devoted Texas town. The food in the restaurants is varied and great, the hotels comfortable, plentiful and inexpensive. If you want to combine a theater vacation with an outdoorsy flavor you can also rent a cabin in nearby Tyler. The theater, itself, has stadium seating where there is no bad view.

The crew and staff at the Ann Dean Turk Center, where the festival resides, are extremely accomodating, resourceful, and very attentive to all the patrons' needs. Ice cream, snacks and coffee are available before the show and during intermission. The gift shop is small, quaint and stuffed with wonderful, high-quality memorabilia at reasonable prices. Blankets are provided for the more easily chilled visitors as the powerful air conditioning keeps the Texas summer heat forcefully at bay.

Along with the plays, the festival also features: live orchestral music, a talent showcase of the actors' musical and varied gifts, backstage tours, "open change-overs" where a docent explains the balletic process as the crew can transform the entire set from from a small country town to an 18th century parlor in under 90 minutes, panel discussions and more.

And if you want to audition – COME ONE COME ALL – as they make the rounds starting in the not too distant future, constantly looking forward to always making the next season better than the one before. You can come audition in person, catch the scouts as they tour the country or submit a video and resume. Get the details from their website: Texas Shakespeare Festival auditions.

I was privileged to be granted an interview with Briana (Bri) Thomas who played: a singing Jaquenetta in Love's Labour's Lost, Mariane, the put upon daughter of the foolish Orgon in Tartuffe, and the delightfully perky gal Snookie in 110 in the Shade. Her parents and grandparents came to celebrate and encourage her as she made her exciting and talented debut with the TSF. The beautiful and delightful Ms. Thomas graciously agreed to allow me to record our talk. Please enjoy the videos below.

 

So wherever you are coming from, it is worth the trip to attend the TEXAS SHAKESPEARE FESTIVAL – and if not this year, clear your calendars to attend the 34th season starting in June 2019.