Greek gods pretending to be human with a campy fourth wall breaking chorus, what could go wrong? Nothing! This show is just right — unless you speak to Mercury about Charis!

Olympus On My Mind, directed by K Strong, is currently running at Virginia Repertory’s Hanover Tavern. This is the third time Hanover Tavern has produced this play and if the saying “third time’s a charm” is to believed, Olympus is complete charm and worth every moment!

The story takes place in Greece. The god Jupiter (Richard Travis) and his son Mercury (Arden Moscati) come down from Mount Olympus for one night to have a bit of fun with Alcmene (Sara Sommers) while her husband is away at war. One thing leads to the next as her husband, Amphitryon (George Spelvin), arrives home earlier than expected. The comedy of errors is hysterical laughter for the audience.

No show can ever be perfect, but this show is quite as close as can be. The chorus, a fourth wall breaking group, including the ever-talented Maggie Roop as Delores, turns the audience into participants in the show. Scott Wichmann’s Sosia could not have more perfect comedic timing. The chorus did struggle in one of their first dance numbers, but quickly gained their rhythm and never skipped another beat. There is also the possibility of some initial confusion when Jupiter and Amphitryon come face to face, but it is short-lived and the scene is so well delivered the confusion is instantly forgotten.

Set design, by Terrie Powers, conveys the Greek Era with ease — giving the proper patterns to the floor, lighting the stairs, and using mannequins as statues is just brilliant. Lighting design, by K. Jenna Ferre, is well suited to each scene and truly amazes in the dance number that throws out any idea of a fourth wall in this show.

The posters for this show are tongue in cheek with the suggestion of a naked lady behind a column. Don’t let it deceive you. There are no naked ladies, only a most incredibly fun cast! This show is a show for most ages. Though some of the Greek mythology might be lost on younger children, they will still love the jokes, physical comedy, singing and dancing. You will be dying laughing by the end of the show.

Break the fourth wall and visit Hanover Tavern, Olympus will be on YOUR mind – a can’t miss show!

Photo Gallery

Maggie Roop	Scott Wichmann
Richard Travis and Sarah Maynard Sommers as Alcmene	Richard Travis and Sarah Maynard Sommers
Scott Wichmann as Sosia and Richard Travis as Jupiter	Mary Anne Furey as Charis and Scott Wichmann
Cast	Maggie Roop as Delores

Photos by Jay Paul

Cast

• The Chorus
  • Tom: Tyler D. Wilson
  • Dick: Paul S. Major
  • Horace: Dan Cimo
  • Delores: Maggie Roop
• Jupiter: Richard Travis
• Mercury: Arden Moscati
• Charis: Mary Anne Furey
• Alcmene: Sara Sommers
• Sosia: Scott Wichmann
• Amphitryon: George Spelvin

Behind the Scenes

• Stage Management: Kristy Bell
• Costume Design: Sarah Grady
• Light Design: K. Jenna Ferree
• Set Coordination: Chase Kniffen
• Music Direction: Jason Marks
• Direction & Choreography: K Strong
• Cover Art Illustration: Robert Meganck
• Accompaniment Creation: Jason Marks
• Deck Crew: Maggie Peterson
• Light Board Operator: Kristy Bell
• Sound Engineer: Zach Baumann

Disclaimer: The reviewer volunteered with Virginia Rep as an usher.

This COULD be my shortest review ever! Say Goodnight Gracie is a one-act, one man show. Now, to fill the rest of this review, I could ask Gracie about her brother (once you see the show, you will understand). I could also say it is presented by Virginia Repertory Company at Hanover Tavern’s Barksdale Theater.

Say Goodnight Gracie tells the story of the life of George Burns, who along with his comedy partner and wife Gracie Allen, was one of the few performers to find success in vaudeville, movies, radio and television.

In Say Goodnight Gracie Burns has just passed away at the age of 100 (I remember it like it was yesterday, even though it has been almost 20 years). He is appearing before God to “audition” his way into heaven and be reunited with Gracie. For 90 minutes he recalls his life story through a series of stories, sketches, slides and video snippets.

Say Goodnight Gracie was written by Rupert Holmes (Yes, the Pina Colada song guy) and was nominated for a 2003 Tony Award for best play, and won the 2003-04 National Broadway Theatre Award for best play.

Scott Wichmann as Burns took on a major challenge in portraying a person who was so well-known to those in my generation and beyond (and who can still be seen nightly on digital cable). In most aspects, Wichmann was spot on, capturing Burns’ warmth, charm and many of his physical nuances. When he licked his lips or smirked it was amazingly like having Burns present. He even captured Burns’ style of speech (but it would take 100 years of cigar smoking to actually capture his signature raspy voice). Wichmann made the 90 minute retelling of 100 years of history fly by.

He was assisted, of course, by the strong direction of Chase Kniffen, who made great use of the small Barksdale stage and many multi-media elements. K. Jenna Ferree’s lighting kept Wichmann’s performance even more visually entertaining. Special recognition goes to Sue Griffin and Marcia Miller-Hailey whose costumes and make up were also spot-on; helping transform Wichmann into Burns.

Whether you are a lover of George Burns, a lover of history or a lover of just plain good theater, Say Goodnight Gracie makes for 90 minutes of great entertainment. Of course, I could not live with myself if I did not close by saying…say good night Bruce…(yes it was a) good night!

Photo Gallery

Photos by Jay Paul

The Cast

• George Burns: Scott Wichmann

The Crew

• Director/ Video Designer: Chase Kniffen
• Stage Manager: Wendy Vandergrift
• Set Designer: Terrie Powers
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin and Marcia Miller-Hailey

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

When producing a play such as Steel Magnolias, which has been made into an iconic movie with an all-star cast; it is hard to not face comparisons. However, in Virginia Repertory Theatre’s current production, it does not take the extremely talented cast very long to change the perspective from “she doesn’t look or sound like Sally Field,” to oh did Sally play this part too? The entire cast gives such strong performances and wraps their talent around creating unique takes on the characters rather than trying to simply recreate the familiar theatrical versions.

Virginia Rep is celebrating the 60th anniversary of the founding of Barksdale Theatre at Hanover Tavern with this production of Steel Magnolias. And it is an excellent choice. The play takes place around 1989 in Truvy’s Beauty shop in the small southern town of Chinquapin, Louisiana. It focuses on the bonds of love and friendship between six local women. The shop is not only the heart of the entire play, but the owner, Truvy is the heart of the group of women. As portrayed by Joy Williams, Truvy is an energetic and gossipy southern firecracker.

Her group of friends include bride-to-be Shelby and her domineering mother M’Lynn. Aly Wepplo is warm, youthful, spunky and loveable as Shelby while Kelly Kennedy is steady and controlled as the rock of the group, M’Lynn. Kennedy has a Meredith Baxter-like quality that allows her to be stoic and firm, yet likeable and funny.

Maggie Roop is shy, self-conscious and anxious as Truvy’s new assistant Annelle. Rounding out the group are two of the towns older and wealthier residents, widow and former town first lady, Clairee and local curmudgeon Ouiser. Jacqueline Jones is proper and dignified as Miss Clairee, but it is Cathy Shaffner who steals the show as Ouiser. Her every movement and line seemed to bring down the house with her comedic timing, facial expressions and actions. I am not one who usually laughs out loud, but she had me bursting out in laughter over and over.

The script is filled with one liners and zingers, which all six actresses deliver with great skill. One of my only complaints was that sometimes the actresses did not wait for the laughs to peak; cutting the audience response short. Since this was opening night, I am sure they will learn to listen and respond more to their audience.

All six actresses are also stellar in creating characters who are not caricatures. They are quirky, funny and relatable. This makes the ending even more powerful as you feel their love for one another and their shared pain.

Terrie Powers’ set and K. Jenna Ferree’s lighting are bright and colorful and appropriately set the mood. Pictures on the walls of big haired 1980’s doos help establish the time and setting. I especially loved the authenticity of the working hair sink and big old hair dryers.

Director Steve Perigard keeps the action visually interesting and varied. He uses all angles of the small three-sided stage to keep the blocking fresh, and provides constant business for all six actresses. It is like watching the kitchen with the wonderful actresses of the Golden Girls (+2) with so much to constantly take in.

The only other drawback was that each act had one scene change which seemed to run a bit long. They were filled nicely with Christmas music and a newscast; and will hopefully move more quickly during the run of the show.

As a reviewer, I have always wanted to say this — you’ll laugh; you’ll cry! Most of all you’ll enjoy the heart-warming time spent with the lovely and talented women of Richmond, via Chinquapin, Louisiana.

Photo Gallery

Cathy Shaffner, Kelly Kennedy	Aly Wepplo
Aly Wepplo, Jacqueline Jones, Joy Williams	Joy Williams, Kelly Kennedy
Aly Weeplo, Joy Williams, Maggie Roop, Jacqueline Jones	Joy Williams, Aly Wepplo
Aly Wepplo	Maggie Roop, Jacqueline Jones

Photos by Jay Paul

Cast

• Shelby: Aly Wepplo
• M’Lynn: Kelly Kennedy
• Truvy: Joy Williams
• Ouiser: Cathy Shaffner
• Clairee: Jacqueline Jones
• Annelle: Maggie Roop

Production Staff

• Direction: Steve Perigard
• Scenic Design: Terrie Powers
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin and Marcia Miller-Hailey
• Stage Management: Chase Kniffen

Disclaimer: Virginia Rep Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Cotton Patch Gospel is another entry in the Richmond Acts of Faith Festival. It is presented by Virginia Repertory Company at Hanover Tavern’s Barksdale Theater. Adapted from books by Clarence Jordan, this musical by Tom Key and Russell Treyz retells the Gospels of Matthew and John set in the mid-20th-century American South. The music and lyrics were written by Harry Chapin (who was the first celebrity I ever interviewed, but I’ll save that story for another time.) These were the final songs he wrote just before he died in a car accident in 1981.

Jordan was a farmer and New Testament Greek scholar. In 1942, he founded Koinonia Farm, an influential religious community in southwest Georgia that still exists today. Jordan was very involved in the civil rights movement and social justice. In an effort to translate both the words and context of the scripture, he wrote several popular “Cotton Patch” adaptations of the New Testament, resetting the lives and preaching of Jesus and the Apostle Paul in contemporary rural Georgia. Virginia Rep is partnering with Habitat for Humanity to celebrate the writings of Clarence Jordan and his role in the founding of that organization.

The story of the theater itself is a fitting one for this play as well. In 1953, six young actors traveling south from NYC intent on finding a barn to put on shows (à la Judy Garland and Mickey Rooney) found the Hanover Tavern. Originally called the Barksdale Theater, it is now a part of Virginia Rep. The rustic “barn-like” stage were a perfect setting for this show. Set designer Terrie Powers uses just a variety of stringed instruments (acoustic guitars, fiddles, banjos and a giant bass guitar) and some milk crates to appropriately set the scene.

The play itself is kind of a cross between a bluegrass version of Godspell, and an episode of “The Smothers Brothers” or “Hee Haw.” Much of the show is laid back and informal, with cast members opening each act by strumming their instruments and joking with the audience.

Christopher Stewart plays the lead role as “Matthew,” but also portrays numerous other roles including the Narrator, John the “Baptizer” and Jesus. Musical Director Drew Perkins, Lucas Hall, Brian Sulsar, Eric Williams, and Corey Wells round out the cast and make up the live bluegrass band that accompanies all the songs on stage.

Jesus, in Cotton Patch Gospel, is born in Gainesville, GA to High School football player Joe Davidson, and his girlfriend Mary. They are visited by wise men, after she gives birth in a trailer, behind the motel, and receive gifts like an American Express GOLD Card. In the end, they go to Atlanta, where Jesus is lynched by the KKK.

Stewart is kind of a southern Matthew Broderick in displaying charm and likeability as Jesus. Stewart’s vocals are gentle, pure and “Christ-like.” He maintains a great connection with the audience through his eye contact and movements.

My only complaint is one I am assuming comes from the writers and not Director Chase Kniffen; the fact that Stewart winds up playing so many pivotal characters. Things get a bit muddled in scenes where Stewart must jump back and forth between being Jesus and John or Jesus and Matthew. With five other actors on stage only playing relatively minor parts, it would have seemed more sensible to have the lead actor play only Jesus and the narrator. Putting these demands on one actor might have appeared less burdensome if Stewart displayed more vocal and physical variety in each character. John the Baptizer, for example, was distinguishable as a bigger than life, fire and brimstone Southern Baptist preacher, but many of the other characters tended to meld into any resident of Mayberry RFD. Again, since I have never seen this show before, I am assuming it was written this way.

The Bluegrass band gives a great performance and is adept vocally and instrumentally. At times one voice does out power the others and at other times, things can get off key (like in the song “Blind Date”) but it is hard these days doing live music without voice tracking or autotune (right Beyonce?) They are at all times energetic and entertaining.

One poignant moment (again I don’t know if it is scripted this way or was the director’s choice) came when Corey Wells sang at the lynching/crucifixion after being silent throughout the rest of the show. His soft, innocent tones perfectly enhanced the moment.

Kniffen uses the small space well, especially with exits and entrances throughout the theater. The story is novel, and Chapin’s music is catchy. Cotton Patch Gospel is a hand-clapping, foot-tapping good ol’ time.

Photo Gallery

Photos by Jay Paul

Cast

• Matthew: Christopher Stewart
• Lucas: Lucas Hall
• Drew: H. Drew Perkins
• Brian: Brian Sulsar
• Eric: Eric Williams
• Corey: Corey Wells

Crew

• Director: Chase Kniffen
• Set Design: Terrie Powers
• Light Design: K. Jenna Ferree
• Costume Design: Marcia Miller-Hailey
• Musical Director: Drew Perkins

Disclaimer: Virginia Rep provided two complimentary media tickets to ShowBizRadio for this review.