Tuesday, May 26, 2015

Three Days of Rain—Portland Center Stage—Pearl District

“Random Happiness”

This comedy-drama is written by Richard Greenberg and directed by Chris Coleman (PCS’s Artistic Director).  It is playing at their space, 128 NW 11th Ave., through June 21st.  For more information, go to their site at www.pcs.org or call 503-445-3700.

Life is something that happens when you’re not paying attention.  It exists in the small, silent moments…in between the big, noisy events…that Happiness can raise its lovely head.  It can happen when nothing more needs to be said.

That will give you a hint of the quiet simplicity of Greenberg’s play.  It involves randomness, artistic drives…dreams…the need to be free…commitment…strong ties…loose ends…rich in mind…poor in spirit…love, laughter, death and life.  And memory, which may be the strongest ingredient of these people’s senses, might be the least reliable.  For what we see and hear may not be what actually happened, you can only know the facts by actually being in the other person’s shoes.  And that, in short, may be, in part, what this play is about.

The first act takes place in the mid-90’s.  Walker (Silas Weir Mitchell) is living in squalor in a run-down building in Manhattan.  He has been running, either toward something or away from something, for years, living here, living there, but never settling for long.  A random life.  Into the scene appears his married sister, Nan (Lisa Datz), needing to see him to settle their father’s, a famous architect, who has recently died, will.  Their mother has been in an institution for the mentally ill for years and is unable to handle things, so that task is inherited by their children, and his partner’s son, Pip (Sasha Roiz), a well-known TV actor, best friends to these two, also.

It turns out that, besides leaving millions in his will, there is also a famous home, the Janeway House, almost priceless, ownership to be determined.  Pip is single and well-off, Nan is settled down and has a family, and Walker is the wild card.  But Walker also has an ace-in-the-hole, as he has discovered a journal from their father, which may explain some mysterious incidents from their past, including a passage that reads “three days of rain” with no explanation.  Can’t tell you more without revealing plot devices you should discover.

In Act II we jump backward 35 years and see life from their father’s points of view, as this seedy building was actually their office.  Pips father, Theo (Roiz) seems to be the brains of the duo, and his less well-known partner, Ned (Mitchell), seems to know taste when it comes to drawings.  They may definitely be the original, odd couple.  Both totally different people but dependant on each other to make it all work, each one half of the whole.

Lina (Datz) has been Theo’s main squeeze for some time but doesn’t look like marriage is in the offering.  Theo decides he needs to be alone for awhile to create, so he’s off to his parent’s summer cottage.  Meanwhile, Lina and Ned meet randomly and chat about each other’s dreams and about Theo, revealing insights from Ned, this normally taciturn man.  Again, can’t tell you more with being a spoiler.

Coleman has let the dialogue and story evolve in a simple, loving manner.  Wisely done.  The set (Scott Fyfe) is amazing, both expressionistic and realistic, in its depiction of the central room and its surrounding environment.  And the actors are perfect for these roles.  I have not seen the films they are in, nor the Portland-made TV series, Grimm, in which the two male actors play roles in.  So my evaluation is based solely on their rendition of these onstage characters.

Datz is terrific in playing the dual roles of a no-nonsense woman in the first Act, then portraying a ditzy, Southern lady in Act II.  The two characters are worlds apart in their make-up but she is totally convincing in bother incarnations.  Roiz is the perfect, assured gentleman in Act I, then, as his father, the troubled genius, who has a reputation to uphold but may not have the actual talent for it.  He is wonderful in giving us the subtle variations of the two men.  And Mitchell is terrific as the scatter-brained vagabond in the first act, who runs at the mouth and says exactly when he feels.  And then changes gears in the second act as his father, the silent type who is uncomfortable with the outside world but totally at ease with his inner one.  Both roles are exacting in their demeanor, completely different, and brilliantly performed.  It would be hard to find a better trio onstage!

I recommend this show.  If you do chose to see it, please tell them Dennis sent you.

Sunday, May 24, 2015

The Lion—Portland Center Stage—Pearl District

Weathering the Storm

This one-man musical journey is written and performed by Benjamin Scheuer and directed by Sean Daniels.  It is playing in the Ellyn Bye Studio at PCS, 128 NW 11th Ave., through June 14th.  (Please be aware that it is only street parking, or a lot, or public transportation, in a very busy area of Portland, so plan your time accordingly.)  For more information, go to their site at www.pcs.org or call 503-445-3700.

Journeys through the mind can be a tough row to hoe.  It can be painful, cathartic, joyful, sad and regretful, all at the same time.  Memories are not the way things happened, necessarily, but they are the way we think they happened.  Once we insert our own bias, ego, imagination, moods and temperament into the mix, we come up with a conglomeration of our own making…a world within a world.  And putting it to music creates its own rhythm.

Scheuer’s journey was not easy but something good came out of it--this show.  “Every cloud has a silver lining” and this is his.  But his story is not his alone, not just because there are other characters introduced into it but because it relates to all of us and our own stories.  We are all made up of stories…and stories within stories…and part of other people’s stories.  As this is told in a story-telling style it becomes accessible to everyone.

Claudie Jean Fisher, PR Manager for PCS, quotes the director, Daniels, “We want it to feel like it’s your friend coming over to your house and telling you this story….baring his soul to you……..It’s this art form’s competitive advantage.”  His adventure begins with growing up in a household in NYC with younger brothers.  At an early age he had an interest in music and he and his brothers formed a band.  His father, a guitarist and singer, and a math teacher, made him a banjo out of a cookie tin but never seemed to fully approve of his interest in music and would often have fits of temper.  Later he would understand why.

Some songs Ben sings concern lessons he learned from his father.  It’s not how hard you are hit in life that is important but how you weather the storm.  And, also, what makes a Lion, a Lion?  Is it his roar?  Later in life Ben learns the answer.  He also meets the girl of his dreams, Julia, and expresses in song why he loves her and he explains, “she makes me laugh” and “loving her will be easy.”  But Life doesn’t give you all sunshine, as he finds out the hard way.  And then tragedy strikes even closer to home and he discovers what is really important in Life and who he is.  “I learned to play like me.”

Can’t tell you all the details because they are for an audience to discover.  But Scheuer does convince us that he is just an old friend stopping by to visit and, oh, by the way, listen to my story, if you will.  And we do…and we applaud…and we identify with him.  We, too, have learned something today.  We and he are not too different after all.

Daniels has kept the show simple so not to intrude on the homey atmosphere.  The set (Neil Patel) also adds to that homey feeling but the wallpaper may take us a step deeper into Ben’s world, as it has the appearance of a golden jungle, or possibly, the “golden castle town,” as Scheuer refers to NYC.  And the lighting (Ben Stanton) is rarely static, giving us the feel that Ben is always moving in his journey, never really settling anywhere, physically or emotionally, for long.  They all lend their parts wonderfully to complete the whole.  (A side note, I noticed Katie Watkins is the Assistant to the Director, and I’m sure she is as fine at this job, as she was in the marketing area and my contact for Portland Playhouse.  Best to you, young lady!)

I recommend this show.  Saturday night’s show was full to overflowing and he received a much-deserved standing ovation.  If you do see it, please tell them Dennis sent you.

Mr. Burns, A Post-Electric Play—Portland Playhouse—NE Portland

Endless Night…Dawning Light?

This post-apocalyptic comedy-drama was written by Anne Washburn and directed by Brian Weaver (P/P’s Artistic Director).  It is playing at their space, 602 NE Prescott St. (parking lot, 2 blocks North on 6th Ave.) through June 7th.  For more information, go to their site at www.portlandplayhouse.org or call 503-488-5822.

Question:  Where were you when the lights went out?  Answer:  In the dark.  Some say the final days of this earth, as we know it, will end in Fire.  And with all the recent technology in bomb-making and nuclear facilities, it seems very likely.  But, for the survivors, will our world be one of darkness…endless night…or a new beginning…dawning light.  And what memories will we carry of…the old world?

According to Washburn, it may be that we will carry images of our pop culture, in this case, The Simpsons.  She may be right, as we would likely hang on to “comfort food” to get us through the night.  (In my case, my comfort food would be the old TV series, Perry Mason.)  And, like a night-light or our favorite childhood toy (mine was a stuffed Panda bear) or blankie, it would soothe the “savage beast” within us, so that we could negotiate our way through a “brave, new world.”

I really can’t tell you too much about the plot, as that would be giving away discoveries a viewer should make.  But I can give you the flavor of it (which is what I prefer to do, anyway) so that you can make up your own mind if it suits your tastes.  And if it doesn’t, take a leap of faith, go ahead and see it anyway, as it may just open up new avenues of your understanding of things.

Act I begins outside, around a campfire with some survivors of what appears to be an explosion of a nuclear facility on the East Coast.  (Yes, the audience will actually be outside for this part of the show, and then move elsewhere, as well.)  One participant, Matt (Brian Adrian Koch), relishes in reciting, pretty much verbatim, an episode of that cartoon show called, Cape Fear (based on two movies of that title, one with Mitchum & Peck, the other with DeNiro & Nolte).

What is interesting is that it’s important to get the lines, characters and sequence of events exactly right.  It is as if they are, perhaps, like our ancestors at the dawning of civilization, passing down an oral tradition to future generations.  Into their midst comes an intruder, Gibson (Isaac Lamb), who is able to fill in some of the story.  They also go through a ritualistic reviewing of names of past people they knew, again, perhaps, so they won’t be forgotten and, if there is news, the list can be updated.

Act II takes place in the basement (a type of fall-out shelter?) in which the troop is rehearsing a play, which they will tour to other provinces, similar in style to story-telling but larger in scope of passing on oral traditions.  It is now seven years later.  Again, the focus is still the Simpsons but with music, song and dance now added.  And buying and selling of dialogue from the Simpsons has now become a business enterprise.

Act III takes place 75 years later and they are now on a stage and have resorted to a primitive (in look and presentation) of the same characters but now all a ritualistic, musical interpretation (a crude type of a Survivor episode and, maybe, Lord of the Flies).  Mr. Burns (Koch) has become the villain of the piece.  And Itchy (Laura Faye Smith) and Scratchy (Tobias Andersen) continue their antics.  Homer (Lamb) is still the dunce, and Lisa (Cristi Miles) the brain and Marge (Kemba Shannon), the faithful wife with the rascal, Bart (Jennifer Rowe), being the one obstacle in Burns’s way.  You’ll have to see for yourselves if the world survives and, if so, in what state.

This is clever in the execution, with the idea of traveling to different locations, as would the cast in both time and place, anyway.  This must have taken an enormous amount of rehearsal, as the actors must not only enact characters but dance, sing and play musical instruments.  Weaver has done a masterful job of tying it all together.  And Ashton Hull’s costumes in Act III are amazing, creating a possible whole new look to a futuristic world.

The actors are just fine, all having their moments to shine.  I especially liked Rowe’s interpretive way of presenting Bart in song and dance.  And Koch is riveting as the villain of the piece, Burns.  And, of course, you have the ole pros, Andersen, an icon of Portland theatre as an actor and director, and Smith and Lamb, both accomplished in musical theatre.  And add the talents of Miles and Shannon and you have an exceptional cast.

I recommend this show but know that it is not what you might have seen in a “traditional” play.  If you do see it, please tell them Dennis sent you.

(A side note:  P/P’s Apprentice Company is staging Inhale, 9 Auditions on June 9th and 10th at 7 pm.  Tickets are $10.  This is a chance to see young actors at work and what talents they will bring to future productions.  I believe they need a chance to be seen and experienced.)

Friday, May 22, 2015

The Undiscovered Country—Defunkt Theatre—SE Portland

Down the Rabbit Hole

This intense, adult drama about addiction is playing at their space in the back room of the Common Grounds Coffee House, 4319 SE Hawthorne Blvd. (it is street parking only, so plan your time accordingly) through June 20th.  The play is written by Portland’s DC Copeland and directed by Paul Angelo.  For more information, go to their site at www.defunktheatre.com or call 503-481-2960.

This is a serious story about addiction, suicide, drugs, insanity and death (the “undiscovered country,” as per Hamlet, in which no man returns), make no mistake about it.  And the body count of the major characters at the end of this play is about the same as in Hamlet.  (No, I’m not being a spoiler, as the opening narrative tells us as much.)  The opening narration by Terry (Matthew Kern, Defunkt’s Artistic Director) also warns that the meek might, indeed, “inherit the earth,” but probably should make a quick exit now to avoid seeing the wrath of Life on the streets, as portrayed in these stories.

The four actors each play two characters in inner-related stories.  Terry (Kern) is on the lookout for true love and finds it in the body of Richie (Spencer Conway), who is, coincidently, playing Hamlet in the theatre.  Terry is also a supplier of drugs (as is his alter-ego, Bear).  He meets this delicious performer via his good friend Becca (Lynn Sher), also into drugs, who is in a loving relationship with Jess (Lauren Modica), that is, until she takes a walk one night and never comes back.

And then we have a rock star wannabe, Angie (Sher) and her abusive boyfriend, Tony (Conway).  Their whole lives are tied up with sex, drugs and rock & roll.  As mentioned, most of these people die by the end of that story but the dead don’t stay buried, it seems, as their ghosts come back to haunt the living.  As a warning, perhaps, not to enter that “undiscovered country,” or as an omen that they, too, will be crossing that river Styx soon.  Can’t really reveal any more, as that would be giving away some plot devices.

There seems to be no saving grace in this play, except as a caution to not go down this “road less traveled by.”  The story is relentless, raging, repetitious, and pulsating with the seemingly purposeless point to Life (much like the music/sound, Andrew Klaus-Vineyard, at the beginning of the play, and the lights, Peter West, during the show).  Angelo’s direction is much that way, too, driving mercilessly forward to the inevitable conclusion.

The actors must be emotionally and physically exhausted by the end of this explosion.  I have seen them all before and they are well chosen for these roles.  I was impressed by Conway’s Jekyll & Hyde transformations in character.  Kern plays well the sleazebag supplier, who just may have a heart, as well.  Sher is over the top as the rock star druggie, and appropriately subdued as Jess’s girlfriend, a fine performance.  And Modica is electrifying in her speech over the grave of her lost love, displaying all the bitterness and hurt one must feel in such a circumstance.

I can recommend this play for the powerful performances but the story is not for everybody.  Hopefully, though, it will speak to those who are involved with, or know someone who is involved with, an addiction or contemplating suicide.  This might be the jolt that they need to pull them back from the pit.  It is said that, if you stare too long over the edge, beware, for something evil might be staring at back at you, too, daring you to take that last step.
Check with www.linesforlife.org for more information or call 1-800-273-8255 for suicide prevention, or 1-800-923-4355 for addiction problems.

If you do choose to see this show, please tell them Dennis sent you.

Monday, May 18, 2015

Our Country’s Good—Bag & Baggage—Hillsboro, OR

Dream Time

This adult drama was written by Timberlake Wertenbaker and adapted and directed for the stage by Scott Palmer (B&B’s Artistic Director).  It is playing at their space at the Venetian Theatre, 253 E. Main St. through May 31st.  For more information, go to their site at www.bagnbaggage.org

The “Dream Time” in Aboriginal (native Australians) lore is a type of alternate reality or universe.  It is alluded to in a couple of good films from that country such as Walkabout and The Last Wave.  But another type of reality existed in England over two hundred years ago in which they chose to export their undesirables, such as convicts, the poor, prostitutes, the mentally or physically challenged, Jews, et. al. to the “uncivilized” Australia.

The trip over by ships was no treat for the prisoners or jailers alike.  Beatings and hangings took place on a whim.  But one officer, Lieutenant Ralph Clark (Andrew Beck), decided that performing a play with the prisoners was a diversion that would be beneficial to all concerned.  It also occurred to him it might also give them a hint as to another sort of life or society that they could eventually create for themselves once on the Continent.  It represents a type of microcosm of the world.

The play to be performed was a comedy called The Recruiting Officer and some of the prisoners taking part were Duckling (Cassie Greer), a sullen, snippy gal who had a hang-dog sailor, part-cripple, Harry (Luke Armstrong) panting after her.  There was Liz (Clara-Liis Hillier) a head-strong, no-nonsense lady-of-the-night.  Also, Mary (Arianne Jacques) is a shy, quiet sort who turns out to be a good actress.  Then there is Meg (Jessi Walters), her friend and opposite, a very outspoken and pushy woman.  And, there was Black Caesar (Damaris Webb), whose only fault was the color of her skin.

And the fellows were Sideway (Gary Strong), a corpulent, hearty fellow, the funnyman of the group who relished in the emoting of his role.  Wisehammar’s (Peter Schuyler) only fault was that he as a Jew, a minority and so shunned by “polite” society.  And, perhaps, the most undesirable of all, but a necessary fellow, was the hangman, Ketch (Colin Wood), who tries mightily just to be accepted as a human being.  All these characters and more, played by the same actors, will reveal the “slings and arrows of outrageous fortunes” as befell them, and experience the effect of Art on the human spirit.

Palmer’s adaptations are always fascinating and this production is no exception.  He shows what can be done on an essentially bare stage and then creates an entire world through the talents of his artists, the words of the creator and our imagination.  It doesn’t get any better than that.  He also exposes some forgotten bits of history and literature into a whole new light, as he does here.  I hope to see his creations prove fruitful and multiply for many Seasons to come.

The cast, most of them playing two or three roles, are exceptional.  Greer is always a stand-out in all the shows she does for them, always giving extra depth to the roles she plays.  Hillier has played on many stages, including NW Classical and Theatre Vertigo, too.  And the amount of diverse characters she has portrayed speaks volumes about her talent.  Strong has some of the best comic timing in the biz and it shines here, also, as a big man just trying to be noticed as a real person.  Armstrong is particularly moving as a misfit wanting so desperately to be loved.  And Beck handles the focal character very well, giving us a decent man but conflicted between his duty and personal connections with his cast.  They all have their shining moments in this play and, as always, a powerful ensemble.

I recommend this play but it is for mature audiences only because of the subject matter.  If you do see it, please tell them Dennis sent you.

Ramona Quimby—Oregon Children’s Theatre—downtown Portland

Growing Pains

This family production is written by Northwest native, Beverly Cleary and based on her “Ramona” series of books.  It is adapted for the stage by Len Jenkin and directed by Elizabeth Richard (sign interpreted for this show by Don Coates).  It is playing through May 31st at the Newmark theatre, 1111 SW Broadway.  For more information, go to their site at www.octc.org or call 503-228-9571.

The above statement might explain why Ramona is commonly considered a pest.  Time passes so s-l-o-w-l-y when you’re a child and then goes too >> when you’re an adult.  Go figure.  So time in the 3rd grade must feel like a prison and your parents and teachers, the jailers.  But, somehow, things work out in the end.  As Ramona’s older sister, Beezus says, “People live here and sometimes they’re happy, and sometimes sad, with all their small everyday adventures—and their life goes on—in a kind of miraculous way.”  So true, so true.

Cleary herself spent some time as a child on Klickitat Street in Portland and so these memories are based on that neighborhood and her time as a child.  The play is narrated by the elder sister, Beezus (Annabel Cantor), who definitely has a biased view of Ramona (Steele Clevenger).  It seems that Ramona is always getting in trouble at home, like putting toys in the oven, fighting with her sister and generally trying to rule the roost.

Her mother, Dorothy (Kymberli Colbourne), seems a decent sort, trying to keep the home in order for her children and her husband, Bob (Rick Huddle), who works in a frozen food warehouse run by Mr. Frost (Darrell Salk).  But Ramona seems more at ease with her Aunt Bee (Tiffany Groben) and longs to live with her.  But this is not to be, as Bee becomes attached to the next door neighbor’s son, Hobart (James Sharinghousen), and so she has less time for Ramona.

School doesn’t seem to cut her any breaks, either.  Granted, she does have her best friend, Howie (Iain Campbell Demarest) in the same classes but the teacher, Mrs. Griggs (Paige Jones) seems to hate her and the teacher’s pet, Susan (Bella Freeman-Moule), gets all the attention.  Life just doesn’t seem fair and it isn’t fair, according to Ramona.  But Time has a way of making things better, as she discovers.

The story may seem slight to adults but I’m sure it rings true for young people.  Of course, nowadays, childhood is a much more complicated place with social media, bullying, drugs, gangs, school shootings, et. al.  But a couple things this play points out that are still relevant, is the fact that losing one’s job and having to deal with a reduced income can still have a devastating effect on a family.  And smoking is still a major problem with parents and youth.  I remember when my sister asked my Dad to quit smoking and he promised he would if she would never start.  And it worked.

The performers are all very competent, with Jones and Sharinghousen having appeared in many other productions around the area and always being good, as they are here, also.  Clevenger as the “brat” is, quite appropriately, annoying to the point of being like long fingernails on a chalkboard.  Impressive little actor.  And Cantor has an assurance in her role that is very much adult in application.  Especially in the narrative parts, which are never easy to make interesting.  But she does engage the audience quite nicely and makes you want to listen to her.  I look forward to seeing both of these young ladies again onstage.  Richard has done a good job of keeping things moving and making the scenes interesting.

I recommend this show.  (A side note, it’s never easy to find parking downtown, so plan your time accordingly.)  If you do see it, please tell them Dennis sent you.

Storefront Revue: The Babes Are Back!!—Triangle Productions!—NE Portland

“…When Will They Ever Learn…?
This musical revue is written by Donnie and directed by Donald Horn with music direction by Jonathan Quesenberry.  It plays at their space at The Sanctuary on Sandy Plaza at 1785 NE Sandy Blvd. through May 30th.  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

The importance of theatre for a community is that it expands the mind and imagination to “boldly go” to places beyond pedestrian understanding.  The importance of theatre to a performer is that it breeds self-confidence and builds character.  And so why is it always such a struggle to keep it alive?!  When will we ever learn that what we make of this world on the outside depends on who we are inside, and The Arts are a cornerstone to that.

Art and communication go hand in hand all the way back to the Stone Age, if you will, and cave paintings.  We have a need to express ourselves.  The Northwest has a long history of theatre.  Seattle has been a thriving community of the Arts.  And the Oregon Shakespeare Festival in Ashland, now it is 80th year, is still going stronger than ever!  Portland, too, has a long history and a pretty impressive array of theatres in the larger Portland area now, maybe as many as 100.  But that did not happen without some major overhauls over the years…an evolution and revolution of the theatre scene.

Storefront, as I remember it, was in the Paris theatre near W. Burnside, their “real” home, as I see it.  But it started from Tom Hill (Kurt Raimer) at Portland State and the American Conservatory Theatre, doing Guerrilla theatre on the streets, consisting of political themes, then expanded to North Portland with Anne Gerety (Lisamarie Harrison) with skits and songs (and drugs and booze and sex) into a Rent Party in a house.  Ric Young (David Swadis) became one of the key designers and directors at this point.

Getting into the school system and receiving Grants was key to their evolving.  They moved to The Old Church and finally to their permanent home near W. Burnside.  Here they had their longest-running and lasting success in Angry Housewives.  Eventually they got in over their heads when they jointly decided to expand to the Winningstad Theatre to get more exposure, but this spelled the beginning of the end for them, too.

This Revue not only brushes over the history of the group but includes some skits and songs that made them famous.  They were outrageous, politically incorrect, and damned talented!  They took on issues of the Kent State murders, the political leaders and the Viet-Nam war.  Then Aids raised its ugly head and took away one of their talented leaders, Ric Young.  Some correlations could be made in the type of theatre they did with SNL, Monty Python, Darcelle’s and the play, Hair.

Theatre is an Art that is obsessive and possessive; passionate and compassionate; all-consuming and all-absorbing.  You are born with it but Art is a cruel mistress and, if it finds you worthy, will guide your course.  Storefront had these attributes in its members.  Donnie’s recollections of that brave new world is spot-on.  And his cast and orchestra are mostly too young to remember that era but they are dynamite when performing it.  Kudos, as always, to the incomparable Quesenberry and his band of renown—atta-Jonnie!  The ladies are a standout in “Eat Your Fucking Corn Flakes” from Angry Housewives.  And the black-light striptease is genius.

The cast is made up of some wonderful performers, some I’ve given kudos to in the past, such as Danielle Purdy, heartbreakingly funny is her solo of waiting for 18 years for her boyfriend to call.  She is one of the best performers in this area (and looks just fine in a black slip).  Also, Lindsay Nicole Schramm is a hoot in character roles, as she was in Rocky Horror….  Harrison and Raimer are good at playing the leaders of the pack who are dismayed as the troop evolves into a different realm of discovery.  Joey Cote’, Matthew Belles and Leah Seligman fill out the ensemble and give extra relish to an already satisfying meal.  And Swadis is terrific as Young, giving full flavor to this delicious artist, too soon taken from us.

As my friend, Mr. Paull, pointed out, Storefront was like a Petri dish in a lab, waiting to be nourished to survive... to see a germ of an idea, blossom.  And for awhile, it did.  But now others have taken up the reins, such as Triangle and Defunkt and Post 5, et. al. to carry on the traditions as set down by Storefront.  From the ashes, a Phoenix will rise, but it is good to be carried back to a moment in time when it all began.  “Lest we forget…!”

I recommend this play as a must for all theatre lovers.  If you do see it, please tell them Dennis sent you.