Best in Show
Michael Smith, September 13, 2004
Copenhagen, JAMES GIBBARD/Tulsa World file
2003-04 theater season delivers a bounty of heartbreaking, hilarious moments
If nothing else, the Tulsa World's weekly community theater column, "On Stage," has confirmed that Tulsa always has something on stage.
The past theater season offered a little bit of everything - musicals and monologues, riotous comedies and revivals of past hits, shows indoors and outdoors and productions ranging from mediocre to masterful.
There were changes in the theater landscape as well (Devin Meadows gone from Theater Tulsa, Theater North producing no plays), but none was larger than the death of Ken Spence.
Spence was Tulsa's longtime champion of theater that was ambitious, risky and more often than not quite excellent. Most of the city's current theater operators have been influenced by him in some manner, and, hopefully, they will carry on his spirit.
The Golden Ass, MICHAEL WYKE/Tulsa World
There were many unforgettable moments in the more than 40 shows that we viewed and reviewed this last year.
We won't soon forget the frightening conviction with which actors Jarrod Kopp and Bryan Reed carried out Leopold and Loeb's "crime of the century" in "Never the Sinner."
We marveled at Heather Richetto-Rumley's ability to elude a hungry Venus flytrap while balancing on stiletto heels.
We hooted at watching Peaches Lennox play a creepy reindeer who likes to don gay apparel in "The Reindeer Monologues." Meanwhile, we don't remember laughing at a Christmas comedy with the bad fortune of having the word "uh-oh" in its title. Too easy a target.
Blue, Photo Illustration by JOHN CLANTON/Tulsa World file
Perhaps the most pleasing occurrence was in seeing several quality dramas staged by multiple companies. Last year's best-of list included no pure dramas; this genre makes up half of this year's most acclaimed shows.
The following productions and performances are noted as the best that community theater in Tulsa had to offer last season, between September 2003 and August 2004, concluding with this year's excellent SummerStage festival at the Tulsa Performing Arts Center.
All recognized plays and performers, listed in alphabetical order, are winners.
BEST SHOWS
"Blue"
American Theater Company (April 2004) In this tale of a family that owns a funeral home in a small Southern town, director Tyrone Wilkerson created a family room full of wonderfully human characters, full of flaws and delightful company. The frailties of these people, rather than the fact they were black, was at the heart of the conflict in this smart work.
"Copenhagen"
Theater Tulsa (October 2003) A superb drama of ideas -- the biggest of ideas, arguably, if one considers that atomic bomb-building scientists Neils Bohr and Werner Heisenberg played a role in deciding who would live and who would die at the start of the nuclear age.
Michael Frayn's play proved to be a drama with both a heart and a brain under the exacting and caring direction of Randall Whalen and featuring superb performances by Ken Spence, Vivica Walkenbach and Jason Watts.
"Eleemosynary"
Heller Theater (July 2004) An awesome example of the power of live theater, Lee Blessing's play became a remarkable tapestry of life woven between three generations of exceptional women in the hands of Heller Theater director Julie Tattershall.
Three amazing women -- Rita Boyle, Annie Ellicott and Karen Evans -- alone on a stage with only three chairs, a box and their belief in one another. Stunning.
Midwestern Theater Troupe (March 2004) John Cruncleton's adaptation of a 2,000-year-old Latin novel about a man who turns into a donkey was hardly of perfect construction and a bit of a complex flight of fancy.
But what this effort -- starring a live cast for the first act and shadow puppets only for the second act -- proved to be was an audacious night of theatrical possibilities, thinking outside the box and creating original art.
"I Hate Hamlet"
Theater Tulsa (September 2003) Director Benjamin Smith made Paul Rudnick's comedy about a young man portraying Hamlet in an outdoor production play like a TV sitcom that actually makes you laugh out loud.
Sublime performances by Richard Risor as the ghost of John Barrymore and Randy Lee Chronister as the young man's agent, an angel and devil fighting for the actor's soul.
"Little Shop of Horrors"
American Theater Company (October 2003) A fantastic ensemble, superb voices and the perfect black comedy tone land this musical on the list as it did in 2001, with many of the same players.
Tyrone Wilkerson directed the tale of an innocent (the wonderful Mike Pryor) and his Faustian pact with a killer Venus flytrap.
"Never the Sinner"
Heller Theater (January 2004) Jarrod Kopp and Bryan Reed gave bloody good performances as Nathan Leopold and Richard Loeb, the fancy-pants teenage dandies and thrill-kill murderers who committed the 1924 "crime of the century."
Director Jenny Jackson's crackling good work brought this story to life in vividly violent, creepy and humorous detail.
Theater Club (June 2004) Pay equity, abortions, sexual abuse -- the first actresses of the English theater faced issues that ring true among today's societal hot-button issues, giving director Jim Queen's production a definite feminist feel and appeal.
A beautiful ensemble effort, showing infectious camaraderie, fiery competitiveness and a bond of sisterhood among the women.
"Seven Brides for Seven Brothers"
Discoveryland (summer 2004) The rollicking musical favorite at the earthen amphitheater west of Sand Springs was a boisterous show starring a national cast of young performers, all of whom sang their hearts out and kicked up a storm. Bless their beautiful hides.
"Tommy"
American Theater Company (August 2004) If this truly was Dan McGeehan's finale as a director, he triumphed with a show that he's long championed. A staggeringly good staging that made the music baby boomers have loved for three decades come alive in a fresh, new way for today's audience.
Impressive performances, visual projections, costuming and music created a thrilling event.
BEST ACTRESS
Rita Boyle
"Eleemosynary"
Annie Ellicott
"Eleemosynary"
Melissa Enochs
"Pippin"
Heather Richetto-Rumley
"Little Shop of Horrors"
Julie Rees
"Seven Brides for Seven Brothers"
Rita Boyle
Boyle was sensitive, blunt, caring and tough-loving as an eccentric grandmother in a complete, utterly believable performance, while Ellicott was amazing as the youngest member of the "Eleemosynary" bloodline, taking audiences inside her head and heart and creating a character to be cherished.
Melissa Enochs
Enochs as "Pippin's" Leading Player was a brilliant gender-twist on the role, savvy and sexy as she slinked through musical numbers, singing strong and styling fashionably.
Richetto-Rumley is beautiful and brilliant as always, this time in repeating her role as the "Little Shop" salesgirl who dreams of something better but suffers from low self-esteem.
Rees is perfection as Milly, a golden-voiced beauty and gifted actress whose strong-willed character knows that a woman's place is not behind her man, but beside her man.
Also of note: Clea Alsip, "Romeo and Juliet"; Monica Barczak, "Molly Sweeney"; Karen Evans, "Eleemosynary"
BEST ACTOR
Chris Crawford
"Tommy"
Greg Hermann
"Romeo and Juliet"
Jarrod Kopp
"Never the Sinner"
Richard Risor
"I Hate Hamlet"
Ken Spence
"Copenhagen"
Crawford was a revelation as the deaf, dumb and blind kid who sure plays a mean pinball and a powerhouse dancer and actor who sure can belt out hits by the Who.
Hermann offered a blazing, virile performance as Romeo, capable of delivering raw emotions of drama, passion and comedy -- all within a single speech.
Greg Hermann plays Romeo and Clea Alsip plays Juliet in "Romeo and Juliet" at the Philbrook Museum of Art. A. CUERVO/Tulsa World
Kopp's portrayal of killer Nathan Leopold was completely convincing in communicating the character's frailties and his belief that committing murder could be an intriguing, intellectual exercise.
Bryan Reed (left) as Richard Loeb, and Jarrod Kopp, as Nathan Leopold, in "Never the Sinner" at Heller Theater. ROBERT S. CROSS/Tulsa World
As the ghost of John Barrymore, Risor created a swashbuckling, womanizing, wine-swilling life of the party, full of hammy proclamations as well as a few regrets.
Spence gave a controlled, masterful effort in making Bohr a conflicted, witty, caring man of science. Anyone who thinks this might be a posthumous nod of sentiment simply didn't witness the performance.
Also of note: E. Kirby Jr., "Ragtime"; Mike Pryor, "Little Shop of Horrors"; Bryan Reed, "Never the Sinner"; Andrew J. Williamson, "Cabaret"
BEST SUPPORTING ACTRESS
Graciela Ganer
"Rush Limbaugh in Night School"
Zulieka Minnis
"Blue"
Paulette Record
"Romeo and Juliet"
Billie Sue Thompson
"Playhouse Creatures"
Vivica Walkenbach
"Copenhagen"
Sue Webb
"Playhouse Creatures"
Ganer was wonderful as a sweet, daffy heiress on the lam from the feds, seemingly channeling the ghost of Madeline Kahn in this satire.
Minnis was a comic delight with impressive range as the country girl who later becomes a woman with a secret.
Randy Whalen plays Rush Limbaugh and Graciela Ganer plays Nina Eggly in "Rush Limbaugh in Night School" at the Tulsa Performing Arts Center. A. CUERVO/Tulsa World
ReCord made Juliet's nurse come to life, hilarious in her comedy and joy, but just as real in her emotions when tragedy strikes.
Thompson's blind dreamer whose audience lost interest in her as her physical beauty faded was sad, honest and convincing.
Walkenbach delivered a stern, sophisticated performance as the glue holding together the tenuous relationship between competing geniuses.
Webb was a hoot as the haunting, cretinous Doll, the ancient housekeeper/nanny for a new kind of theater for women.
Also of note: Erin Austin, "Das Barbecu"; Claire Kifer, "Tommy"; Ozella Mahone, "Blue"; George Romero, "Mere Mortals"
BEST SUPPORTING ACTOR
Randy Chronister
"I Hate Hamlet"
James Fields
"Romeo and Juliet"
David Holmes
"Blue"
Bradd Gillespie
"Blue"
Mike Grove
"Mere Mortals"
Chad Oliverson
"Little Shop of Horrors"
Chronister's Hollywood agent was a comic masterpiece, stealing every scene in which his smarmy, snake-like character slithered in and out of.
Fields made for a beautifully conflicted Friar Lawrence, a peacemaker whose plans go horribly wrong when his message to Romeo of Juliet's sleeping potion is delayed.
Holmes was funny and natural as the groove-shaking elder son who grows into a responsible man.
The smooth Gillespie became a dreamy virtual jazz vocalist, delivering effortlessly soulful renditions of Nona Hendryx songs that make the earth move for the lady of the house, as well as the ladies in the audience.
Whether as a mayfly who chooses to seize his one day to live or as a putt-putt golfing seducer, Grove was superb in Heller's collection of David Ives' one-acts.
The only thing Oliverson did better than his scene-stealing portrayal of "Little Shop's" slimy, sadistic dentist was his coordination of the brilliant SummerStage 2004 slate.
Also of note: Scott Gaffen, "Romeo and Juliet"; Don Miller and John Riggs, "Tommy."