Happy New Year!

Welcome back and Happy New Year! Lots of food has been had, family and friends were greeted with joy, and fun was had by all, but we’re glad to be back working in the theatre after a refreshing holiday break. We’re back full force this spring with a hit lineup of shows here at the Bonstelle Theatre: Fences, the 86th annual Spring Dance Concert, and Urinetown.

Kicking off the year is the Pulitzer Prize and Tony Award-Winning show Fences by August Wilson. This production is about an African American father and son and their struggle for hope against the bleak background of unfulfilled dreams set in the American Civil Rights era. Guest director Lynch Travis is directing this particular piece, and guest artist Will Bryson will play the part of Troy. We’re eager to not only work with our guests, but also to share this piece of history with the greater Detroit area.

A promotional photo shoot for Fences.

We recently worked with the Communication Department at Wayne State for a promotional photo shoot for Fences. It’s amazing the number of people needed for a successful shoot, but it’s a lot of fun.

Fences stars guest artist Will Bryson (center) as Troy, Kayla Mundy, and Donnevan Tolbert.

If you’d like to join us in Fences, don’t hesitate to call our box office, open Tuesday through Saturday, 2:00 pm – 6:00 pm, to order your tickets by calling 313-577-2960, or reserve your tickets online by visiting Bonstelle.com. We can’t wait to see you at the theatre!

An Interview with Student Choreographer Christina Chammas

The Maggie Allesee Department of Theatre and Dance December Dance Concert features select student choreography.  Many students submit their pieces for consideration, but only a few are included in the concert.  We sat down with Christina Chammas, one of the selected student choreographers, to find out more about her and her work.

Tell us about your December Dance Concert piece?

My dance has 6 dancers. It is something that I have been thinking about doing for a long time. It was inspired by a poem that I really love by Andrea Gibson, “Birthday for Jenn.” The second movement of my piece is performed to the actual poem.  The main inspiration for my piece came from the themes from the poem along with things from my personal life that I could tie in.

Was there a specific line from the poem that inspired you?

There are a lot of different moments in the poem that really stick out.  There’s one particular line that is probably the most notable:  “We were all born on days when too many people died in terrible ways, but you still have to call it a birthday.” That line really hit me; it relates us to the world as a whole. That was an important concept that I hung onto while I was working on this.

How long have you been a dancer?

My mom started me in classes when I was four.  I went to ballet class once a week but it wasn’t anything serious. When I was in 8^th grade, my mother found an article in the newspaper for a performing arts school that was near my house. I was dancing every day at the new school, and I loved it. That is when I started training seriously and took it more as something I may want to do for the rest of my life.

Have you choreographed before?

Last year, I choreographed a trio that was in the Spring Dance Concert at the Bonstelle Theatre.  That was the first full length piece I choreographed at Wayne State.  Two years before that, in my senior year of high school, we had to choreograph our own dance as part of our senior dance capstone.  That was the first full piece I ever created.

What styles of dance are most interesting to you?

Right now, I’m interested in modern and contemporary dance.  I was trained in ballet and classical modern techniques such as Horton and Limón.  When I came to Wayne State, I started working with contemporary styles, and I’ve molded the two together to create my own.

What do you find most rewarding about being a choreographer?

Seeing the final product, having the support from other people and hearing that they actually liked and appreciated what I created. That’s the most rewarding part.

Why did you choose Wayne State University to study dance?

My dance teacher in high school had been a teacher at Wayne State and is a WSU alumnus.  He took us to WSU dance concerts and invited us to sit in on his classes.  Through this, I had already formed a bond with Wayne State before I was even thinking about going to college.  I knew what the college had to offer and I was already comfortable with the style of dance I was doing.  When I came to Wayne State, the transition wasn’t a hard one.

How do you like WSU dance?

I love it and I’m so happy that I made the decision to come hereI feel like it’s the right amount of opportunities given to the student to choreograph and perform, but it’s also very challenging at the same time. When I started out I was confident in my dancing, but I quickly learned that I had so much more to learn. Once my mind was exposed to all of these new things, my dancing started improving and I was still being challenged in class.

Do you think WSU has prepared you for the future?

Yes, I do think so.  Especially being in dance workshop because it’s student managed.  We do our own fundraising, we have committee chairs within the company for which I’m the Secretary. We have specific jobs and responsibilities. We have to manage our budget and we’re planning a trip to go to New York to give a performance.

What advice would you give someone looking to become a dancer?

Just trust yourself.  If you feel this is the thing you should be doing, it probably is.  Just go with your gut feeling.

Performances are at the Bonstelle Theatre, 3424 Woodward Avenue, in midtown Detroit on Friday, December 5^th at 7:30pm and Sunday, December 7^th at 2:00pm. Tickets range from $10-$20 and are available by calling (313) 577-2960, online at Bonstelle.com, or at the Wayne State University Theatre Box Office at 4743 Cass Avenue on the corner of Hancock Street.

An Interview with Student Choreographer Sam Horning

The Maggie Allesee Department of Theatre and Dance December Dance Concert features select student choreography.  Many students submit their pieces for consideration, but only a few are included in the concert.  The Bonstelle Theatre sat down with Samuel Horning, one of the selected student choreographers, to find out more about him and his work.

Tell us about your December Dance Concert piece?

It’s about how you build a family.  What is the foundation of a family or anything?  It’s about the relationships that we have with each other.

 How did you come to decide on this theme?

When I came in, I had a basic idea that I wanted to use somewhere between 6 to 8 dancers and a table as a prop. I was going to create a dance that I felt would provide some sort of harmony between the dancers.  That’s something I’ve been very interested in, finding harmony, and not just a one level relationship on stage. I wanted something that went deeper than just the skin.

At the beginning I was working with a lot of choreographic tools and developing work, but I had no trajectory toward how I felt the piece was going to end. Then the dancers and I had a discussion about the subject of the dance.  What is it about?   What is it that I’m making? It really took off from there.

We did this amazing exercise where I left the room and my dancers choreographed what I already made. They played with it and mixed it up a bit.  They made this whole new thing and from there I knew what my dance was about.  I knew what it wanted to be.

How long have you been a dancer?

I have been a dancer for 5 years, three of which have been at Wayne State.

How did you get into dance?

I was in a humanities course in high school in which we had a specific focus group on dance. The people in my class had to investigate dance from the 1920s. It just sort of sparked interest for me. I was going to be a plastic surgeon and then the next day I was going to be a dancer.

Are there specific styles of dance you prefer?

I would definitely consider myself more of a ballet, contemporary, and modern dancer. I also like a lot of experimental dance.

What do you find most rewarding about being a choreographer?

Just looking at my dance when it’s finished and saying “I did that.”  Or, in this case where I worked so collaboratively with my dancers, “I facilitated that.”  I created that rapport between my dancers. I was able to bring them to this level. It’s the same thing when I teach dance, you see a student and something clicked with them,  or you did an exercise and they get something out of it.  It’s very rewarding.

Why did you choose dance at Wayne State University?

When I applied to universities, I needed a place with dance and pre-med programs. So it pretty much narrowed down to the University of Michigan and Wayne State University.  I was accepted at both UofM and Wayne State.

I had known some people who were in the Wayne State program that I looked up to and was beyond impressed. After I looked up the work that was occurring at Wayne State, I knew I needed that. Alumni of Wayne State I looked up to were dancing in New York and had made a future for themselves. I wanted that.

Do you feel WSU has prepared you for the future?

I would say yes, Wayne State has definitely prepared me for the future.  It’s been very rigorous for me in the best way.  I’ve been so totally immersed in everything that there’s no way not to be prepared for the future.  I noticed that when I leave and do activities outside of Wayne State I am very much more prepared than other students from other universities and programs which is a boost of confidence and is reassuring.

Any final thoughts?

In general, my time at Wayne State has been very eye-opening. I’ve dramatically changed both as a person and as an artist since I’ve been here.  It’s also very curious to see my fellow students that have grown with me since you work so closely with the people you are in the department with, and it’s so amazing to see the transformation of my fellow peers so that’s been incredible.

Performances are at the Bonstelle Theatre, 3424 Woodward Avenue, in midtown Detroit on Friday December 5^th at 7:30pm and Sunday December 7^th at 2:00pm. Tickets range from $10-$20 and are available by calling (313) 577-2960, online at Bonstelle.com, or at the Wayne State University Theatre Box Office at 4743 Cass Avenue on the corner of Hancock Street.

Award-winning choreographer Doug Varone featured in WSU’s December Dance Concert

Work by nationally renowned dancer and choreographer Doug Varone, WSU’s 2014-15 Allesee Artist in Residence, graces the Bonstelle stage during the December Dance Concert. Tickets range from $10-$20 and are available by calling (313) 577-2960, online at Bonstelle.com, or at the Hilberry Theatre box office, temporarily located at 4841 Cass Avenue on the corner of Hancock Street on the 3^rd floor of Old Main.

Award-winning choreographer and director Doug Varone works in dance, theater, opera, film, television and fashion. He is a passionate educator and articulate advocate for dance. His work is extraordinary for its emotional range, kinetic breadth, and for the many arenas in which he works. His New York City-based Doug Varone and Dancers has been commissioned and presented to critical acclaim by leading international venues for nearly three decades. In 2008, Varone’s Bottomland, set in the Mammoth Caves of Kentucky, was the subject of the PBS Dance in America: Wolf Trap’s Face of America. Varone has created a body of concert dance works presented globally. Commissions include the Limón Company, Hubbard Street Dance Chicago, Rambert Dance Company (London), Martha Graham Dance Company, Dancemakers (Canada), Batsheva Dance Company (Israel), Bern Ballet (Switzerland) and An Creative (Japan), among others. His dances have also been staged on more than 75 college and university programs. Varone received his BFA from Purchase College where he received the President’s Distinguished Alumni Award in 2007. He has been honored with a Guggenheim Fellowship, an OBIE Award, two individual Bessie Awards, two American Dance Festival Doris Duke Awards, and four National Dance Project Awards.

Theatre and Dance at Wayne State presents Annual December Dance Concert

Wayne State University is proud to present the Maggie Allesee Department of Theatre and Dance December Dance Concert on Friday, December 5^th at 7:30 p.m., and Sunday, December 7^th at 2:00 p.m.  The December Dance Concert highlights the work of renowned guest artists, faculty, and select students. Performances are at the Bonstelle Theatre, 3424 Woodward Avenue, in midtown Detroit. Tickets range from $10-$20 and are available by calling (313) 577-2960, online at Bonstelle.com, or at the Hilberry Theatre box office.

The 2014 December Dance Concert features eight diverse works, including the relentlessly energetic Of the Earth Far Below, choreographed by the 2014-15 Allesee Artist in Residence, Doug Varone, director of Doug Varone and Dancers in New York City. Biba Bell’s assembly illuminates dance as more than the sum of its parts, as a single dancer sets the ensemble into motion. The program also features Haitian Suite, an African dance offering by To Sangana, the Wayne State African Dance Workshop Company and Doubt, a hip hop piece by faculty member Travis Staton-Marrero.

The concert features select student choreography by Samuel Horning, Christina Chammas, and Lydia Di Iorio. Horning, a senior and president of the Dance Workshop Company, presents a skillfully crafted group dance investigating family dynamics and connection. Chammas draws inspiration from poetry, weaving text with physical partnering and full stage pictures to create touching landscapes. Soloist Di Iorio’s delivers poignant spoken word while dancing, adeptly engaging the viewer.

The Maggie Allesee Department of Theatre & Dance has been a force on the national dance scene since the early 1900s, when Wayne State University was one of the first educational institutions to incorporate dance into its curriculum, guided by founding director Ruth L. Murray. Today WSU students enjoy the dynamic atmosphere of a vibrant and diverse department that concentrates on performance, choreography, dance technology, and dance education. The Allesee Artist-in-Residence Program provides a wide range of national and international performance and choreographic opportunities for dance majors, enriched by the dynamic cultural diversity of the city of Detroit.

The Production Team Includes:
Jeff Rebudal (Dance Area Head & Artistic Director); Eva Powers (Asst. Artistic Director); Sean Hoskins (Production Coordinator); Mary Copenhagen (Costume Designer); Heather DeFauw (Lighting Designer); Valerie Frawley (Sound Designer); Ryan Jones (Stage Manager); Brian Dambacher (Technical Director); Mark Sharrow (Costume Coordinator); Amy Schneider (Assistant Lighting Designer); Peter Lawrence (Apprentice Lighting Designer);  John Schmidt (Apprentice Lighting Designer);  Patrick Field (Master Electrician/Sound/Light Staff); Jason Goldman (Publicist)

Review: ‘A Song for Coretta’ at WSU’s Studio Theatre raises awareness and lifts spirits

by Patty Nolan for Detroit Theater Examiner. 

Rating: 5 stars

The newest production by the Wayne State Theatre and Dance department is a poignant reminder that those people who stand for us as a symbol of something brave and poignant are still, first and foremost, people. While they may be best known for a specific cause, or movement, or personal sacrifice, their legacy is much bigger. Because even after they are gone, their example helps us figure out what is the right and compassionate thing to do.

Courtesy of WSU Theatre and Dance

It’s just one of the themes that comes through in Pearl Cleage’s tribute to Coretta Scott King, “Song for Coretta.” This uplifting production at WSU’s Studio Theatre – “underground at the Hilberry” – speaks volumes about how one life well-lived can touch so many other lives, bringing people together who seemingly have little in common.

Lest we forget, Coretta Scott King was much more than a civil rights activist. She was a young widow left to raise her four children alone while defending her husband’s legacy and keeping it alive. Set in Atlanta in 2006, “A Song for Coretta” chronicles the reflections of five distinctly different African American women as they stand in line on a cold winter night in front of the historic Ebenezer Baptist Church. They are waiting in order to pay their respects to the late Coretta Scott King – whose funeral will be the next day in her daughter’s church.

The first person we meet is an aspiring journalist, Zora Evans, played by Erian Williams. Named after the writer Zora Neal Hurston, Zora wonders why so many people who couldn’t possibly have known Mrs. King would stand for hours in the cold and rain. She decides to interview some of the last people in line in hopes of getting a story she can pitch to NPR.

The first person she interviews is Mrs. Helen Richards, played by Tayler Jones. Helen is an elderly woman who recalls meeting Mrs. King when Helen was just a child marching with her parents as part of the bus boycott. Helen finds that just talking about Coretta King makes her less angry toward the world – and the young people who don’t appreciate what the older generation fought for.

Next we meet Mona, portrayed by Maria Simpkins, a strong woman who earned her living as a sketch artist in New Orleans – until Hurricane Katrina took a way her home, her livelihood, and much more. She made the trek to Atlanta on a spur-of-the-moment notion that it was something she needed to do. Mona doesn’t want to be interviewed, but while they are waiting in line, agrees to do Helen’s portrait.

The fourth woman we meet, played by Kayla Mundy, is still only a girl. Keisha is a confused teenager who carries a secret and a question that she hopes Coretta King can answer. Keisha, who goes by the moniker “Lil’ Bit,” admits her ignorance of the Civil Rights movement, but she expresses an urgent need to learn one of the Freedom songs from that era.

The last person on the scene is an Army medic on leave – Gwen, played by Breon Canady. She has also been drawn to the church steps for reasons she can’t explain, but we eventually learn about her experience in Afghanistan – one that has made her question everything she once believed in.

As Zora tries to get each woman to reveal why they want to “say good bye” to Coretta Scott King, they come to realize the various needs, hurts and disillusionments that somehow connect them. Each woman has brought emptiness to the steps of the Ebenezer Baptist Church that they hope Coretta’s spirit can fill. And each has found an unexpected healing while waiting there in line.

This small moment of hope speaks to the ultimate legacy of Coretta Scott King. She was a woman who stood not just for civilrights, but for the very act of standing up for what’s right. And so these five women learn to stand up for themselves and for each other. In the end, they are empowered to raise their voices in an anthem – not Dr. King’s famous “We Shall Overcome” – but a song for Coretta – a song of faith that lights the darkness.

This WSU production is the vision of Billicia Hines, Assistant Professor and Director of the Black Theatre Program at WSU, in her first Studio Theatre effort. It’s a compelling ensemble performance that clicks because of the interplay between the five gifted actresses and the honesty with which they bring their characters to life. The production team also includes: Delaney O’Brien (Stage Manager), Sarah Bloch (Costume Designer), Jonathan Pigott (Scenic Designer), Peter Lawrence (Lighting Designer ), Aaron Beckius (Sound Designer), Madeline Schnorr (Properties Master) and Kevin Replinger (Publicist).

“A Song for Coretta” should be required viewing for students 16 and older. It runs through November 16 with performances on Thursday, Friday and Saturday at 8 p.m. And Sundays at 3 p.m. Tickets are $10 – $12 and are available by calling the theatre box office at (313) 577-2972, reserving them online, or by visiting the box office in the Hilberry Theatre located at 4743 Cass Avenue on the corner of Hancock.

WSU’S “A SONG FOR CORETTA” IS A MUST-SEE PRODUCTION

by Sue Suchyta

“A Song for Coretta” is a must-see production – praise I rarely bestow. The strong, powerful drama is deeply moving, wonderfully directed, and performed by five talented young women.

Set in Atlanta in 2006, Pearl Cleage’s “A Song for Coretta” takes place outside historic Ebenezer Baptist Church as five women – each from very different backgrounds – wait to pay their respects at the funeral of Coretta Scott King, the widow of the Rev. Dr. Martin Luther King. While in line, a freelance reporter seeks the reasons people came to pay their respects, and the individual stories that emerge are powerful, moving and unexpected.

This may be the best show I have ever seen at Wayne State University’s Studio Theater – and yes – it really is that good. I drove home with the car stereo off because I wanted to savor the feelings the performance had stirred within me.

It defies racial stereotypes. I urge audiences of all backgrounds to see the show – please do not dismiss seeing the show because you think the subject matter is of no interest. It appeals deeply to the common humanity we all share.

The show runs through Nov.16, with 8 p.m. Thursday, Friday and Saturday shows and 3 p.m. Sunday matinees in the Studio Theatre, in the basement of the Hilberry Theatre, 4743 Cass at Hancock in Detroit.

Tickets are $10 and $12, and are available by calling 313 577-2972, or online at wsushows.com.

Billicia Hines, assistant professor and director of the Black Theatre Program, makes a strong impression in her WSU directorial debut. The remarkable ensemble makes a lasting impression as well.

Tayler Jones, who made her Shakespearean debut as Puck in Shakespeare’s “A Midsummer Night’s Dream” at the Players Guild of Dearborn in August, shows her versatility and talent as Helen, the feisty matriarch of the group, who recalls meeting Coretta Scott King as a child during the 1955 Montgomery bus boycott.

Erian Williams plays Zora, a freelance reporter who get more than she bargained for when her interview subjects share compelling and moving stories behind their decision to attend Coretta Scott King’s funeral. She carefully strikes a balance between the neutrality of a reporter and the empathy that develops among the women as their heart-wrenching stories unfold.

Kayla Mundy is both mesmerizing and amusing as Keisha, a lower class, poorly educated, stereotypical unwed teen mother, who surprises the other characters and the audience as her personae unfolds to reveal depth belied by her character’s cheap, provocative clothing and painful lack of education. While she provides comic relief, her character produces some of the most revealing and unexpected insights as well.

Breon Canady, as Gwen, an army medic on leave from the Middle East, and Maria Simpkins as Mona Lisa, a New Orleans Hurricane Katrina survivor, have the most demanding roles, and hold the audience in thrall as their gut-wrenching tales unfold and are told in tandem. Both are struggling with post-traumatic stress, and their skillful and emotional performances are powerful elements of the play.

While each character has a symbolic or actual tie to Coretta Scott King as a reason for attending her funeral, their powerful stories that unfold are at the heart of the play. The audience, moved by the compelling performances, discovers their commonality with the characters as well.

Wayne State University’s Maggie Allesee Department of Theatre and Dance presents “A Song for Coretta” now through Nov. 16 at the Studio Theater, with Tayler Jones (left) as Helen, Maria Simpkins as Mona, Breon Canady as Gwen, and Erian Williams as Zora. For tickets and information call 313 577-2972 or go to wsushows.com.

The Studio Theatre Presents A Song For Coretta Featuring Local Cast and New Faculty Director Billicia Hines.

(from left to right): Tayler Jones, Maria Simpkins, Breon Canady, Erian Williams

Theatre and Dance at Wayne presents Pearl Cleage’s uplifting play A Song For Coretta November 6–16, 2014 at The Studio Theatre. Set in Atlanta in 2006, A Song for Coretta chronicles five African American women and their shared experience as they mourn and celebrate the legacy of the great civil rights activist Coretta Scott King. Tickets are $10 – $12 and are available by calling the theatre box office at (313) 577-2972, online at http://www.wsustudio.com, or by visiting the box office in the Hilberry Theatre located at 4743 Cass Avenue on the corner of Hancock.

 The following excerpt from the Detroit Free Press after Mrs. King’s death encapsulates what her legacy means to so many:

“Mrs. King endeavored to be both mother to the King children and keeper of the King legacy…America may not yet have fulfilled Dr. King’s dream, but because of Mrs. King, it will never be forgotten. Nor will she.” – Detroit Free Press 1 Feb. 2006.

Set on the sidewalk in front of the historic Ebenezer Baptist Church, A Song For Coretta centers on five African American women who, despite their differences, share a common desire to pay their respects to Coretta Scott King. From aspiring journalist, to artist, to enlisted military, these women come together from their diverse backgrounds and remember a woman who changed the face of history with her monumental imprint on the civil rights movement. The Studio Theatre production will feature a cast of actors and designers from the metro Detroit region. Specific hometowns are listed below.

Billicia Hines

A Song For Coretta also features the debut of Faculty Director Billicia Hines. Hines is an Assistant Professor and the Director of the Black Theatre Program at Wayne State University. Previously, she was Director of Theatre at Elizabeth City State University. She began her formal training in drama in the high school program at the North Carolina School of the Arts. Thereafter, she attended North Carolina Agricultural & Technical State University in Greensboro, NC (BFA, Professional Theatre) and University of Missouri at Kansas City (MFA, Acting). She is a Certified Teacher of the Michael Chekhov Technique from the Great Lakes Michael Chekhov Consortium, an organization in which she proudly holds the position of Associate Artist.

The cast includes (in alphabetical order):
Breon Canady (Gwen – Detroit), Tayler Jones (Helen – Detroit), Kayla Mundy (Keisha – Detroit), Maria Simpkins (Mona), Erian Williams (Zora – Ypsilanti)

 The production team includes:
Billicia Hines (Director), Delaney O’Brien (Stage Manager – Brighton), Sarah Bloch (Costume Designer – Warren), Jonathan Pigott (Scenic Designer – Wyandotte), Peter Lawrence (Lighting Designer ), Aaron Beckius (Sound Designer – Grosse Pointe), Madeline Schnorr (Properties Master – Marshall), Kevin Replinger (Publicist).

About the Studio Theatre
The Studio Theatre is an intimate, 110-seat, open-stage theatre in the lower level of the Hilberry Theatre on Wayne State University’s campus that is often used for experimental, student, and classroom productions. Annual programming includes the Student Stage and the Louise Heck-Rabi Dramatic Writing Competition. For nearly fifty years the Studio Theatre has presented outstanding theatre featuring WSU undergraduate students. With generous support from patrons and donors, the Studio Theatre recently underwent renovation. For box office hours and information on performances, tickets, and group discounts, call the box office at (313) 577-2972 or visit the theatre’s website at www.wsustudio.com

About Wayne State University
Wayne State University is a premier urban research institution offering more than 370 academic–programs through 13 schools and colleges to nearly 29,000 students.

Calendar Information
November 6 – 16, 2014
Thursday 8 p.m.          November 6 (Opening), 13
Friday 8 p.m.               November 7, 14
Saturday 8 p.m.           November 8, 15
Sunday 3 p.m.             November 9, 16 (Closing)

(from top, clockwise): Tayler Jones, Erian Williams, Maria Simpkins, Breon Canady

PETER PAN Soars into the Spotlight at the Bonstelle Theatre

The Bonstelle Theatre season continues to soar with a high-flying production ofthe beloved tale, Peter Pan by J.M. Barrie, adapted by Janet Allard. Playing November 14 – November 23, 2014, join the students of Wayne State University as they grab some pixie dust from Tinker Bell and take to the sky with help from Hall and Associates, one of the stage industry leaders in flying effects, and race towards Neverland. Tickets are $15-20, with student rush tickets available for $10 on the day of the performance. Tickets are available for purchase by calling (313) 577-2960, by visiting http://www.bonstelle.com, or by visiting the Wayne State University Theatre Box Office located at 4743 Cass Avenue on the corner of Hancock Street.

Originally performed in London in 1901, Peter Pan has since traversed lands and oceans, becoming popular in multiple mediums. This magical story has stretched over a century and continues to delight all ages with defying feats, mythical creatures, fantastic swordsmanship, fierce pirates, legendary battles, and most of all, high flying tricks with the help of a little pixie dust.

With larger than life locations and intricate costumes, be prepared to be whisked off to Neverland to fly with Peter Pan, battle Captain Hook, and meet Wendy and the notorious crocodile who’s always creating mischief. There’s enough fun, magic, and adventure for the whole family.

The Cast (In Alphabetical Order)
Alexis Barrera – Howell, MI (Cecco), Shakirra Berry – Detroit, MI (Indian/Mermaids), Maggie Beson – Detroit, MI (Peter Pan), Anna Busse – Trenton, MI (Indian/Mermaids), Patrick Ceglarek – Ferndale, MI (First Twin), Sean Ceglarek – Ferndale, MI (Second Twin), Veronica Estigoy – Livonia, MI (Indian/Mermaids), Jordan Fritz – River Rouge, MI (Curly), Irenie Froman – Dearborn, MI (Jane), Forrest Gabel – Walled Lake, MI (Michael/Young Peter), Shannon Hurst – Warren, MI (Wendy), Jason LaCombe – Detroit, MI (Tootles), Katelin Maylum – Detroit, MI (Skylights), Clearie McCarthy – Detroit, MI (Indian/Mermaids), Monica Mingo – Farmington Hills, MI (Tiger Lily), Shane Nelson – Windsor, ON (John), Maria Ochoa – Clawson, MI (Tiger Lily Sister), Matt Paciorkowski – Brownstown, MI (Nibs), Gerald Palmer Jr. – Rochester Hills, MI (Mullins), Joshua Daniel Palmer – West Bloomfield, MI (Slightly), Patrick Roache – Detroit, MI (Noodler), Luke Rose – Harrison Township, MI (Captain Hook/Mr. Darling), Wyatt Setty – Detroit, MI (Nana/Smee), Graham Todd – Shelby Township, MI (Bill Jukes), Allen Wiseman – Roseville, MI (Gentleman Starkey) Evan Wyatt – Walled Lake, MI (Cookson), Samantha York – Dearborn, MI (Mrs. Darling)

The Production Team
Michael Barnes (Director), Cheryl Turski (Associate Director), Lyndee Hallahan (Stage Manager), Catelyn Girard (Assistant Stage Manager), Fred Florkowski (Set Designer/ Scenic Head), Brian Dambacher (Technical Director), April Thomson (Properties Master), Mary Copenhagen (Costume Designer), Amy Schneider (Light Designer), Michael Hallberg (Sound Designer), Felix Li (Publicist), Amanda Schindler (Assistant Publicist)

The Bonstelle Theatre
The Bonstelle Theatre is a Broadway-style house with a 1,034-seat auditorium featuring a balcony and much of the original Beaux-Arts architecture. The Theatre was built as Temple Beth-El in 1902 and converted to the Bonstelle Playhouse in 1922.

The Bonstelle Theatre Company includes BA and BFA actors, designers, and stage managers in the Department of Theatre and Dance at Wayne State University. Here, future stars of theatre, film, and television follow in the footsteps of successful alumni like Emmy and Golden Globe Award-winning S. Epatha Merkerson (NBC’s Law and Order, Lackawanna Blues), Lily Tomlin (9 to 5, ABC’s Desperate Housewives), and Ernie Hudson (Ghostbusters, NBC’s Heroes).  For box office hours and information on performances, tickets, group discounts, and corporate packages, please call the box office at (313) 577-2960 or visit the theatre’s website at http://www.bonstelle.com.

The Bonstelle Theatre, Where Wayne Plays.

Wayne State University is a premier urban research institution offering more than 370 academic programs through 13 schools and colleges to nearly 29,000 students.

Calendar Information
November 14 – November 23

Fri. 7:00 PM                Nov. 14, Nov. 21
Sat. 2:00 PM               Nov. 15, Nov. 22
Sat. 7:00 PM               Nov. 15, Nov. 22
Sun. 2:00 PM              Nov. 16, Nov. 23

School Matinees        10:00 a.m., Wed. and Thu. November 19-20
(Contact 313-577-0852 for more information about student matinees.)

The Bonstelle proves ‘All’s Well That Ends Well’

by Patty Nolan for The Examiner

A whimsical mix of contemporary and period costumes and conventions make this production of Shakespeare’s All’s Well That Ends Well fun for the entire audience. Courtesy of Bonstelle Theatre

One of the best things about college theatre programs is that they are empowered to occasionally dig deep into the Shakespeare canon – rushing in where theatre angels fear to tread – to give their students the richest possible experience. In the case of WSU’s Bonstelle Theatre, this means we are treated with a season-opening production of one of the lesser known and seldom performed comedies, “All’s Well That Ends Well.”

Sydney Machesky and Bradley Smith take the lead roles in Bonstelle Theatre’s All’s Well That Ends Well. Courtesy of the Bonstelle Theatre

It’s a funny play in more ways than one. It is “ha ha” funny – with plenty of laughs, witticisms and comedic situations. But it also has a problematic story premise that every contemporary production has to come to terms with. Essentially, this is the tale of a fabulously lovely and loveable young woman named Helena, with every grace to recommend her, who goes to amazing lengths to win and woo a young nobleman named Bertram who frankly doesn’t deserve her. For this play to end happily – certainly the definition of a comedy in Shakespeare’s day – Bertram must somehow see the light, wed Helena, and manage to become likeable, or at least show potential, to the audience.

Director Carolyn M. Gillespie takes the challenge head on. She adds a prologue, epilogue, and chorus of college students (presumably at WSU) who add just enough wackiness to remind the audience not to take this too seriously. The show opens as a group of students wander on stage waiting for their class on Shakespeare to begin. Since many of them are in Glee Club, they sing to pass the time, and invite the audience to join in. The songs are popular love protestations, ranging from early Beatles to present day, and set the tone for the over-the-top nature of infatuations. The “professor” walks in and begins by offering the class some background on “All’s Well that Ends Well,” noting that the story was already old in Shakespeare’s day and can be traced back to a popular medieval story from Giovanni Boccaccio’s “Decameron.”

The Prof asks one of the students to read the first part, and we are transported into the play. The Professor becomes the Lord Lafeu, the students become the Chorus (still dressed in jeans and hoodies) as other actors make their entrance in full Elizabethan costume.

Inspired by the line, “The web of our life is of a mingled yarn, good and ill together,” Gillespie’s approach weaves both contemporary and period attitudes, characters, and costumes into a tapestry designed to please – so that anachronistic songs and gestures just become part of the fun. The inventive, modern scenic design by Sarah Pearline, the mix of Elizabethan and modern costumes by Mary Gietzen (including some interesting hybrids), and lighting by Thomas Schraeder and Amy Schneider, bring welcome texture to the dreamlike interpretation of this story.

Without invoking any spoiler alerts, we can say that the epilogue eventually brings us full circle in a way that provoked huge, appreciative laughter from the opening night audience. Naturally, to make time for these diversions, Gillespie had to cut some of the original Shakespeare – always controversial with purists. But the story progresses, and things ultimately work to Helena’s advantage. Since this is her story, not ours, we must be content with the explanation that love will find a way. Or as Helena herself says, “All’s well that ends well; still the fine’s the crown;Whate’er the course, the end is the renown.”

The young Bonstelle actors clearly enjoy themselves in this production and the audience is caught up in the merriment. Sydney Machesky is terrific as Helena, offering an interpretation that is true to Shakespeare but leavened with a more feminist sensibility. Bradley Smith has the challenging role of Helena’s beloved Bertram – which he portrays in the most realistic light possible – that of a handsome and privileged young man to whom everything has come too easily. If we cannot forgive his disdain for Helena, we can perhaps believe that he has grown wise enough to recognize his folly.

Garret Harris has the most fun in this production as Parolles, Bertram’s braggadocio, foppish buddy. The fact that Bertram believes Parolles to be a fine, upright man of true valor explains a lot about Bertram’s discernment elsewhere. The counterpoint to Parolles is Lafeu/The Professor, played by Carl Bentley – who gives us a person of true moral fiber, generosity, wisdom and quiet strength.

Hannah Butcher is listed in the program as Widow, but she doubled on opening night as the stand in (for Gaia Klotz) as theCountess and was strong in both roles. Paul Clauson is the likable King; Kendall Rose Talbot is the virtuous Diana; Jacob Boida is the clever clown LaVatch; and members of the Chorus fill multiple roles: Dann Finn, Dante Jones, Ibrahim Karim, Caitlyn Macuga, Michaella Mallett, Chris Peterson, Kiera Schmidt, Paige Stefanski and Michael Vultaggio.

The production team includes: Carolyn Gillespie (Director), Cassandra Maniak (Stage Manager), Sarah Pearline (Scenic Designer), Brian Dambacher (Technical Director), Christa Tausney (Props Designer), Mary Gietzen (Costume Designer), Amy Schneider (Lighting Designer), Patrick Field (Master Electrician), Peter Lawrence (Sound Designer), Felix Li (Publicity Manager) and Jason Goldman (Asst. Publicity Manager).

“All’s Well That Ends Well” runs at the Bonstelle Theatre through October19, 2014. Tickets range from $10 to $20 and are available for purchase online, by calling (313) 577-2960, or at the Hilberry Theatre box office at 4743 Cass Avenue on the corner of Hancock Street. The Bonstelle Theatre is located in Midtown Detroit at 3424 Woodward Avenue, just south of Mack Avenue.