Meet the playwright – Topher Alan Payne, “Jazz Duet in a Minor Key”

Topher is a third-year MFA actor at WSU.  Before Wayne State, he taught Speech and Theatre Arts at Owasso High School.  He has also performed professionally at the Berkshire Fringe Festival, Lubbock Moonlight Musicals, American Theatre Company of Tulsa, and Angel Fire Mountain Theatre Company.  Jazz Duet in a Minor Key is his first written work to be staged, and he is ecstatic to see his words come to life.

You can see Topher’s play Jazz Duet in a Minor Key at the 2014 Heck-Rabi Festival in the Studio Theatre, February 27-March 1 or March 6-8.

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Topher Alan Payne in the 2014 production of “Gross Indecency: The Three Trials of Oscar Wilde” at the Hilberry Theatre. Photo by Kevin Replinger.

An Interview: Julia Moriarty, Director of Birth and After Birth

Written in 1972, Birth and After Birth has had a unique gestation: the playwright didn’t release the play until 2006. The exceptionally lengthy revision process has imbued the play with the social attitudes of child-rearing and career that evolved in the later 20th century. The Apple family views their four-year-old son as their pride and joy, and yet his imposing stature (the character is played by a fully-grown man) allows him a specific dominion over their lives that any parent would recognize. The Freeds are career couple with unending freedom but are concerned that they may be missing out by not having children. These two couples clash in a conflict of social expectations and pressures within an absurdist style that is distinct to Tina Howe’s work.

“Birth and After Birth confronts head-on the social pressure women feel to have children and successful careers,” states Director Julie Moriarty. “We meet two families that represent both ends of the spectrum:  the Apples are consumed by the task of raising their child, while the Freeds are dedicated to their careers.  In a clash of ideals, each couple seeks to undermine the other couple’s lifestyle, all while celebrating the birthday of the Apple’s son.”

Howe’s plays include The Nest, Birth and After Birth, Museum, The Art of Dining, and Painting Churches. Among her many awards are an Obie for Distinguished playwriting, a Tony nomination for Best Play, an Outer Circle Critics Award, a Rockefeller Grant, two N.E.A. Fellowships, a Guggenheim Fellowship, an American Academy of Arts and Letters Award in Literature, the Sidney Kingsley Award, the New York Drama Critics’ Circle Award, two honorary degrees and the William Inge Award for Distinguished Achievement in the American Theatre. She is also a two-time finalist for the Pulitzer Prize.

Birth and After Birth runs January 16 – 25 at the Studio Theatre. Tickets are $10 – $12 and are available by calling the theatre box office at (313) 577-2972, online at www.wsustudio.com, or by visiting the box office in the Hilberry Theatre located at 4743 Cass Avenue on the corner of Hancock.

An Interview: Katherine Skoretz, Director of American Soldiers

We asked director Katherine Skoretz a few questions about her production of American Soldiers at The Studio Theatre. There are just three shows left! Don’t miss your chance to see this riveting drama.  

 1. Why did you choose to direct American Soldiers as a component of your PhD course of study? 

My dissertation focuses on the way that American plays have tried to understand reintegration in the post-September 11 return of soldiers from Iraq and Afghanistan.  American Soldiers does something unique in that it doesn’t just point to a disconnect or a problem on the part of veterans, but also insists on social culpability for both the war and reintegration.  While each character expresses a unique viewpoint on war, society, and reintegration of the two, the primary question of the play is whether or not society has a responsibility toward veterans and toward how our social norms produce war and alienate veterans.  The play asks tough questions, but at the end reminds us that these questions proceed from and have consequences for the most human part of ourselves.  I think this is a really important conversation for our nation, and I think the stage is a good place for that conversation to start.

2. What approach did you take when directing American Soldiers?

In directing American Soldiers, I tried to imagine how the conversation being had between characters could be extended to the audience.  While the characters are a single and specific family, I felt that the conversation they were having and the viewpoints that they express are familiar and important to all Americans.  In casting and in rehearsal, I sought to understand and develop the Colletti’s as both a unique family and as a symbol of America, which is a diverse family.  The actors interact with the audience from podiums; their conversation is not just to convince each other, but also to convince us all.

Photos: American Soldiers opens Tonight at the Studio Theatre

This gallery contains 13 photos.

WSU’s Bonstelle Theatre shares the Holiday Spirit with ‘Twas the Night Before Christmas

DETROIT – Wayne State University’s Bonstelle Theatre presents ‘Twas the Night Before Christmas by Michele L. Vacca November 22–24 and December 5–8, 2013. The play, inspired by the Clement Clarke Moore poem, celebrates the joy and eagerness with which children of all ages await Christmas day. At each performance, children will have the opportunity to make ornaments to hang on their Christmas trees at home, beginning 45 minutes before the show.

Tickets for ‘Twas the Night Before Christmas range from $10 to $20. A family four-pack (up to two adults) is available for $50. All tickets are available by calling 313-577-2960, visiting www.bonstelle.com, or at the WSU Theatre Box Office located at the Hilberry Theatre, 4743 Cass Avenue, Detroit.

 About the Play

The Sheldon family anxiously prepares for Christmas day by hanging stockings, decorating the Christmas tree, and leaving cookies for Santa. After a grueling visit from Great Aunt Winifred and a particularly stressful Christmas Eve, young Virginia and her father share a late-night visit with the jolly old elf himself. Santa brings a sack full of friends with him in this original Christmas play.

The Studio Theatre Remembers Veteran’s Day with their presentation of American Soldiers

DETROIT –The Studio Theatre presents American Soldiers by Matt Morillo, a story about Angela, an army veteran who returns to her home in Long Island after her deployment in the Middle East. American Soldiers runs Thursday, November 14 through Saturday, November 23, 2013. Tickets are $10 – $12. Veterans are offered discounted tickets for $5 with a military I.D. Tickets are available by calling the Studio 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.

Our Town Opening October 11

DETROIT— On Friday October, 11 the Bonstelle Theatre opens the 2013-14 season with Thornton Wilder’s Our Town. Deemed, “the finest American play ever written,” by the esteemed playwright and director Edward Albee, this story illuminates profound truths about the human condition by following two unexceptional families living unremarkable lives in small town America. Observing the everyday endeavors of life, love, and death reveals that these simple feats are indeed the very essence of life itself. Tickets are $15-$20 and are available by calling (313) 577-2960, visiting http://www.bonstelle.com, or the Wayne State University Theatre Box Office located at 4743 Cass Avenue on the corner of Hancock.

Wilder’s classic drama is a watershed in American theatre that is a touching and thoughtful look at life’s extraordinary journey. Our Town’s numerous Broadway and professional productions have secured its prominence on the national and international stage. Winner of the 1938 Pulitzer Prize for Drama, its artistic durability was again confirmed in 1989 when Our Town received both the Tony and Drama Desk awards for Best Revival of a Play.

The iconic character of the Stage Manager acts as the narrator and speaks candidly to the audience while also interacting with the other characters in Wilder’s fictional Grover’s Corners, New Hampshire. This is one of the most famous examples of metatheatre, a theatrical device where a performer is openly aware of the fictional setting of the play. Director Dr. James Thomas’ production at the Bonstelle highlights this separation by placing the Stage Manager in the present and using him as a link to bridge the gap between the audience and the performance. The collaborative design team uses elements from scenery, props, and costume pieces to signify the Stage Manager’s existence in both worlds.

Our Town is a beautiful and touching show that explores the everyday struggles of life, love, and loss as the characters wrestle with the fragility of the time they share together. This production’s run is limited to two weekends and closes Sunday, October 20, 2013.

Theatre & Dance at Wayne Announces the 2013-2014 Season

DETROIT – The Wayne State University Maggie Allesee Department of Theatre and Dance announces its 2013-2014 season, showcasing a mix of both classic and modern plays that is sure to have something every theatergoer can enjoy. Subscriptions start as low as $102 and go on sale March 1, 2013. In addition to a traditional Hilberry or Bonstelle subscription package, Theatre & Dance at Wayne is also offering packages as well as memberships to the theatres for more value and convenience for busy theatre patrons.

To subscribe, call (313) 577-2972 or visit the Wayne State University Theatres Box Office at 4743 Cass Avenue on the corner of Hancock. Subscribers are an integral part of the Hilberry community and they enjoy discounted prices, priority seating, exchange privileges, lost ticket insurance, free coffee,  and a free subscription to our newsletter. Package and membership holders also enjoy a few more benefits than the single ticket buyer.

At the Bonstelle Theatre:

Our Town by Thornton Wilder

Described as “the greatest American play ever written,” this story illuminates two unexceptional families living unremarkable lives over the span of several generations in small town America. This 1938 Pulitzer Prize winner is a touching and thoughtful look at life’s extraordinary journey.

’Twas the Night Before Christmas by Jennifer Kirkeby and Shirley Mier

A whimsical reimagining of the classic Christmas poem! Writer Clement Moore is working on a tough assignment from the New York Evening Post: President James Monroe desires a holiday feature story to read Christmas morning. As Clement struggles with writer’s block, he dawdles by enjoying the season with his family.

In the Red and Brown Water by Tarell Alvin McCraney

As a girl, Oya must choose between her dream of being a star athlete and caring for her mother. As a woman, she’s torn between the man she lives with and the man she can’t live without. This fusion of contemporary African-American culture and elements from Yoruba mythology is an inspiring story about how our choices make us who we are.

85^th Annual Spring Dance Concert

Each spring in March, the dance department curates a collection of dance works choreographed by students, faculty and guest artists. Each piece may employ various disciplines from ballet and jazz to modern, some of the work being reconstructions of prominent choreographers, as well as many premieres.

Guys and Dolls by Frank Loesser, Jo Swerling, and Abe Burrows

The 1951 winner of five Tony Awards including Best Musical, this classic exposes the gritty 1920s New York underworld. Renowned for his craps game, Nathan Detroit wagers another gambler that he can’t make the next girl he sees fall in love with him—the pretty, pious band leader of the local Mission. This “perfect musical comedy” is a sure bet!

At the Hilberry Theatre:

Macbeth by William Shakespeare

Obsessed with ambition upon learning of his destiny to become king from the prophesying Weird Sisters, Macbeth is spurred to assassination by his determined and stout-hearted wife. They descend into the depths of murder and madness, but Macduff leads the vengeful attack against the Macbeths before they can wash the blood from their hands.

Big Love by Charles L. Mee

Fifty brides forced to marry their fifty cousins are on the run—only to be pursued and discovered by the fifty grooms. In this modern adaptation of The Suppliant Women by Aeschylus, you’ll plunge and soar on this roller coaster of comedic mayhem, harsh realities, and the occasional pop song. This dark comedy explores human rights, gender politics, and love.

A Doctor In Spite of Himself by Molière, Adapted by Christopher Bayes and Steven Epp

Hold on to your hats with this laugh-out-loud comedy that begins—as many do—with the soured relationship between a husband and wife. Hell has no fury like a woman scorned when a wife dastardly turns her husband into a doctor. Mistaken identity, lighthearted romance, naughty innuendo, and irreverent hijinks ensue in this ridiculous façade.

Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kauffman

In 1895, playwright and wit Oscar Wilde was put on trial for his relationship with Lord Alfred Douglas, which led to charges of “committing acts of gross indecency with other male persons.” This dramatically clever piece illustrates the ever-continuing conflict between art and morality in a way that Wilde himself would have approved.

Moon Over Buffalo by Ken Ludwig

From the author of Lend Me a Tenor, this whimsical backstage farce piles hysterical misunderstandings on top of madcap misadventures. Fading stars George and Charlotte Hays duke it out during their tour to save their theatre company and their marriage. They are given a (last) chance at fame if they can just figure out which show they are performing!

August: Osage County by Tracy Letts

The Westons represent the modern American family dealing with deteriorating health and relationships on the plains of Oklahoma. Winner of the 2007 Pulitzer Prize and Tony Award, this dark comedy fluctuates between sidesplitting humor and gut-wrenching despair as we watch the family struggle to support each other through overwhelming circumstances.

About Theatre and Dance at Wayne

Wayne State University’s Maggie Allesee Department of Theatre and Dance serves students as a nexus of performance, production and research in the fields of dance, theatre, and performance studies. It provides a wide choice of degree programs that allow students the flexibility to study these disciplines broadly or to concentrate more specifically in performance or management. The dance program is one of the longest-running in the U.S., tracing its beginning to Ruth Lovell Murray’s founding of the Dance Workshop in 1928. The theatre program is internationally recognized as a training ground for theatre professionals. The Hilberry Theatre is the nation’s longest-running graduate repertory company. The two programs are accredited by the National Association of Schools of Dance and the National Association of Schools of Theatre, respectively.

REVIEW: Bonstelle’s ‘Bat Boy’ a must-see musical

Review by Robert Delaney, New Monitor

View production photos or join the Facebook Event!

‘Bat Boy: The Musical’
Credit: Kevin Replinger

A freakish creature often reported on by the Weekly World News is discovered in a West Virginia cave in “Bat Boy: The Musical,” being given a superb production at Wayne State University’s Bonstelle Theatre in Midtown Detroit.

Yes, after all these years of seeing him stare at you from the front page of that supermarket tabloid as you waited in the checkout line, Bat Boy is the subject of a lavish stage musical, thanks to Keythe Farley and Brian Flemming, who wrote the book, and the music and lyrics of Laurence O’Keefe.

And Bat Boy is bringing delight, not terror, to Detroit audiences, thanks to this splendid production directed by Michael J. Barnes and performed by a truly impressive undergraduate cast.

The show is surprisingly great fun to watch, and many aspects of this WSU production rise above what one would normally expect of even a good college production.

This is most especially true of the outstanding and genuinely professional quality performances of Nicholas Yocum as Bat Boy, Britta Peele as Shelley Parker and Bridgette Jordan as Reverend Billy Hightower.

Yocum scores high marks for not only his acting and singing, but also for the agile athleticism he brings to the role.

This has been quite a season for Peele, a graduating senior in WSU’s program. She earlier wowed area audiences with her portrayal of Lolia in “Hamtown Races” at the Planet Ant Theatre in Hamtramck and as Annie in “Cancer, the Musical” at the Marlene Boll Theatre downtown. If you have yet to see this very talented young actress or hear her excellent singing voice, make sure you catch her in this production.

Also giving truly impressive performances are Kelly Robinson as Meredith Parker, Jackson McLaskey as Dr. Thomas Parker and Luke Rose as Rick Taylor. But the entire cast can be justly proud of the success of this production, as can the musical ensemble, led by Devon L. Hansen, and those who worked the technical side of things.

Scenic designer Curtis Green, costume designer Mary Gietzen, lighting designer Brian M. Scruggs and choreographer J.M. Rebudal are certainly among those who deserve great credit for their roles.

How sad that such a sensational production should only run for two weekends! But there is still time to get tickets to one of this weekend’s final three performances.

“Bat Boy: The Musical” continues through April 21, with performances at 8 p.m., Friday and Saturday, and a 2 p.m. Sunday matinee, at the Bonstelle Theatre, 3424 Woodward Ave., a block south of Mack. For ticket information, call the WSU Theatre box offi ce at (313) 577-2960 or visit http://www.wsushows.com.

REVIEW: The Bonstelle brings the cult hit ‘Bat Boy: The Musical’ to Motown

Review by Patty Nolan, The Examiner

Click HERE to read the review on the Examiner’s website.

View production photos or join the Facebook Event!

Thomas Parker (Jackson McLaskey, center) and Bat Boy (Nicholas Yocum, right)
Credit: Kevin Replinger

“Bat Boy: The Musical,” by Keythe Farley, Brian Flemming, and Laurence O’Keefe, is the campy cult hit that doesn’t lend itself to easy handles. Not unlike “Little Shop of Horrors,” this show has terrific music, an unlikely romance, and a primary character with a thirst for fresh blood. Did we mention a few grisly murders thrown in for good measure?

But “Bat Boy” is in a class by itself – a send up of the classic tabloid story from Weekly World News about the adventures of a half-bat/half-boy creature. And it is a riveting, riotous piece of fun from start to finish. We really can’t recommend it enough.

View slideshow: ‘Bat Boy: The Musical’

The Bonstelle Theatre company, under the direction of Michael J. Barnes, finds exactly the right tone to pull off a dark comedy like this one. And that tone is sincerity. The more the characters play it straight, the funnier the situations become for the audience. Of course, it doesn’t hurt that many of the characters are played by cross-dressing actors. Women play boys, sheriffs, and gospel-song-slinging revival-style preachers (shout out to Bridgette Jordan) and men play crazy cat ladies and white trash mommas. And then there’s the Bat Boy.

Nicholas Yocum is exceptional in the role of the feral creature found in a cave in West Virginia and brought home to live with the family of local veterinarian, Dr. Parker (the always brilliant Jackson McLaskey), his wife Meredith (the gifted Kelly Robinson) and daughter Shelley (the perfect ingenue, Britta Peele). Something about the Bat Boy brings out all of Meredith’s maternal instincts. She names him Edgar, and in a series of delightful scenes we watch as he progresses from a few rudimentary words to a mastery of the language that rivals the sophisticates of Downton Abbey.

Unfortunately, before he was “tamed,” Edgar bit one of children who dragged him out of his cave at the opening of the show. Little Ruthie doesn’t seem to be healing quite right. And the good God-fearing, blood-thirsty town folk begin to suspect that Edgar is also behind recent losses in their cattle herd. Meanwhile, Edgar, well … let’s just say he has his own quirky appetite to contend with.

Will the town folk give Edgar a chance? Will any cattle make it to the end of the play? What is the secret to Bat Boy’s unholy origins? And will we all learn to embrace our inner Bat Boy? You simply have to see this zany musical to discover how it all turns out.

The opening night crowd at the Bonstelle hooted and cheered throughout the show – and it’s easy to understand why this play has its own cult following. We could cheerfully go see it again before it closes. But perhaps the best point of view on this show comes right from the spotlight.

Nicholas Yocum, who has appeared in several Bonstelle productions, was nice enough to answer our questions about his acting career and what it’s like to play Bat Boy.

Q. I’ve seen you in a number of shows – including at Stagecrafters – how long have you been performing?

Nicholas: I’ve been acting since I was 8-years-old. That would make it fifteen years. I grew up doing a lot of community theatre, especially at Stagecrafters – that place will always hold a special place in my heart. I also did a couple of shows with Michigan Opera Theatre.

Q. What’s your favorite thing about this role? Can you compare it to anything else you’ve done?

Nicholas: I love everything about this role. I get quite a workout every night, physically and vocally. It’s unlike anything else I’ve ever done for that exact reason. I’m not sure that there are a lot of roles around that push your body to its limits as well as challenge you with a high-range, unrelenting vocal part. But I do love every second of performing it, especially since I have so many friends up on stage with me. If I had to choose one aspect of the role, it would have to be the blood. It’s surprisingly tasty!

Q. What should we tell people who aren’t familiar with the play that will make them want to see it?

Nicholas: Tell people that this play has anything and everything, literally, that musical theatre has to offer. Comedy, tragedy, parody, romance, thrills, and of course an amazing score. And they will get it all in two hours!

That sums it up pretty nicely. We’d add in that it also has an outstanding cast, orchestra and crew including:

Jacqueline Fenton (Allen Park, MI) Ensemble, Ivy Haralson (Belleville, MI) Ron Taylor,Bridgette Jordan (Southfield, MI) Reverend Billy Hightower, Sara Kline (Madison Heights, MI)Sheriff Reynolds ,Alyssa Lucas (Garden City, MI) Maggie, Colin Mallory (East Lansing, MI)Pan/Daisy, Jackson McLaskey (Mt. Clemens, MI) Dr. Thomas Parker, Matthew Miazgowicz(Dearborn, MI) Lorraine, Shane Nelson (Windsor, ON) Bud, Britta Peele (Harrison Township, MI)Shelley Parker, Jonathan Pigott (Wyandotte, MI) Ensemble, Kelly Robinson (Royal Oak, MI)Meredith Parker, Luke Rose (Harrison Township, MI) Rick Taylor, Anthony Scamihorn(Marshall, MI) Mrs. Taylor, Anna Seibert (Detroit, MI) Ruthie Taylor/Ned, Nicholas Yocum(Royal Oak, MI) Bat Boy/Edgar.

And on the production side:

Michael J. Barnes (Director), Julia Moriarty (Assistant Director), Jeffrey Michael Rebudal(Choreographer), Daniel Greig (Music Director), Devon L. Hansen (Conductor/Piano), Shane McKeever (Second Keyboard), John Gallo (Guitar), Josh Bartolomeo (Bass), David Zwolinski (Percussion), Meghan Lynch (Stage Manager), Curtis Green (Scenic Designer),Anthony Karpinski (Technical Director and Properties Master), Mary Gietzen (Costume Designer), Brian M. Scruggs (Lighting Designer), Tyler Ezell (Sound Designer), ShanandAlexandra Stewart (Publicity Manager).

You should definitely go see the Bonstelle strut their stuff, but you have to act quickly, because it only runs two weekends.

“Bat Boy” appears at the Bonstelle Theatre through April 21, 2013. Show times are at 8 p.m. on Fridays and Saturdays and at 2 p.m. on Sundays. Tickets are $20-$25 and are available by calling (313) 577-2960, visiting the website, or stopping by the Wayne State University Theatres Box Office located at 4743 Cass Avenue on the corner of Hancock, inside the Hilberry Theatre. The Bonstelle Theatre is located at 3424 Woodward Avenue, one block south of Mack Avenue at Eliot.