Saturday, February 18, 2017

The Heir Apparent

Playwright: Jean-Francois Regnard, adapted by David Ives

Venue:  Springs Ensemble Theatre, 1903 E. Cache La Poudre, Colorado Springs, Colorado.

Running time:  2 hours, 15 minutes (includes 15 minute intermission).

Date of Performance:  Friday, February 17, 2017.

If it’s humor you seek,
it’s from the bathroom it leaks.
When of diarrhea he speaks 
The wealthy miser reeks and peaks.

Sorry.  I couldn’t resist writing some scatalogical poetry inspired by David Ives’ adaptation of Regnard’s classic comedy.  My hat is off to Ives; his poetry is much better than mine.  In fact, one might say that Ives is a rock star among writers of toilet verse.  

Le Légatalre Universal (The Heir Apparent) was first performed at the Comédie Francaise (the French national theater) in 1705.  It’s a commedia dell’arte farce of the first order.  Regnard’s script, arguably his best work, is a bawdy, funny, irreverent, and satirical romp.  David Ives has translated and adapted it, preserving the plot and the poetry but adding current cultural reference points.  

Adam Sterling-Blancas (Crispin) &
Sarah S. Shaver (Lisette).
Current cultural quips aside, though, The Heir Apparent doesn’t need a lot of detailed political or cultural analysis.  It’s best enjoyed for what it is:  a bawdy, naughty comedy about love, lust and greed.  The characters are from central casting. There’s the old fool Geronte (Steve Wallace) who falls for a beautiful girl (Isabelle, played by Michelle Pantle) who could be his daughter.  The girl’s mother (Joanne Koehler as Madame Argante) is a conniving battle axe.  Crispin (Adam Sterling-Blancas) and Lisette (Sarah S. Shaver) are servants in love.  Eraste (Greg Reilly) is the handsome, dashing suitor who cannot have Isabelle unless he can acquire Geronte’s fortune.  Scruple (the aptly named attorney, played by Sophie Thunberg) is a mere 3 feet tall and the source of numerous size jokes.

The story is straight forward.  Geronte is a wealthy miser but dying of diarrhea (a condition that may be naturally occurring or pharmaceutically induced).  He is desperately trying to live long enough to finish his will.  All the other characters (save Scruple) are jockeying to be the sole heir to Geronte’s fortune.  Some of the plot twists are predictable (Geronte, presumed dead, is resurrected for additional humor), others are not (Eraste and Crispin in drag).  Geronte has an Ebenezer Scrooge moment in the end, and love blooms for all.

Greg Reilly (Eraste) & Michelle Pantle (Isabelle).
This is an experienced and talented cast, led by Sarah S. Shaver as Lisette.  Shaver opens the show, dusting the set pieces when she’s grabbed from behind and embraced by her love interest Adam Sterling-Blancas.  The two make a credible couple, stealing kisses and trading glances at every opportunity.  Shaver’s mischievous side is on full display as she keeps Geronte loaded up on laxatives.  Greg Reilly is the hunky dashing pauper in love with Isabelle (Michelle Pantle).  Reilly and Pantle have the chemistry that Regnard intended.  Both are marvelous on their own, but together they are on fire.  Joanne Koehler’s Madame Argante is cold and calculating, keeping Eraste on the defensive.  Koehler is a strong, shrewd woman who refuses to be taken lightly.  

Steve Wallace (Geronte).  
Geronte is Regnard’s central character, and Steve Wallace nails his role as the wealthy miser lusting after Isabelle.  He is the classic “dirty old man,” sharing both his bowel movements and his libido shamelessly with the cast and the audience.
Regnard inserts Scruple into his script for purely comedic purposes; a 3 foot tall lawyer serves to diminish a profession that many before and after him have short changed.  Puns intended.  Sophie Thunberg (in drag, as it were, complete with a full but fake mustache) plays her role on her knees.  She shuffles around the stage, making the illusion real:  her Scruple is really only 3 feet tall.  For one of such small stature, though, Thunberg stands tall.  She milks the laughs from every line, exaggerating her French accent and channeling her inner Inspector Clousseau.  She makes the most of her short time onstage to make an oversized impact. 

Max Ferguson’s direction focuses on the fun, the physical, and the farce.  Ferguson doesn’t just permit some overacting.  He requires it.  From gestures, to costumes, to facial expressions, the cast is constantly directed to ham it up, and that’s a good thing.  Ferguson dresses Eraste and Crispin as women, and both actors are fetching, funny and fabulous.  Sarah S. Shaver’s costumes are a delight, and none are better than the hoop dresses for the guys.  

This performance was the second night of the run, and at times the actors seemed to rush their lines.  That’s a shame; Ives’ poetry, like a fine wine, is best sipped, not chugged.  Many of the lines needed a slower pace and occasional pauses to be fully appreciated.  

David Ives has written some exceptional scripts of his own, and he’s a master at adapting forgotten classics for the contemporary stage.  This Jean-Francois Regnard/David Ives collaboration is pure comedy, done in eloquent poetic verse.  I’m a fan, but there are those who may be intimidated by rhyming lines.  That’s a shame.  It may take your ears a few minutes to adjust to the cadence, but it’s well worth the effort.  Springs Ensemble’s production is an entertaining classic comedy with a modern twist.  Throw in a dirty old man with diarrhea, guys in drag, and a midget lawyer and you can count on a fun night out at the theater.

Foreground, L-R:  Adam Sterling-Blanca (Crispin) Steve Wallace (Geronte), Greg Reilly (Eraste).
Background, L-R:  Sarah S. Shaver (Lisette), Michelle Pantle (Isabelle).


This show closes on March 5, 2017. 

For all the bathroom humor and sexual innuendo, there were very few four letter words in the script.  The subjects may be delicate, but the language is rarely vulgar (I did note one F bomb).  Still, discretion would be advised for preteen children.

For more information on Regnard, Ives, and The Heir Apparent, check out this First Folio Student and Teacher Resource Guide.  (Hat tip to the Shakespeare Theatre Company, Washington DC.)

As information, the Comédie Francaise is still in the theater business more than 300 years after producing Regnard’s comedy.  

Photo Credit:  Springs Ensemble Theatre Company, photos by Emory John Collinson.

Tickets HERE.  


Executive Producer & Costume Design:  Sarah S. Shaver

Co-Producer:  Jenny Maloney

Director:  Max Ferguson

Set Designer:  Jack Salesses

Lighting Design:  Jeremiah Miller

Sound Design:  Taylor Geiman

Dramaturg:  LeAnne Carrouth

Stage Manager/Board Operator:  Amber Carlton

Costume Construction:  Rebecca Hillstead

Properties Master:  Marie Verdu

Running Crew:  SairReese Gavzy


Geronte:  Steve Wallace

Lisette:  Sarah S. Shaver

Eraste:  Greg Reilly

Crispin:  Adam Sterling-Blancas

Isabelle:  Michelle Pantle

Madame Argante:  Joanne Koehler

Scruple:  Sophie Thunberg

Sunday, February 12, 2017

Enchanted April

Carley Cornelius as Lotty.

Playwright: Matthew Barber, from the novel by Elizabeth von Arnim

CompanyFine Arts Center

Venue:  SaGaJiTheater, Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, Colorado.

Running time:  2 hours, 10 minutes (includes 15 minute intermission).

Date of Performance:  Saturday, February 11, 2017.

Elizabeth von Arnim’s 1922 novel The Enchanted April has been adapted for the big screen twice, first in 1935 and again in 1992, when it garnered 3 Oscar nominations and won 2 Golden Globes awards.  The Matthew Barber stage adaptation premiered in 2003, and a musical adaptation opened in 2010.  It’s nearly a century since von Armin created her female focused Italian holiday tale, and the story is arguably more fun and more relevant now than it was on the day it was first published.

von Armin’s story starts in the dreary London rain when Lotty (Carley Cornelius) discovers an “advert” (British for advertisement) offering an Italian castle for rent for the month of April.  It’s for those who love “wisteria and sunshine.”  Lotty’s a dreamer, but she’s trapped in a bleak marriage to her pompous, self centered husband Mellersh (Kevin Lowry).  Lotty recruits three other dispirited, disillusioned women to split the costs (60 pounds sterling) for q month in paradise.  It’s a “girls only” getaway, at least until the guys show up in Italy.

Enchanted April is a romantic comedy with a timely feminist slant; the ladies need to get away from the guys to reconnect as “sisters”.  It’s an empowering story.  By escaping from the guys, the ladies shake them up and are ultimately better able to reconnect with their spouses.  Lotty puts it well early in the first act:  time doesn’t go backwards.  It only moves forward.  Each day is like the last, and like the next, unless we do something to “move forward.”  A month in an Italian castle is her move forward.

On entering the theater, I was struck by Christopher L. Sheley’s sumptuous set.  For act one, it’s simple; six window frames suspended over the stage.  Those six window frames serve as multiple locations, in each case giving us a constant reminder of the incessant London rain.  Sheley’s window frames are a playground for lighting designer Holly Anne Rawls, who bathes the windows in different shades and different degrees of brilliance, depending on the time of day and the location.  Rawls has mastered the lighting that animates the endless rain that falls for the entire first act.

While Sheley’s set for the first act set engaging, it is the Italian castle set in the second act that provides spectacular eye candy.  The transformation from London to Italy is stunning, and Sheley’s set reinforces the emotional transformation of Barber’s characters as it shifts from dull London to idyllic Italy.  

MacKenzie Beyer (Caroline), Carley Cornelius
Carley Cornelius is from the Chicago area, but she’s a semi-regular on the Theatreworks stage at UCCS (see here, here, here, here, and here).  There’s some very good reasons why she keeps showing up 1,000 miles from her natural habitat.  She’s a consummate professional, a gifted actor, and as versatile as anyone I’ve ever seen.  I think this is her first Fine Arts Center appearance, and I hope the FAC will be asking her back often.  She’s the spark plug in the Enchanted April engine, punctuating Barber’s lines with her gestures, facial expressions, and natural charm.

Heather Lacy (as Rose) is Lotty’s reluctant partner in crime.  Lacy’s character shares one essential trait with Lotty:  she’s in a dead end marriage.  Even so, she knows her place, and Lacy plays the submissive Rose to Lotty’s rebellious dreamer.  

Karl Brevik as Wilding, the castle’s owner, has a twinkle in his eye and a spring in his step, charming the ladies at every turn.  MacKenzie Beyer plays the beautiful, aloof Lady Caroline, mixing it up with Mrs. Graves over fashion choices and cognac.  Billie McBride (Mrs. Graves) is always a pleasure to watch on any stage, and her prickly, proper Mrs. Graves is no exception.

Kevin Lowry (Mellersh), Carley Cornelius (Lotty).
Kevin Lowry (Mellersh) and Logan Ernstthal (Frederick) are convincing as a pair of proper British male aristocrats of the early 20th century.  They exude privilege while demonstrating why they should have none.  As spouses, they would be a decidedly poor catch for any woman in 2017.  That said, however, the do provide a good deal of the humor for Enchanted April, and in the process, they inspire the ladies to bust out of their dreary routines.  Both are very capable actors who must have reached very deep to play the cads of Enchanted April.  I’m quite sure neither is a cad off stage.  Lowry gets special mention here, though, for being the “butt” of the funniest joke of the production.

Jane Fromme (Costanza).
Jane Fromme (as Costanza) has the smallest role in Enchanted April as the servant who speaks only Italian.  For Fromme, language is no barrier.  She speaks impeccable Italian (at least is sounds impecable to me, but I speak no Italian), but she communicates marvelously with her facial expressions and gestures.  Fromme has a delicate sense of comedic timing, and she uses it every time she hits the stage.  

Director Joye Cook-Levy clearly delights in this tale of empowerment.  My favorite scene in the production is the one where Lotty and Rose tell their husbands about their plan to go to Italy.  Cook-Levy tells the two stories simultaneously as Lotty and Rose confront their husbands.  It’s a highly relevant scene done with a poignant touch, and it’s a scene reminiscent of recent events (“She was warned.  “She was given an explanation. Nevertheless, she persisted.”)  

Lotty and Rose persisted too.  They went to “paradiso.”

Carley Cornelius (Lotty) & Heather Lacy (Rose).

That said, you don’t have to see Enchanted April for the political or feminist value.  It’s a funny, charming, romantic story that has endured for nearly a century.  The Fine Arts Center production is a LOT of fun, and that’s reason enough to get a ticket.


This show closes on February 26, 2017. 

This show contains adult situations and brief nudity.  Recommended for adults and mature teens.  

I have been critical of some of the FAC productions in the past for not using audio mikes on the actors.  Enchanted April is fully miked, and the sound is excellent.  For this, I thank whoever (Sound Designer Ben Heston?  Director Joye Cook-Levy?) for the audio support for those of us with less than optimal hearing.

The rain effect in the first act is mesmerizing.  Rain is transparent, but somehow FAC has made it visible and real.  I do not know how they did this.  Wow.

On a personal note, Enchanted April confirms something I’ve discovered over the years.   Vacations and holidays are indeed an effective way to renew and refresh one’s outlook, but it’s not just about the vacation itself.  The planning, preparation, and anticipation is as powerful as the “wisteria and sunshine.”

Photo Credit:  Colorado Springs Fine Arts Center, photos by Jeff Kearney.

Tickets HERE.  


Director:  Joye Levy

Set Designer:  Christopher L. Sheley

Costume Design:  Janson Fangio

Original Music Composed by:  Ryan Bañagale

Lighting Design:  Holly Anne Rawls

Sound Design:  Ben Heston

Dialect CoachAmy Brooks

Makeup & Hair Design:  Jonathan Eberhardt

Stage Manager:  Katelyn Springer


Rose:  Heather Lacy

Lotty:  Carley Cornelius

Lady Caroline:  Mackenzie Beyer

Mrs. GravesBillie McBride

MellerishKevin Lowry

Frederick:  Logan Ernstthal

WildingKarl Brevik

CostanzaJane Fromme

Monday, January 30, 2017

[Record] [Transfer] [Erase]

Playwright: Jeremiah Miller

Venue:  Funky Little Theater, 2109 Templeton Gap, Colorado Springs, Colorado.

Running time:  2 hours, 30 minutes (includes 15 minute intermission).

Date of Performance:  Friday, January 27, 2017 (World Premiere performance). 

Imagine that you, just like many police officers, are forced to wear a body camera.  No problem, right?  Except that you must wear it 24/7.  It records everything you do, say, and think.  The content is transferred regularly to a data center, where it is stored for later review.  

This troubling premise is central to [Record] [Transfer] [Erase].  It is not science fiction; much of it is possible with existing technology.  Colorado Springs native Jeremiah Miller creates a dark, disturbing dystopian future for [Record] [Transfer] [Erase] where our personal privacy is not even a distant memory.  Privacy has been manipulated and virtually eliminated.

[Record] [Transfer] [Delete] is Miller’s first full length production, and it’s a dandy.  A world where we no longer own our most intimate experiences is a very scary place.  Miller gives his characters the “opportunity” to erase their bad experiences, creating a “happy” population through manipulation of memories.  Other characters though are “reported” for some offense and forced to have their memory erased.  What could possibly go wrong?

Whether the timing is deliberate or a coincidence, [Record] [Transfer] [Erase] is a pertinent  “Mayday” call.  While our memories are not currently manipulated directly, “fake news” and “alternate facts” have severely distorted our political reality.   “Facts” have become disposable, truth is somehow debatable, and baseless, fact free opinions are now embraced as valid political argument.  The difference between the deleted memories of [Record] [Transfer] [Erase] and the spread of “fake news” is one of degree, not kind.

Like most dystopian scripts, Miller’s story does not have a happy ending.  Eliminating grief, guilt, and loss does not make one “happy.”  Artificial “happiness” has some serious consequences; it’s the digital equivalent of a surgical lobotomy.  

Miller wisely includes some valiant female resistance to memory tampering.  Both Amelia (Dee Schnur) and E. Pierce (Joanne Koehler) endure immense personal sacrifice to oppose the status quo.  Their noble efforts, of course, are futile.

This is Ms. Schnur’s first appearance on the Funky stage, and I can guarantee it won’t be her last.  Schnur broods her way through the first act, trying to get her parents (Cara Marshall as Martha and Dan Burdan as Jeffrey) to delay and cancel her scheduled surgery.  Schnur is at once vulnerable and rebellious, scheming to avoid any attack on her memories.  Schnur’s character is not naive; she explores her sensitive side with Caroline (Chelsie Bennett).  The two share precious memories that would never survive the law governing [Record] [Transfer] [Erase].  By the second act, her scheming turns into desperation, and Schnur sticks the landing.  Amelia gets her way, but in an unspeakably barbaric manner.  

Chelsie Bennett, on the other hand, is a veteran of the Funky stage, and [Record] [Transfer] [Erase] may well be her best work there.  Her chemistry with Schnur is palpable.  The sparks fly when they embrace, and there’s no denying the passion between them.

Joanne Koehler has only a few scenes, but she makes a powerful statement in the second act.  Her call to arms is inspiring and revolutionary, and made poignant by Koehler’s sense that it will not end well for her.  She delivers Miller’s message with clarity and passion, knowing that her principled resistance will ultimately fail.

Garrett McCormack plays the heavy here (Jack Davis, CEO of the company serving up manipulated memories), and he’s very good at being very bad.  Nicole Goeke is pitch perfect as the smiling reporter who actually asks the hard questions.  Steve Sladaritz is the doctor you never want to meet.  Sladaritz has the smile of an angel and the ethics of Dr. Mengele.  Marshall and Burdan are every teen’s fantasy and fear:  zombie parents.

I’ll get on my soapbox briefly; those who care not a whit about my personal opinions should skip the next paragraph.  I won’t be offended.

Our understanding of “privacy” has undergone a dramatic if subtle change over the last few years.  There are numerous reasons for that change (not all of which are mentioned here).  First, for national security reasons, the federal government has engaged in bulk collection of telephone and email records.  The impact on the privacy of these two means of communication has been substantial.  Second, web based applications have been routinely compromised, exposing personal and financial data records of millions of innocent people.  No effective remedy for these intrusions has been implemented.  Third, for various but questionable reasons, millions of individuals have shared intimate photos and videos on social media platforms.  The reaction to each of these three privacy changes has not been outrage.  Rather, it has been widely accepted that the government snoops on its citizens, that financial data will be stolen regularly by criminals, and that our freedoms allow us to transmit any personal violent or sexual content we please.  

In other words, “privacy” has not been taken away from us.  We have given it away.

Off the soapbox for now, but my uneasiness at Miller’s premise is not that it is possible, but that it may be inevitable.  Our disinterest in privacy issues may make [Record] [Transfer] [Erase] sadly prophetic.

Miller’s script could use some editing late in the second act; the climax is delayed by some loose ends that take too long to tie up.  I struggled a bit with Miller’s (or possibly Funky’s) use of an already outdated technology to display memories in the future setting of [Record] [Transfer] [Erase].  

That said, though, [Record] [Transfer] [Erase] is a powerful first effort from Miller.  Funky’s production is one of its best to date, with some sparkling touches added by Director Dylan McClintock.  If you haven’t been to Funky before, it’s time you got there  If you’re a Funky regular, [Record] [Transfer] [Erase] is your loyalty reward.  

It’s a short run (just 2 weekends), and the opening night house was packed.  Get a ticket soon.  [Record] [Transfer] [Erase] is a memory I won’t delete, and neither will you.


This show closes on February 4, 2017. 

The subject matter is appropriate for teens and up.  As Funky promises, though, [Record] [Transfer] [Erase] is not for the faint of heart.  You’ve been warned.

Photo Credit:  Funky Little Theater

Tickets HERE.  


Director:  Dylan McClintock

Set Designer:  Chris Medina

Costume Design:  Delaney Hallauer

Original Music & Sound Design:  Chad Orr

Choreography:  Breanna Skelton

Lighting Design:  Dylan McClintock

Stage Manager:  Justin Anderson

Assistant Stage Managers:  Will Sobolik, Megan McManus


Amelia:  Dee Schnur

Martha:  Cara Marshall

Jeffrey/Judge:  Dan Burdan

Rebecca/Ellie:  Nicole Goeke

E. Pierce:  Joanne Koehler

Caroline:  Chelsie Bennett

Doctor Bryson/Detective:  Steve Sladaritz

Jack Davis:  Garrett McCormack

Saturday, January 14, 2017

Remembering Murray...

Murray Ross, bigger than life, at the construction site of The Ent Center for the Arts.  March, 2016.

This is a huge loss for the Colorado Springs theater community.  Murray Ross, Artistic Director at Theatreworks, was one of a kind.  He built Theatreworks from the ground up, branding it with his personal passion, energy, and flair for innovation.  He will be fondly remembered and sorely missed by all who knew him and his work.

I didn’t know Murray well; we never sat down and had a beer.  I met him in person just once.  Like most of us who follow live theater in Colorado Springs, I knew Murray best through his work.  His impact has been both immense and unforgettable.  The proof of his genius and his humanity came to me in two remarkable experiences, one onstage and one offstage.

1.  The first Theatreworks show I saw (on March 13, 2013) was Everyman on the Bus.  My late wife Linda was a Henry Judge, and she was assigned to judge Everyman for the Colorado Theater Guild.  Little did I know how transformative that show, and Director Murray Ross, would be for both of us.

Everyman on the Bus was not just one of the most creative and profound performances I have ever seen, although it certainly was that.  It was also a perfectly timed message to my wife Linda and I about life and death.  Linda had terminal breast cancer, and she would be gone just 60 days after Everyman.  The play greatly affected both of us; it gave us context and strength for what we would endure in the following two months.  

The music for Murray’s Everyman production included contemporary songs that spoke to life and death:  Knocking on Heaven’s Door (Bob Dylan), That’s Life (Frank Sinatra), and especially, Awake My Soul (Mumford and Sons).  Linda had a burning passion for theater.  The lyrics for Awake My Soul gave her comfort in her last days, just as they now help us appreciate Murray’s life:

In these bodies we will live, in these bodies we will die
Where you invest your love, you invest your life

Murray invested his love, and his life, in his work.  That investment has brought abundant rewards to all of us.  

2.  As many readers of this blog know, the constant travel and writing commitments for Theater Colorado have grown substantially since it’s humble beginnings back in 2012.  In May of 2016, I announced that I would no longer be able to meet those commitments.  

When Murray Ross heard that Theater Colorado was going away, he reached out to me via email.  His message was a heartfelt thanks for all I had done, and a plea to continue writing for Theater Colorado.  Rather than covering ALL of Colorado, Murray suggested that I limit my writing to just the Colorado Springs area.  

As I mentioned above, I met Murray only once.  It was on July 28, 2016, at Rock Ledge Ranch, just before the opening performance of Antony and Cleopatra.  I saw him and his wife Betty, killing time before heading into the tent.  I walked up and introduced myself and my wife Roxie.  Murray was as gracious, as friendly, and as compelling as I expected.  Of course, he reminded me that he wanted Theater Colorado to continue.  

If you’ve ever met Murray, you know how persuasive he can be.  I thought long and hard about his message, and in August, 2016, Theater Colorado became Theater Colorado Springs.  

Without Murray’s thoughtful and unexpected intervention, Theater Colorado would have died and Theater Colorado Springs would never have been born.  For that, I am very grateful.

We are all grieving this loss, but also celebrating his life.  He made a difference in our lives.  That’s an enormous accomplishment, and one that we can all aspire to achieve.  So I’m sending my sincere condolences to Murray’s wife Betty, and to their families, friends, and many admirers.  

Murray’s influence was much broader than just his family and friends, though.  So thanks, Murray, for all you have done.  We will grieve for you, and we will celebrate your love, your friendship, and your many accomplishments.  We are better people for having known you, and Colorado Springs is a better place for having had you and your gift of wonderful, inspiring theater.


Theatreworks has scheduled a celebration of Murray Ross’ life for Thursday, January 19 at 5:30 PM.  Parking is free in all campus lots for this event. Here's the campus map:

An endowment fund has been established in Murray Ross’ name.  Donations can be made here.  

Murray appreciated my work for Theater Colorado/Theater Colorado Springs, even when I took issue with some of his work (see Ludlow, 1914 and Antony & Cleopatra).  That’s class.  Since he had such an impact on me personally, I’m including the links below.  These posts document the last few years of Murray's extraordinary work.  

1.  Everyman on the Bus.  March 8, 2013.

2.  Venus in Fur.  March 23, 2014.

3.  The Servant of Two Masters.  May 1, 2014.

4.  Ludlow, 1914.  (Mr. Ross was the Dramaturg.)  September 11, 2014.

5.  Happy Days.  March 27, 2015.

6.  The Liar.  April, 2015.

7.  A Midsummer Night’s Dream, August 13, 2015.

8.  Ghosts.  October, 2015.

9.  Girl of the Golden West, May 3, 2016.

10.  Antony and Cleaopatra, July 28, 2016.

11.  The Game of Love and Chance, October 23, 2016.

12.  A Christmas Carol, December 3, 2016.

This show and this life closed on January 3, 2017.  The standing ovation continues.

Photo Credit:  Facebook/Murray Ross