Co-stars Elizabeth Bennett and William Tatum.

I was waiting as patiently as possible for the new season at Strauss Theater to begin. I had missed the last one, and all the ones before that, because I only just moved up to the Monroe area late last year. Strauss is obviously “the” theater in Monroe, so I had my hopes up ever so slightly that I would discover a gem in the same manner as Le Petite in New Orleans, or Rivertown Repertory in Kenner, La. I had performed myself at both of these theaters in the past, and seen a fair number of shows, too, and can say that they are “the” theaters in that area, if you want to see the best productions.

At any rate, since the Strauss Theater seemed to be the only game in town for Monroe, I figured it either had to be really good, with a lot of local support and enthusiasm, or it would just be a slacker theater with lackluster productions that got by simply because they were, again, the only game in town.

So, I just saw the season opening, Thoroughly Modern Millie, and whoopee baby, it turns out that the Strauss Theater is really good.

Flappers, fer real, on stage at Strauss Theater.

Having come almost a year ago from probably the most theater-saturated city in the South, I’ll admit to some desperation right now to see live theater. I would have been happy with even a fair-hearted attempt at this show, really. But the crew at Strauss showed me such a good time that I’m still laughing about some of it two days later.

Some of the community shows I’ve been to elsewhere are met with a mass exodus at intermission. Even the lavish productions at Tulane Summer Lyric don’t always hold an audience.

That’s something this show doesn’t have to worry about in the least.

The opening number, “Not for the Life of Me,” from Elizabeth Bennett as Millie Dillmount, captured my attention in a big way and really gave the rest of the show something to live up to. Bennett’s voice has that classic Broadway sound, sharp and bright and enthusiastic, handed over with a giant, I’m-giving-it-all-I-got smile. She completely set the tone for the next two hours. Her second act solo, “Gimme Gimme,” was a real show stopper, too, and she gave it just as much energy, if not more, than her opening number.

I'll be checking out the movie soon, since the stage show was so much fun.

The youthful chorus jumped in with Bennett pretty quickly for “Thoroughly Modern Mille,” and thankfully had the stage space to show off the colorful costumes by Marcy and Mary Hall, and some spins, parades, and well-rehearsed choreography by Shawnee Corbin, along with a powerful, polished group voice that filled the room. I was hooked and held my breath in hopes that the whole show was would go at this pace.

Hats off to set designer Scot Baronet for his enjoyable 3D scenes of New York which gave some depth to the stage and went well with the roll-on office furniture. I liked Millie’s use of the office desk as a sort of comical way to scoot around the stage without actually standing up. I also thought the roll-on window ledge was effective, and kudos to Bennett and William Tatum, as Jimmy Smith, for being sure on their feet and their vocals during their ledge-top dance number, “I Turned a Corner.” Tatum, for his part, was well suited as the romantic interest for Millie.

Cast members from "Thoroughly Modern Mille" at Strauss Theater, Sept. 20, 2009. Left to right: Laura Sidders, Amy Medlin, Samantha and Lauren Matherne, and Gayle Frck.

The Hotel Priscilla scenes were a riot, with Jeanine Patton as Mrs. Meers and Josh and Jacob Branson as Ching Ho and Bun Foo. Mrs. Meers, as if her makeup wasn’t enough, had an appropriately rough and twangy Japanese accent to match her later exposure as a wannabe actress, and her “oh, wee-whee” take on “oh, really,” got a laugh on more than one occasion. The brothers performance of their very unexpected Japanese-only duet, a reprise of “Not for the Life of Me,” was hilarious. We kept expecting them to start singing in English, but the fact that they didn’t made it all the funnier, as they just kept going in Japanese or whatever it was, and playing it as though we understood every word.

A song between these three later, “Muquin,” is the closest I’ve ever come to actually watching a really good Saturday Night Live skit, live on stage, from back in the day when SNL was sincerely funny.

The early duet between Bennett and Lauren Matherne, as the petite Miss Dorothy Brown, made me think of the impeccable match-up of Idina Menzel and Kristin Chenoweth in Wicked. Their voices went together perfectly and they had the smiles and characterizations to match. I couldn’t get enough of either of them.

Melissa Tucker turned in a good, hard-nosed role as Miss Flannery, and she pulls off one of the funniest lines in the show–“my family is known for our elbows,” which I’m laughing at again as I write this.

Gayle Frick deserves a note also for her exceptionally well-sung role as Muzzy Van Hossmere, the classy lounge singer who gives Millie a shoulder to lean on.

From left: Sarah Keyes, Schylar Berry and Allison Tugwell.

Possibly one of the funniest scenes I’ve ever seen on stage happened during the second act between Matherne and Troy Wold, impeccably cast as the pretentious and sporadically soused boss-man Trevor Graydon. One moment, Wold is dictating to his new stenographer, and the next–and I mean this happened in a blink–he launches into a scene right out of the recent movie, Enchanted, where he is smitten by the blinding beauty of Miss Dorothy and has no other way to express it except through SOOONNGGG!  His delivery was absolutely on target as he stood there with hand-on-heart, and Matherne’s reaction as the lovestruck hummingbird was perfect. The audience was in stitches, watching these two swirl and bound around the stage in ridiculous, squealing, musical bliss.

I was impressed with the “The Speed Test,” which had Millie surrounded by a set of office workers clad in alternating colors of stockings, and everyone tapping at the speed of typing as Millie did her best to maintain her new job as Graydon‘s stenographer.

The music director and choreographer deserve a hand for the excellent dancing and choral parts, which were a good leap better than I had prepared myself for. Getting a chorus together vocally is a challenge, but this group made it look easy, and I was constantly impressed with how big they sounded. I even wondered if they weren’t being embellished by a light overlay of vocals on the recorded music. I don’t think that was the case, however, and it was all the more impressive to listen to them sing as they danced and even did flips here and there.

From left: Morgan West, Charity Wilkins, Jacob and Josh Branson, Amy Medlin, Beaux Coleman and Nathanael Medlin.

I especially appreciated this chorus and that they stayed active during their scenes that were shared with the leading roles. It’s easy to waste an ensemble and have them stand stock-still, but this group added a whole new dimension of realism and production, especially during the Tie-One-On Club party scene and “The Nuttycracker Suite,” and also “Long as I’m Here with You.” They were an integral part of the dancing and acting, extremely energetic, and also kept life in the scenes by interacting as groups in the background while the leads moved into solo parts. I constantly had my eyes going from one part of the stage to another trying to catch all the activity, and was never disappointed.

Overall, the ensemble parts were impeccable and gave me all I could have asked for, and more. Fairly often, the energy of a local theater group can far outshine the road-wearied repetition in a large, traveling Broadway show. I haven’t seen the road version of this show, but it would be tough to outmatch the gusto this cast gives it.

Director Jon Baccarini with Jeanine Patton at "Thoroughly Modern Mille" at Strauss Theater, Sept. 20, 2009.

Director John Baccarini did a wonderful job casting the roles and has managed to find the perfect pacing. It might actually help that they’re using a recorded CD for the music rather than a live band, since this forces the speed to stay where it should, at least musically. But Baccarini never lets the cast slow down, even during scenes where you might forgive it, and this alone does wonders to keep things interesting. There’s an awful lot going on backstage, I’m sure, what with ensemble costume changes and complete walls of scenery dropping down from the ceiling, but we’re kept blissfully in the dark, so to speak. I was surprised at how much happened and how quickly, without some sort of major screw-up.

There were a few flops here and there, of course. The lights went out for a few seconds during the window ledge scene, but Bennett and Tatum wisely kept going and didn’t seem fazed by the interruption; also, I’m pretty sure there was a moment during one of Bennett’s office scenes when a verse of music got skipped, or something odd, but Bennett did such a nice job of looking busy that she made it through this without much damage, and jumped right in with her two toe-tapping chorus girls at her next opportune moment.

This was evening of theater well-spent. Baccarini has it all polished it to an enjoyable and highly entertaining musical, while also leaving room for his cast to convey that footloose, and thoroughly modern, 1920’s feel.

You can still catch this show, Sept. 24-27. Call 318-323-6681 for reservations.

The Strauss Theater’s next productions are Barefoot in the Park in November, and The Adventures of Robin Hood for children in late October.

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"Artists of the Great Depression," at the Masur Museum, Sept 9.

MONROE, La. | 9/15/09

Initially, I was stumped by the Masur Museum’s current exhibit title, “Artists of the Great Depression.”

"Woodville Road," by Clarence Millet

I have known some artists with great depressions, yes, but I just never put “artist” and “great depression” together in a historical sense. Who had time to paint when you had to scrabble through the dust searching for grubs to feed your family for dinner? How could you develop film when there was no water and the air was  thick with soot?

Nevertheless, I resigned myself to my fate as self-appointed volunteer art blogger for our God-fearin’ northeastern country, and parked in the Masur’s lot with my head hung respectfully low, presuming that I was about to enter into an exhibit of … what, I don’t know, maybe photos of gravestones and still lifes of dried, rotting fruit that’s been crushed by broken wagon wheels.

That’s my picture of the Great Depression, thank you, John Steinbeck.

John Steinbeck, c. 1962, looking greatly depressed.

Actually, I’m about to start reading The Grapes of Wrath for the first time. My dad–an English teacher–told me a long time ago that the book was absolutely required reading for any English major worth his salt. So, better late than never. He also told me that my whole-wheat-with-grits-and-oatmeal pancake recipe reminded him of something that one of Stienbeck’s characters must have eaten as they made their arduous way across the plains.

"Refinery at Night," by John McCrady

At the museum, I was greeted by the lovely receptionist and made my way into the first room, where I was happily surprised to find that in fact there really were artists of the Great Depression, and they weren’t all that depressing.

The very first piece I was drawn to was a lithograph by John McCrady from 1940, “Refinery at Night.” There was so much active detail in this piece that I stayed put for about five minutes right where I was. Next was some surprisingly colorful work by Caroline Spellman Woogan Durieux — say that four times fast — and Clarence Millet that spanned about a decade.

I enjoyed “Huey Long and President Smith,” too, a photo by Fonville Winans that showed as clear an image of the two men as I’ve ever seen, and probably the most flattering.

Each piece throughout the exhibit was coupled with a brief synopsis of the history behind the work. This was a brilliant way to learn history and appreciate the artwork of the period at the same time. Maybe it’s what we try to do with school textbooks … but being in the museum and seeing these actual works that had been created by the artists, along with the story of why the piece was important, really made things interesting. For a high school history class, an educational trip to this show, maybe along with a guest speaker, would be a great way to spend an afternoon.

"Oyster Man," by Fonville Winans, next to the musem kitchen, where you can whip up some Great Depression oatmeal in honor of the show.

Moving on, there were some more striking photo portraits from Winans and nice selections from Eudora Welty, particularly “Self Portrait, 1934,” by Winans, and “Sunday School, Holiness Church, Jackson Miss.,” from 1939, by Welty. Moody, black-and-white images like these make me remember why there is still such an allure to film photography. The girls in Welty’s photo look simultaneously angelic and ghost-like.

Another room held a small, unappealing series of photos from the Farm Security Administration. I skipped over this and moved upstairs to a room with images from the Monroe Flood of 1932, where a TV was set up with a related video to make things more interesting. In another room were some abstract lithographs from the period.

"Child on Porch, Hinds County, Miss.," 1939, by Eudora Welty

The work in this show is well worth seeing. I have a better visual grasp of the reality of the Great Depression to go along with the written version from Steinbeck, which is currently at my bedside and will probably keep me reading at night for the next two weeks … unless I get too depressed.

Meanwhile, ULM held a more modern show for their Annual Faculty Art Show at Bry Hall … this is a small but very welcoming little gallery that has some simply lovely air conditioning. On a hot day, this element alone makes the experience of going into this gallery enjoyable. There are a lot of galleries out there that always seem to be too humid or warm for comfort, and I find myself uncomfortably walking around looking at work while trying to act like I’m not about to have a heat stroke. But this place has that handled nicely, along with carpeted floors and walls so the room is quiet. The first impression in this case went a long way towards my attitude regarding the art. I was more inclined to give everything a long look no matter what it was, simply because I was really comfortable and enjoying the carpet-induced silence.

Bry Art Gallery, ULM

With that, I admired photos by Richard Hayes, such as his mysterious self-portrait, “With A Clear Mind You Can See Forever,” and also the “Canister Set” pottery by Gary Ratcliff. Dara Engler’s amusingly-named, “The Pirate Doesn’t Go Out For Sushi,” kept me rooted in place admiring the 5′ x 4′ (approx.) oil and charcoal work and it’s six smaller sisters beneath. Brian Fassett’s posters were tightly done with nice photos, but I was unmoved, to say the least, by the redundant inclusion of the event flyers. Cliff Tresnor’s coffee table and lamp sculpture was not only fascinating to look at but apparently quite useful as well. I’d like to see a video of the process of actually creating such a piece.

Work by Gary Ratcliff at the Annual Art Faculty Exhibition, at the Bry Art Gallery, ULM

I was glad I made it to see this show. This was my first visit to the gallery. I found it enjoyable, and appreciate that all the work and the artists were given a place to show off what they could do.

Work by Dara Engler at the Annual Art Faculty Exhibition, at the Bry Art Gallery, ULM

Upcoming is a solo exhibition of photographs by Bess Bieluczyk, titled, “Subtle Hysteria and New Work,” Sept. 14 - Oct 8. A gallery talk will be held Oct. 8, 2 pm, with a closing reception from 5-7 pm.

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ULM instructors and performers at "An Afternoon in Vienna" at Biedenharn Gardens, Aug. 30. left to right: Claire Vangelisti, asst. professor of vocal studies, Deborah McClung-Gillory, associate professor, piano dept., Dr. Lynn Clark, asst. professor of curriculum, and Dr. Mark Clark, associate professor and director of opera and musical theater.

MONROE, La. | 8/30/09
Instructors from ULM performed 19th century operettas, songs, piano and string classics for An Afternoon in Vienna in the Biedenharn Fountain Room. I unfortunately missed the event, but made the tail end of the reception, where I also missed the Viennese sachertorte, but did manage a few guest shots. Events Coordinator Abbey Ebarb said there was a standing-room only crowd and they even had to turn a few people away. The museum is planning ahead for An Afternoon in Paris, April 11, 2010, from 4-5 pm.

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We went up in the nearby building to get an overhead shot of the festivities.

MONROE, La. 8/29/09

I made it downtown to see Indiana Jones and The Raiders of the Lost Ark last week. Classic Steven Spielberg at his best, if I may say.

I also went to see District 9 at the Cinemark in West Monroe, which has really nothing to do with this article, but it was a great movie, too, and I just want to plug it, because if you liked Indiana Jones or the last Star Trek, you’ll probably like District 9.

Now, you may ask yourself, where in the heck is there a movie theater downtown?

Indiana Jones. Even better than Han Solo.

There is no movie theater, and that’s the beauty of it. This is a once-a-month, outdoor event, appropriately called “Downtown Cinema” — lower your speakers before you hit that link or you’ll get surprised by the audio commercial — that was cooked up by the youngish folks over at Portico Church in Monroe, who like a ton of other people in the area, needed something fun and free to do with a family on a Saturday night.

The church is moving and is in the process of purchasing a six-story building downtown and renovating it. In front of this building is a somewhat random patch of green that covers about a quarter of the block. Volunteers at the church got creative and ended up with the idea to bring in live music, popcorn and drinks, and a classic movie for an evening — all free and open to the public.

Portico Church volunteers who helped to organize the event.

These kind of events always stun me for a second when I see them. Who does anything for free? There’s got to be a catch, right?

But there’s no catch. You just show up with your posse, enough chairs or blankets to sit on, go grab some snacks from “The Popcorn Girl,” Janelle Briggs, a bottle of cold water, and enjoy yourself while the kids run themselves ragged on the grass. Forgot bug spray? No worries, because the church sets up a table with about twenty spray cans for general use.

If you’ve got a few bucks on you — and this is well worth it — a special treat comes in the form of hand-made ice cream from Maggie Moo’s Ice Cream and Treatery.

Kelly Aaen of Maggie Moo's Ice Cream hands out a cone of handmade ice cream at the Downtown Cinema. I highly suggest trying a scoop of this stuff at the Pecanland Mall.

Owner Kelly Aaen was there with a freezer-full of confections, and she gave me a scoop of the strawberry. “It’s the best ice cream you’ll ever taste,” she said confidently. And she was right. I’ll be bringing the kids to the Pecanland mall location soon to see what they think.

Finding the cinema in my car was a discovery. I felt like Indiana Jones himself as I drove around downtown looking for it. The streets were quiet, silent, dead as an Aztec city, and then suddenly, turn a corner and out of nowhere, lights and activity and music and over a hundred people. I had found the ancient temple, and the natives were celebrating … !

I didn’t swing in like Indiana, though, I just walked over with a pad and camera.

This night, the live music was courtesy of Kyle Craft and his band, and they were rockin’ pretty nicely with some originals and cover tunes under a white tent.

Since the band was the only tent-covered part of the event, I asked volunteer organizer Erin Stokes what the plan was if it started to rain.

This crew actually brought out a two-piece sofa, and said they might work on bringing out a whole living room at some point.

“We pray,” she laughed. “Actually, we haven’t really gotten to that yet. We just put the whole thing together, and so far we’ve been lucky. We wanted to give people something to do, and to use this lot, which is really the only green space here … the downtown area has so much potential. We’re all volunteers, and we just decided that rather than wait for the city to do something, we’d put it together ourselves.”

She’s not kidding — they really did put it all together, even down to constructing the 10′ x 14′ projector screen.

“We didn’t have the funds to buy one, so some guys from the church just built it,” Stokes said.

The perfect weather that evening was complimented by Christmas lights and Japanese lanterns strung on the trees, plus a few citronella candles on the ground to keep bugs out.

Not a bad way to spend an evening, really.

In the back of the lot, Tommy Perkins and company actually brought out a two-piece sofa and we’re taking their loungin’ quite seriously, more or less.

“We had some friends in town, and they helped us take this stuff out here. It’s to show our support for the church, because they’re doing a lot to revitalize the area, and this seemed like a fun way to do it and get some use of this old furniture,” he said.

“We’ve been talking about increasing this until we bring out an entire living room.”

That would be something to see. There used to be this nifty little movie theater in New Orleans that had sofas and recliners set up in small rooms where you could watch movies. It was great, very artsy, but it didn’t last long because most artists, of course, don’t have a lot of money to support such things. This would be a nice substitute. Maybe I’ll just haul a cot out there next month.

The first movie was shown in June. The next one, The Sandlot, is scheduled for Sept. 26, with a baseball theme running throughout the event, so bring your caps and baseball mitts, ’cause you never know when a game might start up. After that, there will be one more show around Christmas, and then it will start up again next summer.

I asked Stokes how they choose the movies.

“We shoot for the 25-35 year-old demographic,” she said. “We sit around a table and think up classic movies that everyone likes from the 80’s or 90’s. Raiders was tied with Ferris Bueller’s Day Off, but we couldn’t get the rights to that one. We actually buy the rights to show the movies — it’s a few hundred dollars for the weekend. We try to keep everything PG. It turns out that PG-13 wasn’t created until after Raiders came out, but we didn’t know that until later.”

They took care of it effectively, though. At that evening’s show, at certain points in the movie when it was required, they simply muted the language. It provided for sudden, but funny breaks, such as when Marion — played by Karen Allen, who was unlucky enough to get roped into that last miserable installment of Indiana Jones — decides to verbally karate-chop Indiana by yelling obscenities at him for two minutes. All we heard was, “Indiana Jones, you no-good …” and then she was yelling, silently, which got a laugh out of the audience.

Roy and Virginia White drove all the way down from Arkansas for their 40th Anniversary just to join the fun.

Stokes said funding is handled by the church and whatever donations they receive, and that everyone, including the band members, volunteers their time. They are also working on a “Christmas on the River” event with the Department of Economic Development.

Downtown Cinema is held at the corner of Desiard and Jackson Streets in Monroe.

Published in Delta Style, Sept. issue.

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