Westside Theatre: Broadway Rose



Pictured is Rebecca Teran as Audrey and Bobby Ryan as Seymour. Photo by Craig Mitchelldyer. 

 

Little Shop of Highlights

 

Broadway Rose presents a contemporary take on Ashman and Menken’s classic

 By Tina Arth and Darrell Baker

We started writing this review over lunch at one of our old standby Chinese restaurants, where we ordered pretty much the same things we always get. However, the meal took us by surprise – as did Broadway Rose’s ongoing production of another favorite, “Little Shop of Horrors.” In both cases, the comfortable and familiar was enhanced by subtle but unexpected twists in presentation.

For those not familiar with the premise, here it is in a nutshell: Skid Row florist’s apprentice and aspiring botanist Seymour discovers a “strange and unusual plant” that brings much-needed foot traffic to Mushnik’s fading business. Seymour secretly pines for shop assistant Audrey, a ditzy blonde with poor taste in clothes and worse taste in men (in particular, the incredibly sadistic and abusive Orin Scrivello, DDS). The plant needs blood to thrive, and the evil dentist’s accidental demise provides Seymour with an ample initial food source for his beloved plant.  Florist flourishes, Seymour gets the girl, but the plant proves to be insatiable…

We love “Little Shop”; not only have we seen countless productions, but Darrell played the role of Mushnik back in the ‘90s. Our previous exposure had been to a show conceived and delivered in the best satirical, comic-book tradition, peopled largely by two-dimensional characters (in particular the ditzy blond Audrey, and the hapless nebbish Seymour). Director Abe Reybold has embraced a contemporary take on Ashman and Menken’s classic that allows his actors to more fully develop their characters, and the result is amazing.

The first clue that this production has real roots is the opening number – the lights come up on the three “Doo-Wop” girls (Erica Jones as “Crystal”, Lindzay Irving as “Ronnette”, and Beth Sobo as “Chiffon”) and they are a lot like the brash, mouthy blue-collar teens one might actually find in a poor neighborhood. Of course, there might be no blue-collar teens on Skid Row if they could all sing like this trio! Each of the three was a fine actress able to develop a distinctive personality. Likewise, vocal solo spots displayed their powerful individual voices in addition to the expected tight harmonies.

 

Bobby Ryan’s “Seymour”, while still a loser, is less stereotypically pathetic, clumsy, and hopeless than is usually seen.  His Seymour shows the potential for growth, and he delivers his lines with an eye to character, rather than just playing for laughs. He has a fine musical comedy tenor voice and uses it well throughout, most effectively in the “Suddenly Seymour” duet with Audrey.

Darren Hurley tackles the somewhat thankless role of Mr. Mushnik with the requisite chutzpah. His solid baritone voice blends well with the ensemble, and his Tevye-like take on the “Mushnik and Son” scene is hilariously cantorial.

“And then there’s Audrey, lovely Audrey…” A real standout, even in such a strong cast, Rebecca Teran portrays her character with no trace of the iconic Ellen Greene’s cartoonish approach. Teran’s Audrey is a real woman who dreams of escaping the squalor of her tenement and her life, but who sees no path out of Skid Row until, suddenly, Seymour shows her the way. The highlight of the evening is Teran’s incredibly moving “Somewhere That’s Green.” She takes a classic comic ballad and, with timing and sheer vocal and acting ability, turns it into a work of art.

Many of the evening’s best laughs go to Brian Demar Jones, who plays several cameo roles in addition to the wonderfully psychopathic dentist. Jones’ dentist is so dark that, for the first time, we really worry about the puppies and the BB gun – and yet his rubber-legged fluidity, absurd costuming, and sense of timing keep the character within the realm of comedy. Jones more than delivers in the singing department, as he demonstrates in both “Dentist!” and “Now (It’s Just the Gas)”. He is listed in the program as “Orin and Everyone Else” and his quick-change antics toward the end of Act II bring down the house.

The ever-expanding plant, Audrey II, is superbly brought to life through the teamwork of puppeteer Jeremy Garfinkel and vocalist Jerrod Neal. Between the two of them, they are able to give the plant a frighteningly menacing affect, underscoring the wisdom of “Don’t Feed the Plants.”

The sets, lighting, sound (always tricky for “Little Shop”) and band all combine to create just the right backdrop for yet another wildly entertaining evening at Broadway Rose.  The night we attended, it was clear that about half of the audience knew the show well, and half were Little Shop virgins with little idea of what to expect. Reybold’s success as a director was illustrated by the fact that all of us were given a delightful surprise

“Little Shop of Horrors” is playing at the Broadway Rose New Stage in Tigard through October 14^th.

Gracie for President at HART

Paul Roder and Mallie O'Brien star as Burns and Allen

HART Theatre keeps "the memories of early show business greats alive"

Paul Roder brings George Burns to life in the presidential-spoof  of a production.

By Tina Arth and Darrell Baker

The only thing in theater that is riskier than attempting to imitate an icon is attempting to imitate two icons, especially when it’s two characters like George Burns and Gracie Allen. Hillsboro’s HART Theatre’s production of “Gracie for President” bravely takes on this challenge, and while the results are somewhat mixed, HART and director Norma Hill are to be congratulated on presenting an entertaining evening of show business nostalgia.

“Gracie for President” is a play based on legendary comedienne Gracie Allen’s tongue-in-cheek campaign for President in 1940. The entire production is staged as a Burns and Allen comedy, using a marvelously authentic set as it might have been used in one of George and Gracie’s television shows. As in the Burns and Allen Show, all of the actors remain in character throughout, except for George Burns (Paul Roder), who regularly breaks the “fourth wall” by addressing his audience.

In the five person cast, Roder’s outstanding portrayal of straight man George Burns really provides the glue that holds the production together. He clearly did his homework, as he captures Burns’ body language, timing, and delivery using the ever-present cigar to punctuate his wry performance. Particularly compelling are the scenes where he retreats silently to the sidelines, using only his facial expressions (and, of course, his cigar) to comment on the absurdity of his fellow actors.  As intended, the audience’s eyes are drawn away from center stage even as their ears follow the plot through the dialogue of the other characters.

Maille O’Brien, while less successful in capturing the essence of Gracie Allen’s dizzy persona, is nevertheless charmingly funny – audience members familiar with the character of Kitty Forman (“That ‘70s Show”) will recognize her comic style. She is particularly adept when delivering some of the show’s trickiest tongue-twisters, which she does with admirable precision.

The other three cast members have much less stage time but each carries multiple roles. Brick Andrews (Bill Goodwin/Reporter) is convincingly slick and unctuous as the Burns and Allen Show’s announcer and pitchman – and almost as unlikely a candidate for Hollywood’s Most Glamorous Man as Burns himself.  Becky Downs (Blanche Morton/Reporter/Saleswoman) has her finest moments as the terrified novice saleswoman, forced to mechanically repeat her entire pitch every time she is interrupted. Tony Smith’s blustering delivery as Harry Morton and a salesman and his comic British accent as a reporter call upon his versatility as an actor as he rounds out the small cast.

One of the great things about community theater is its ability to draw upon a specialized locale to personalize the show for its audience.  Playwright/Director Norma Hill, like Burns and Allen in their vaudeville days, incorporates local references to achieve this end. In the best early television tradition, co-sponsor Bunny Girt (who will always live in our memories as “Bunny Girt, State Farm Insurance Agent”) comes in for some delightful ribbing and scandalously over the-top promotion on several occasions – generating some of the show’s biggest laughs.

Productions like “Gracie for President” keep the memories of early show business greats alive, and introduce these classic characters to new generations of audiences. Thank you to the HART Theatre for doing its part in this noble endeavor!

“Gracie for President” runs through September 23d at the HART Theatre, 185 S.E. Washington Street, Hillsboro.

 

 

The Drowsy Chaperone at Broadway Rose

The lively cast of the Drowsy Chaperone has no "weak link."

“CHAPERONE” IS ANYTHING BUT DROWSY

By Tina Arth and Darrell Baker

In the six years we’ve lived in Portland, we have attended dozens of theatrical productions (from the “big guns” downtown to our local elementary school). We’ve been consistently impressed by the diversity, scope, and quality of the region’s theater. Nothing, however, prepared us for the sheer entertainment value of Broadway Rose’s production of “The Drowsy Chaperone.” We have seen many of the cast members (uniformly superb) in other shows, at Broadway Rose and elsewhere, but this particular assemblage of script, direction, choreography, orchestra, and cast comes together in that magical way that says “run, don’t walk, to get your tickets!”

“The Drowsy Chaperone” is a newer show, having debuted on Broadway (and having earned five Tony Awards) in 2006. As Director Lyn Cramer says, “This musical comedy is packed full of every gimmick, bit, cliché, and gag from musical theater’s golden age.” For readers unfamiliar with the story – beyond saying that it follows the convention of a “show within a show” we will not attempt to describe the plot. Just see it, and all will be revealed to you.

In an 18-member cast with not one weak link, it is still possible to highlight several performances. Dan Murphy (“Man in Chair”) provides the glue that holds it all together, and he is simply hilarious. His childlike wonder (best ever use of a juice box as a prop) belies his absolute control over the audience, and he is surprisingly adept at singing and dancing his way through practically every role in the show. In lieu of intermission, we are treated to a side-splitting 5 minutes of Murphy eating a Power Bar. That’s comedy!

Gretchen Rumbaugh (“The Drowsy Chaperone”) and her paramour, Aldolpho (Norm Wilson) manage to sing and dance their way through roles written way over the top without descending into annoying buffoonery – a fine line when dealing with the clichés of lovelorn lush and Latin Lothario.

Lindsay Michelet (“Janet Van de Graff”) and Joel Walker (“Robert Martin”) anchor the “play within a play” with their on-again, off-again wedding plans. Michelet’s tour de force, “Show Off,” allows her to showcase her vocal and physical agility while giving her ample room to display her chops as a comedienne. Walker and best man “George” (Jacob Chancellor) form a classic song and dance team (think Gene Kelly and Donald O’Connor) and their “Cold Feets” number is a real highlight.

Speaking of dance teams, the two gangsters (Samuel Benedict and Sean Powell) earn several of the evening’s best laughs, and their precision dancing is a joy to behold.  Special mention is also due to Sara Catherine Wheatley, whose ditzy “Kitty” is every dumb blonde in show biz history, and to Thomas Slater, the “Underling” who’s the show’s dark horse. Slater’s officious butler/valet/whatever gives us, with his boss Mrs. Tottendale (Emily Beleele), quite simply the best spit-take scene ever.

Lighting, sound, costumes, and scenery work together to create the glamorous feeling of a classic Broadway show and a stereotypical bachelor’s cluttered sanctuary that somehow manage to share the same space.  Every aspect of this production contributes to its magic, and we cannot overstate our enthusiasm.

The Drowsy Chaperone will be performed at the Deb Fennell Auditorium. Preview performance is August 2 with opening night on Friday, August 3, and performances continue through August 19, 2012. Evening performances are Thursdays through Saturdays at 7:30 p.m. Matinees are at 2 p.m. on Sundays, and on Saturdays, August 11 and 18. The Deb Fennell Auditorium is located at 9000 SW Durham Road in Tigard. Tickets start at $30 for adults, with discounts available for groups and youth. For a full listing of show performances or to order tickets visitwww.broadwayrose.org or call the box office at 503.620.5262.

Westside Theatre: "Your a Good Man, Charlie Brown"

Counting Valentines: Sally (Ashlee Waldbauer) and 
Charlie Brown (Jimmy Holland)
Photo by Ammon Riley

"You're a Good, Man Charlie Brown" plays with two casts at Beaverton Civic Theatre

By Tina Arth and Darrell Baker

For someone charged with evaluating a show, it is rarely good news that the production is “double cast” (has two separate groups of actors).

However, having seen the first cast of Beaverton Civic Theatre’s “You’re A Good Man, Charlie Brown” we were surprisingly enthusiastic about seeing the show the following week with a different set of actors. Veteran Director Milli Hoelscher’s unorthodox casting choice derives not from her inability to select the “best” cast, but from her ability to envision two very different productions of the same show, using actors whose age and theatrical experience vary wildly.

 Beth Noelle as Lucy

July 20th, we saw the “Charlie” cast, comprised primarily of actors in their mid- to late-teens. July 27th, we saw the “Snoopy” cast, peopled by seasoned actors, some of whom bring decades of experience and formal training to the stage. And, of course, all of them are playing the roles of Charles Schulz’s “Peanuts” gang – five very young children and one world-weary beagle.

“You’re A Good Man, Charlie Brown” is a musical about children, and it is accessible to young children (there were several in the audience, and they clearly enjoyed the show) but it is not, strictly speaking, a “children’s show” any more than the “Peanuts” comic is a “children’s” strip.  Through a series of vignettes, some philosophically whimsical and some extremely funny, the actors explore the role of friendship and peer relations in guiding children down the often-confusing path toward adulthood.

Scott Kelly as “Snoopy”

“CHARLIE” CAST

Jimmy Holland’s “Charlie Brown” anchors the show with convincing angst; his fine singing voice shines in both ensemble and solo vocals. Whitney Martin (“Lucy”) plays Charlie’s nemesis to the hilt – brash, brazen, and self-centered. Her extensive theatrical background really shows – she projects a great speaking and singing voice, and her comic timing is excellent. Mitchell Kelly (“Schroeder”) creates the proper intellectual feel for a child prodigy, while reacting with boyish horror to Lucy’s undying passion. BCT veteran Scott Kelly (“Snoopy”) gets the best laughs, many in response to his flamboyantly physical dancing and his comic delivery, particularly when he howls. Rafe Larsen (“Linus”) is also a scene-stealer when he dances – his gangly frame and supple partner (his cherished blanket) allow him to explore a variety of terpsichorean oddities to great comic effect. Last, but by no means least, Ashlee Waldbauer (“Sally”) brings to the role a charmingly childish locution with a solid singing voice and an impossible level of cuteness.

“SNOOPY” CAST

Tom Young as Charlie Brown

Advance note to directors planning a show for July, 2016 – do NOT schedule your opening for the same date as the opening of the summer Olympics! The “Snoopy” cast’s first night audience, a small but mighty band of theater lovers, was treated to a gold medal performance that not only shone, it sparkled. The vocal ensemble work is polished and powerful – by itself, worth the price of admission. Music director Josh Pounders (who also plays Snoopy) is to be congratulated for his fine work in shaping the vocal dynamics of this gathering of experienced talent. 

Pounders’ performance as Snoopy is also impressive – his jerks, twitches, and scratching capture the essential “dogness” of the role, his fine tenor voice anchors much of the vocal ensemble, and he delivers a truly memorable Red Baron monologue. Nick Hauser’s Schroeder is unlike any we have seen before – he brings to the role an intensity that made us really believe he is obsessed with Beethoven and all things arcane (especially his Robin Hood soliloquy in “The Book Report”). Beth Noelle (“Lucy,”) while hopelessly enamored of Schroeder, never loses sight of her primary obsession with herself. She IS the queen, and never allows the audience to forget it. Lucy’s little brother Linus, as portrayed by Lincoln Thomas, is wise beyond his years and provides a perfect foil to his sister’s egomaniacal ranting. Jessica Reed (“Sally”) is simply hilarious – her timing is precise, vocal inflections spot-on, and she shows great skill in physical comedy. Tom Young is superbly cast as Charlie Brown – alternatively pathetic, philosophical, self-effacing, yet eternally hopeful that despite evidence to the contrary, things will somehow work out right. Young is a fine actor who brings a surprising depth of character to this comic-strip role.

Mitchell Kelly (“Schroeder”) and Whitney Martin (“Lucy”)

Accompanist David Rivas is the only performer who appears in both casts, and for this we are immensely grateful. He is a superb musician whose deft piano work moves the show along as surely as Hoelscher’s fine direction.  The sets are simple but effective, appropriate to the minimalist style of Schulz’s comic strip.

The two casts are alternating dates throughout the run of the show, so there is ample opportunity for “Peanuts” fans, musical theater buffs, and those wishing to introduce their kids to live theater to see either (or both!) casts.

“You’re A Good Man, Charlie Brown” is playing at the Beaverton City Library Auditorium through August 5^th. Remaining performances of the “Charlie” cast are 8/3 at 8:00 p.m. and 8/5 at 2:00 p.m.  The “Snoopy” cast appears 7/27 at 8:00 p.m., 7/28 at 2:00 p.m. and 8:00 p.m., 7/29 at 2:00 p.m., and 8/4 at 2:00 p.m. and 8:00 p.m.

The Sound of Music at Broadway Rose

Broadway Rose hits all the right notes with a classic

A 'flawless' Maria leads the production that boasts impressive sets and some 'unexpected' yet welcome characterizations

By Tina Arth and Darrell Baker

Within the last two weeks, we have had the honor of seeing the current generation of von Trapp Family Singers (they were absolutely fantastic!) and the pleasure of seeing Broadway Rose’s fine production of “The Sound of Music” – the Rodgers and Hammerstein classic loosely based on the story of the original singing von Trapp family.

Perhaps more than any other classic Rodgers and Hammerstein musical, “The Sound of Music” is a singer’s show, and thus a perfect fit for Broadway Rose. Under the musical direction of Alan D. Lytle, the vocal ensembles were often stunning, especially the numbers featuring the amazing harmonies and dynamics of the nuns’ chorus. Lytle also capitalized on the singing ability of his leads, most of whom delivered consistently superb solo performances.

Leah Yorkson’s “Maria” was a delight – charming and vocally flawless. Her playful interaction with the children captured the essence of Maria’s duality – a naïve child-woman able to relate to the youngest, mentor the older children, and ultimately respond passionately to Captain von Trapp. In addition, she’s a first-class trouper whose professionalism shone during recurring microphone problems in the first act (which happily were resolved by intermission). Imagine singing “Lonely Goatherd” to a packed house when your mic fails (and the other seven don’t). Without missing a beat, she amplified her projection and more than held her own. Kudos also to conductor Lytle and his orchestra for immediately adjusting the musical volume.

Isaac Lamb gave one of the best interpretations we have seen of Captain von Trapp – less martinet and more paternal, which made his growing affection for Maria more believable. Lamb made it easy to understand why, despite several years of emotional remoteness, his children still eagerly sought his attention and approval. In addition, his smooth baritone added a powerful foundation to the ensemble numbers.

David Sargent (“Max Detweiler”) and Jami Chatalas Blanchard (“Elsa Schrader”) lent their considerable comedic talents to the production, taking a bit of the edge off the descending darkness of the Nazi takeover. Sargent’s “Max” was urbane, effete, and self-effacing without going over the top, and Blanchard’s “Elsa” was more self-consciously wry than devious and scheming – an unexpected and welcome touch.

Other standout performances included Lindsay Jolliff (“Liesl”) and Collin Carver (“Rolf”), whose rendition of “Sixteen Going On Seventeen” gave them the opportunity to display both their vocal and dance skills. Margie Boule (“Mother Abbess”) soared in her rendition of “Climb Ev’ry Mountain,” but her singing was not the only strength she brought to the role – she displayed a sensitivity and empathy that really brought the character to life. Of course, the von Trapp children en masse were bubbly and charming, and their enthusiasm kept the audience engaged throughout.

Director Sharon Maroney set a rapid pace that kept a long show moving nicely (the production included all of the songs written for the original Broadway cast). Her grasp of both the characters and the era ensured that her actors conveyed the show’s many themes. As we have grown to expect with Broadway Rose, the sets and lighting were superb.

For those who are not familiar with “The Sound of Music” this is a great introduction – and for those who know and love the show, it is a lovely visit with a dear friend.

“The Sound of Music” plays June 28^th through July 22^nd at Tigard High School’s Deb Fennell Auditorium.  Evening performances are Thursdays through Saturdays at 7:30 p.m. Matinees are at 2 p.m. on Sundays, and on Saturdays, July 14 and 21. The Deb Fennell Auditorium is located at 9000 SW Durham Road in Tigard. Tickets start at $30 for adults, with discounts available for groups and youth. For a full listing of show performances or to order tickets visit www.broadwayrose.org or call the box office at 503.620.5262.

'The 39 Steps' at Theatre in the Grove

Dennis Kujawa (left) as Hannay draws suspicion from salesmen
Zachary Centers and Justin Canfield.



Theatre in the Grove takes '39 Steps' Toward Comedic Perfection

By Tina Arth and Darrell Baker

Imagine Harpo and Chico Marx (if Harpo talked) as 50% of the cast in an English drawing room murder/mystery.  Add a leggy cross between Dietrich, Garbo, and Lucille Ball. Mix thoroughly with one poor sucker of a straight man, and you have a pretty clear picture of the marvelous cacophony that emerges from Theatre in the Grove’s current production of “The 39 Steps.”

Centers (left) takes on a variety of roles
opposite straight man Kujawa (right).

    
     The story is, to a large extent, irrelevant – the show exists as a vehicle for four hard-working actors and one sound effects guy to have an exceptional amount of fun on stage. In this farce based on a 1935 Hitchcock movie based on John Buchan’s 1915 novel, a befuddled Canadian is lured from London to Edinburgh on a spy quest somehow related to 39 Steps and the murder of the mysterious Annabella. Mayhem ensues, and the four actors face the challenge of leading the audience through a chaotic maze of plot twists, quick changes, dreadful accents, and belly laughs. Luckily for all of us, the Theatre in the Grove cast is up to the task.

     Dennis Kujawa takes on the thankless role of the straight man, Hannay, but still manages to earn his share of laughs – particularly in the physical comedy of the early scenes where he narrowly eludes a menacing cigarette holder only to find himself trapped in an easy chair beneath the rigid body of the newly-deceased Annabella. As the only character in the production who plays only one role, he provides a modicum of, if not sanity, at least continuity.

Kristen Behlings (left) impresses in her first
production with Theatre in the Grove.

     Kristen Behlings brings a wealth of experience and exceptional versatility to the stage as she moves from femme fatale Annabella to the oh-so-proper Pamela to horny Scotswoman Margaret. In her first production at TITG, she delivers a variety of accents, displays exceptional physical agility (wait until you get to the scene with the handcuffs!), and shifts seamlessly from one stereotype to the next. Whatever she’s doing, she is consistently hilarious.
   
     Zachary Centers and Justin Canfield are only identified in the program as “Clown” and “Clown” – thus, we have no clue about who was who. Luckily, it doesn’t matter – they were both funny.  The two quick-change artists play a plethora of roles. Need spies? Burglars? Conductors? Little old ladies? Cops? Doddering innkeepers? The world’s greatest memory expert?  Just send in the clowns! Gender, age, occupation, nationality, even height are no barrier as long as they have enough hats, wigs, skirts, and falsies – and at least 3 seconds in which to reinvent themselves.

Canfield (left) warns of interferring
with the 39 Steps.

      The show is fast-paced, and as with all comedy, timing is everything. Director Dan Harry obviously understands this precept, and draws from his cast exactly the right mix of slapstick and melodrama. With the assistance of Mark Ferris (listed in the program as “Foley Artist” but actually a one-man special effects team), Barlow provides the Forest Grove audience with a memorable comedic experience.

Theatre in the Grove’s “The 39 Steps” runs through June 17^th, with performances at 8:00 pm on Friday and Saturday nights and 2:30  p.m. Sunday matinees.

Westside Stage: Beaverton Civic Theatre

'The Miracle Worker' Works for BCT

15-year-old Hayley Rousselle gives a "flawless" performance as Helen Keller.

By Tina Arth and Darrell Baker

Beaverton Civic Theatre’s second show of the season, “The Miracle Worker,” opened to a full house last Friday – and garnered a much-deserved standing ovation at the end of Act III.

 The classic play is favored by high schools and community theater groups primarily because of the power of the story but also, in part, because it can be done with minimal sets in a restricted space. The show rises (or falls) on the strength of its cast, with few external bells and whistles to augment the individual performances. Director Doreen Lundberg has assembled a wonderful cast and draws uniformly skillful performances from her leads and supporting actors.

Tonja Schreiber (left) as Annie Sullivan

“The Miracle Worker” revolves around the dramatic interaction of a young Boston-Irish teacher, Annie Sullivan, and her charge, ten-year old Helen Keller, who is locked within herself by a lifetime of blindness and deafness. Tonja Schreiber (“Annie”) shows impressive power in her portrayal of the fiercely determined neophyte teacher, fresh out of school herself and sent to 1880’s Alabama to work with the most challenging subject imaginable. Her task is complicated by the good-hearted but obstructive indulgence of Helen’s family, who have made no effort to discipline or control their daughter. Schreiber manages to convey the obstinate determination of the young teacher while revealing the self-doubt that plagues her character as she battles on in her quest to liberate Helen from the prison of her disability. Schreiber also shows admirable consistency and restraint in her Irish accent – it is subtle enough not be distracting or comically stereotypical.

Rousselle embodies the willful Keller.

Fifteen-year-old Hayley Rousselle gives, to our eyes, a flawless performance as young Helen Keller. Although the challenging role may appear to be almost entirely physical, Rousselle captures, in addition, the keen intelligence trapped inside Helen’s almost impermeable shell. Through 2 ½ hours of nearly constant presence on the stage, Rousselle is able to faithfully express for the audience a sense of what it must have been like for the confused, willful, and often terrified Helen Keller before she learned to communicate with others.

 Despite the story’s inevitable focus on the two main characters, “The Miracle Worker” is by no means a two-person show. At the point that Annie Sullivan came into her life, Helen was not, in fact, a blank slate – her persona had been shaped by her family’s loving but fruitless efforts to help her. At the story’s beginning, the parents are emotionally exhausted by years of false hopes raised by quacks and ineffectual doctors. Don Bellairs (Captain Keller) is, on the surface, a classically domineering Southern patriarch – but time and again he exposes his core of solid marshmallow by yielding to Sullivan’s demands. Even in his troubled relationship with his son James, he reveals his love for his family and makes confused but sincere efforts to get it right. Bellairs is so convincing in expressing this duality that one suspects that these qualities, like his Southern accent, are real.

Don Bellairs as Captain Keller.

Valarie Griffiths Brown portrays Kate Keller (Helen’s mother) as heart-breakingly optimistic. Despite being worn by years of attempts to cope with the extraordinary demands of raising young Helen, she immediately opens herself up to Annie Sullivan’s unorthodox methods. Brown captures the archetypal “steel magnolia” – appearing to yield to her husband while using her quiet determination to preserve her family.

 After seeing Scott Kelly (James Keller) in several BCT comedy productions, it was nice to see him in a serious dramatic role. Helen’s stepbrother James occupies a tough place in the family dynamic – he carries the burden of being the eldest son, desperate in his inability to live up to his father’s expectations, bitterly unwilling to embrace his stepmother as a surrogate parent, and resentful of the family’s focus on Helen and her special needs. Kelly effectively conveys the challenges inherent in his awkward position, and allows the audience to empathize with him despite his oft-sardonic manner.

 There were a few small opening night glitches, including the occasional muffed line. More important, there were some problems with the audibility of recorded sound bites. Since Annie’s back story is heavily dependent on the sound bites, we hope that these problems will be quickly addressed.

 Over the past couple of years, we have seen steady progression in Beaverton Civic Theatre’s offerings – and “The Miracle Worker” is another solid step toward excellence in local community theater.

“The Miracle Worker” is playing through May 13^th at the Beaverton City Library auditorium. Performances are at 8:00 p.m. on Friday and Saturday, 2:00 p.m. on Sunday.