HISTORIC EVENT DOESN’T WORK AS PLAY IN “DREYFUS IN REHEARSAL”

“DREYFUS IN REHEARSAL”
Arizona Jewish Theatre Company, John Paul Theatre, Phoenix College
Phoenix, AZ

There’s a fascinating historical story behind “Dreyfus in Rehearsal,” Arizona Jewish Theatre Company’s current production, but playwright Jean-Claude Grumberg and adapter Garson Kanin never link the history effectively with a small Polish theater troupe that is presenting a play about it.  The result is a long, slow, amazingly dry, and lifeless play.

There are some awkward stabs at making the “Dreyfus Affair,” a rigged trial of French-Jewish Army Captain Alfred Dreyfus in the 1890s, alert Jews in the play’s 1931 Polish setting of upcoming anti-Semitic activities.  The play meanders, though, and rarely connects the historic event and the Polish situation effectively.  It’s easy to see how the actors fail to grasp the historic consequences and how they miss the parallels to their own situation even though one scene hits them over the head with the reality.  Toward the play’s end, the director lectures the audience, in a terrible soliloquy, about the play’s purpose.  That the play has this gratuitous scene is a testament to how bad the play is.

Couple the mediocre dramatic treatment with a weak production and you have sleep-inducing dryness.  Ben Tyler’s lackluster staging never stimulates the plot into anything interesting and bland performances fail to breathe life into the performers or the historic roles they portray.

Of the nine person cast, only Charles Sohn squeezes a tad of excitement into Arnold, an older actor who seems concerned about the real incident.  Michael Cortez’s lifeless director, Morris, has no enthusiasm for the play and that rubbed off on the acting ensemble.  Ted Raymond’s Zalman wanders around with nothing to do or add as the theater manager, while Will Hightower, who plays Dreyfus through the actor Michael, fails to use the characters’ challenges to make him interesting.  The rest of the cast amble through the production adding nothing.

There are much better plays that deal with significant issues impacting Jewish culture and history but “Dreyfus in Rehearsal” takes what should have been an interesting premise and treats the material so didactically that it’s like reading a boring historical lesson.  The play needs dramatic spark to turn it into something viable.

“Dreyfus in Rehearsal” sounded so much better on paper than in production.  It continues through February 5.  For tickets, call the Arizona Jewish Theatre Company box office at 602-264-0402 or order tickets online at www.azjewishtheatre.org.

Grade: D

**~~~ (2/5)

THEATER WORKS “DIXIE SWIM CLUB” IS FUNNY AND WELL STAGED

“THE DIXIE SWIM CLUB”
Theater Works
Peoria, AZ

There’s a wonderful surprise for audiences at Theater Works in the funny and beautifully presented “The Dixie Swim Club.”  The Jesse Jones, Nicholas Hope, and Jaime Wooten comedy deals with the oft tackled subject of friendship but the comedy is loaded with genuine laughs, the story approaches the familiar subject differently than similar plays, and the staging shines with glowing professionalism.

In it, five longtime women friends meet each August at a North Carolina beach cottage to jab and jibe the others about what they’ve been doing, to garner sympathy for challenges they’ve faced, and to know that their friends are always there for them.  The women experience standard life tests related to men, families, careers, health, and lifestyles.  As they age – the play covers over 50 years – they face these trials and tribulations but the authors make it funny while creating poignant reflections that stir emotions.

You get to know these women, their quirks, and their weaknesses but unexpected things occur as the relationships change and grow.  You get attached to them.  As they age, the hilarity gives way to touching moments as even the most superficial of the group matures.  The play stresses the importance of having, maintaining, and growing friendships and relationships outside your immediate family. 

The cast, composed of two professionals and three community performers, couldn’t be better.  My companion kept checking her program to remind herself which performers were professional because the ensemble is so good and each is so right for their role.

Cathy Dresbach delivers her comedy impeccably and artfully as she plays accident prone and family challenged Vernadette.  The in-charge Debra Rich is the brusque and lawyerly Dinah, Susan Sindelar plays organizer Sheree with the right touch of control, and Janine Smith plays the flirtatious and sexually motivated Lexie with perfect irreverence.  Shari Watts plays former nun Jeri Neal with an explosion of opportunity as she discovers life after departing the church.

Director Bob Sorenson keeps the comedic timing immaculately as the play moves along with swift abandon but he makes sure that the later scenes play with honest sincerity as the bonds grow and the visits importance increase.

The production is presented in the intimate McMillin Theater at the Peoria Center for the Performing Arts and audiences are drawn into the action almost as if we are sitting in the beach house with these women as they pick, poke, but exude love and admiration for the others.

“The Dixie Swim Club” is a thoroughly entertaining but thoughtful show that continues through February 19.  For tickets, call the Theater Works box office at 623-815-7930 or order tickets online at www.theaterworks.org.

Grade: B

****~ (4/5)

PHOENIX THEATRE’S “THE MARVELOUS WONDERETTES” FUN & ENTERTAINING

“THE MARVELOUS WONDERETTES”
Phoenix Theatre
Phoenix, AZ

There’s a fun 1958 Senior Prom at Phoenix Theatre in the entertaining “The Marvelous Wonderettes.”  The musical tells about a quartet of female high school singers who entertain at the prom by presenting popular musical numbers from that year.  By the second act, 10 years have passed and the girls are now housewives, mothers, and career earners who gather at a high school reunion and pick up where the group left off as they sing new hit songs.

There’s some story as the girls struggle with typical teenage challenges like boys and it’s interesting to see how the women turn out during the reunion.  But the superficial and predictable story is inconsequential because the show’s selling point is the wonderful succession of pop hits that entertain mightily as the top notch performers sing the familiar songs.

There’s not much director/choreographer Robert Kolby Harper can do with the Roger Bean created collection of tunes.  Harper does add lots of cute and entertaining little bits of comic business as the effervescent cast belts the tunes out with winning style and panache.  This isn’t a great musical but you can’t go wrong with the nostalgic entertainment.

Just a few of the song titles indicates how well the show captures the era’s music.  You can’t go wrong with “Mr. Sandman,” “Allegheny Moon,” “Secret Love,” “Sincerely,” “It’s My Party,” or “Son of a Preacher Man” among the over 30 songs the girls sing.

It’s impossible to single out any performer as they are all excellent creating and playing their characters and their singing is infectious and captivating.  Anya Absten’s Cindy Lou is the de facto group leader much to the chagrin of Katrina Hagofsky’s Betty Jean.  Cindy Lou steals Betty Jean’s boyfriend creating some tension, while Shayla Benoit’s Suzy seems to be a swinger but turns out to be the trapped housewife ten years later.  Jennifer Bennett’s prim Missy is the group’s goodie girl whose inhibitions stifle her desires to have fun.

Conductor Alan Ruch’s four person musical ensemble provides great backup and Carey Wong’s period sets and fussy frocks keep you in the period mood.  “The Marvelous Wonderettes” continues through February 5.  For tickets, call the Phoenix Theatre box office at 602-254-2151 or order tickets online at www.phoenixtheatre.com.

Grade: B

****~ (4/5)

STELLAR “SOUTH PACIFIC” AT ASU GAMMAGE

“SOUTH PACIFIC”
Broadway Across America – Arizona, ASU Gammage
Tempe, AZ

Is there anything better in theater than a stellar production of Rodgers and Hammerstein’s 1949 musical hit “South Pacific”?  That’s exactly what you’ll see at ASU Gammage where the captivating tour artfully recreates the 2008 Tony Award winning Lincoln Center Theater revival.

Everything about the Broadway staging was perfect from an impeccable cast, to the faithfully restored now-standard cuts, to the richness of Richard Rodgers score.  The production was staged magnificently by Bartlett Sher.  The tour captures that revival’s sheen with a flawless cast, a 30 piece orchestra, and most of the original sets and staging although the Broadway production team wasn’t involved.  We rarely get Broadway touring productions here that are this good.

The touching musical involves a couple of World War II romances set on two small Pacific islands.  The show was ahead of its time by dealing with bi-racial romances and revealing comically the corruption of American troops during the war.

The romances sell the show.  Nurse Nellie from Arkansas falls for French planter Emile but then has second thoughts because his two young children are part Polynesian.  Nellie’s prejudices get in the way until the planter leaves to help the military rid the area of Japanese soldiers.  Also touching is Lt. Joseph Cable’s infatuation with Bloody Mary’s native daughter, Liat.  Like Nellie, Cable’s been raised as a bigot.  Surrounding these romances are rowdy Seabees who add raucous humor.

Joe Langworth lovingly recreates the revival’s entertaining staging and musical numbers.  Although reduced for travel, the lush original set designs are almost intact and move with an elegant fluidity that makes the production cinematic.  The cast recreates the revival cast’s interpretations.  Katie Reid’s stalwart Nellie realizes her love for Emile supercedes her upbringing.  She sings with a pleasant abandon and lusty charm.  Marcelo Guzzo’s Emile is all suave masculinity and he sounds glorious in “Some Enchanted Evening” and “This Nearly Was Mine.”  Cathy Foy-Mahi’s earthy Bloody Mary captures her native energy while her “Bali Ha’i” impresses.  Shane Donovan’s stalwart Cable is infatuated with Hsin-Yu Liao’s captivating Liat, while Christian Marriner’s Luther adds comic splash.  John Mezzio’s orchestra plays remarkably and best, this tour’s impeccable sound system doesn’t allow a missed word.

If an impeccably staged and perfectly cast production of a classic musical is something you enjoy, get to ASU Gammage before Sunday when this stunning “South Pacific” closes.  For tickets, call the Ticketmaster box office at 800-982-2787 or order tickets online at www.asugammage.com.

Grade: A

***** (5/5)

CHARMING ATC “DADDY LONG LEGS” IS GENUINELY ROMANTIC

“DADDY LONG LEGS”
Arizona Theatre Company, Center Stage, Herberger Theater Center
Phoenix, AZ

“Daddy Long Legs” is a charming, refreshingly honest, genuinely romantic little musical that’s making its local premiere at the Herberger Theater Center in a lovely and touching Arizona Theatre Company production.  If a simple musical about a slowly evolving romance warms you, “Daddy Long Legs” is for you.

In it, orphan Jerusha Abbot is singled out for her outstanding educational accomplishments by wealthy Jervis Pendleton who decides to pay for Jerusha’s college with no strings except that she must write him regularly about her educational endeavors but she won’t receive any return notes.  And since this charming tale is based on the adored Jean Webster novel set in New England during the early 20^th century, there aren’t any bizarre sexual entanglements associated with Jervis’ generosity.  Of course, a touching romance evolves naturally and, even though you know early on that the pair will end up together, the journey to the inevitable is so endearing that you’ll be entranced by the pair’s meeting, wooing, and infatuation.

The novel has been lovingly adapted and winningly staged by famous musical theater director/creator John Caird who brought us such theatrical winners as “Les Miserables,” “Nicholas Nickleby,” and other stellar theatrical achievements.  The heart-tugging story is enhanced by Paul Gordon’s superb score that is filled with appealingly melodious songs.  Caird’s revealingly intimate staging is enhanced by a cast of show veterans who created these roles in earlier productions.  Musical director Laura Bergquist conducted a seven-piece ensemble that delivers the score with beguiling warmth.

Taking center stage are Megan McGinnis who shines as the unsophisticated but quick-learning Jerusha, and Robert Adelman Hancock who brings a debonair passion but lustily romantic flair to Jervis.  The two sing with emotional candor as they evolve into this naïve couple who discover life’s joys and what love brings to a true relationship.  The pair’s earnest acting is so genuine that you will be captivated by the pair’s evolving romance. 

You won’t find lushly romantic little shows like “Daddy Long Legs” in today’s often hard-edged theater world that often looks askance at relationships.  As you leave “Daddy Long Legs,” you’ll again believe in pairings that evolve slowly and without the clutter of the many complicating issues that cloud romantic liaisons today.

After a rather shaky start this season, with two less than winning productions, “Sherlock Holmes and The Adventure of the Suicide Club” and “God of Carnage,” it’s nice to have Arizona Theatre Company again delivering superb theater.  “Daddy Long Legs” continues through January 15.  For tickets, call the Arizona Theater Company box office at 602-256-6995 or order tickets online at www.arizonatheatre.org.

***** (5/5)

Grade: A

ACTORS THEATRE’S “HUNTER GATHERERS” HYSTERICALLY BIZARRE

“HUNTER GATHERERS”
Actors Theatre, Stage West, Herberger Theater Center
Phoenix, AZ

“Hunter Gatherers,” Actors Theatre’s hysterically bizarre new production, explodes all over the stage as its wacky, far-fetched hilarity keeps audiences in stitches.  In Peter Sinn Nachtrieb’s play two seemingly civilized and sophisticated couples get together for an annual joint anniversary celebration.  But when these couples join, their animalistic proclivities dominate and they do offensive things with each other.

The playwright suggests everyone stoops regularly to these basic desires and they complicate our lives.  The play dramatizes but Nachtrieb writes funny and humorous situations to illustrate his hypothesis.  Most scenes are loaded with continuous laughter as the mayhem plays out absurdly.

The play opens in Pam and Richard’s place.  It could be anywhere USA.  They are readying the annual wedding celebration they share with close friends Wendy and Tom.  Obsessed with a “Joy of Cooking” recipe, Richard wants to serve fresh lamb but their regular butcher’s cuts don’t measure up.  So Richard brings home a live lamb.  As Pam falls in love with the lamb, the slaughter grows challenging.  It sets the scene so that when their friends arrive, the couples go at each other.

The funniest tidbit is that this quartet of school buddies ended up with the wrong spouses.  The more sedate Pam goes better with the more conventional Tom, a successful doctor, and loud mouthed Wendy, with her exuberant sexual proclivities, fits perfectly with hot-to-trot Richard.  By the play’s end, wild things transpire before one character goes off to face new challenges and perplexities of life.

“Hunter Gatherers” isn’t for everyone but it makes its point well and cleverly amidst wonderful comic frivolity.  It’s something new and different as it slaps and bashes conventional relationships with satiric delight.

And the exemplary Actors Theatre production features Ron May’s cleverly brisk staging that makes the most of every wacky activity and fine local actors have fun with every bizarre incident as they use excellent farcical skills and display amazing energy, sparkle, style, and wit.

Cale Epps’ over-the-top Richard carry’s on with such brazen craziness that one wonders how Angelica Howland’s more stable Pam can stand him.  Yolanda London’s loud-mouthed and lusty Wendy plays hysterically off Toby Yatso’s sedate and slow to warm up wackiness as Tom.

Some good news.  Actors Theatre has raised $220,000 of their needed funding by year’s end so they will finish the current season.  Phoenix is a richer theater town because of Actors Theatre and with “Hunter Gatherers” you will see theater we probably wouldn’t get here without them.  “Hunter Gatherers” continues through January 15.  For tickets, call the Herberger Theater Center box office at 602-252-8497 or order tickets online at www.actorstheatre.org.

Grade: B

****~ (4/5)

“SISTER’S CHRISTMAS CATECHISM” NOT REALLY THEATER JUST STAND-UP COMEDY

“SISTER’S CHRISTMAS CATECHISM: THE MYSTERY OF THE MAGI’S GOLD”
Scottsdale Center for the Performing Arts
Scottsdale, AZ

Patti Hannon has Sister, the portly, sharp-witted Catholic nun teacher down to a science.  She’s played the part in several variations of the one-woman show at the Scottsdale Center for the Performing Arts since 2000.  Before Scottsdale, Hannon played it in Boston, Chicago, and New York.  The current version, “Sister’s Christmas Catechism: The Mystery of the Magi’s Gold,” is a revival of the popular holiday show that’s played many times before.

“Sister’s” shows aren’t really theater but are stand-up comic routines set in a strict Catholic school class.  This one teaches about Christ’s birth as Sister solves the search for the Magi’s gold.

Sister sprinkles in lots of slams, jokes, and wisecracks about the bizarre things that seem to happen in rigid Catholic schools plus there’s lots of audience by-play.  Hannon is a master at chatting with theatergoers who become her students so much of the show is improvisation.  Although Hannon works from a script by Maripat Donovan, Jane Morris, and Marc Silva, I suspect no two shows are the same.  The best performances, no doubt, come from the audiences who give Hannon the most stupidity as she twists the material into funny bits and inane situations.

At the Christmas show’s opening night, Hannon was blessed with some wacky people who sat near the front and were anxious to have Hannon pick on them.  You actually wonder if these funny audience members are plants who are really part of the show to provide Hannon with the endless malarkey.

The second act gets draggy as Sister casts a living Nativity.  After using eager audience members who seem happy to act like fools, Sister costumes and poses them.  It’s initially funny but it grows contrived, lasts way too long, and gets tediously repetitious.  The audience laughed at the stupidity even though it’s not really that clever partly because Hannon is a good ring leader who treats her volunteers with respect.

Don’t go expecting “Sister’s Christmas Catechism…” to be real theater; go instead if you are entertained by these comic shenanigans and if this inane banter entertains you rather than bores you with the bland, expected, and predictable humor.

“Sister’s Christmas Catechism: The Mystery of the Magi’s Gold” is OK nightclub entertainment that lasts too long at well over two hours and the Christmas version continues through December 23.  The show then takes a break until January 21 when two versions play alternate performances until March 26.  For tickets, call the Scottsdale Center for the Performing Arts box office at 480-499-8587 or order tickets online at www.ScottsdalePerformingArts.org. 

Grade: C

***~~ (3/5)

“NUTCRACKER” IS OUTSTANDING; “A CHRISTMAS STORY” IS NOT

Today, I’m reviewing two holiday shows, one new and one celebrating its 26^th anniversary.  Phoenix Theatre is mounting a stage version of the popular 1983 film, “A Christmas Story,” and Ballet Arizona is presenting its annual “The Nutcracker.”   “The Nutcracker” is the Valley’s best holiday show and let’s hope “A Christmas Story” doesn’t become an annual Phoenix Theatre holiday tradition.

“THE NUTCRACKER”
Ballet Arizona, Symphony Hall
Phoenix, AZ

If you want spectacle, grandeur, beauty, and gorgeous music with your holiday entertainment, you can’t go wrong with “The Nutcracker.”  The production’s brilliant perfection gets better every year from stunning sets, elaborate costumes, masterful playing of Tchaikovsky’s lushly melodic score by the Phoenix Symphony’s, superb Ballet Arizona dancing augmented by accomplished student dancers, but most to Ib Andersen’s magnificent choreography and concept, “The Nutcracker” is a joyous holiday winner.

Solo and ensemble dancing achieves the ultimate precision and the student dancers shine.  On opening night some dancing was breathtaking especially Jillian Barrell’s Sugar Plum Fairy and Gleidson Vasconcelos’ Cavalier.  Casts rotate at the many performances so endless combinations occur.  Ballet Arizona’s “The Nutcracker” is in the same leagues as New York and San Francisco’s prestigious holiday productions.

The familiar story about Clara’s Christmas Eve dream, stimulated by her nutcracker gift, comes to dramatic life in the first act and is topped in the second act with the radiant specialty dances.  Ballet Arizona’s “The Nutcracker” continues through December 24.  For tickets, call the Ballet Arizona box office at 602-381-1096 or order tickets online at www.balletaz.org.

Grade: A

***** (5/5)

AND

“A CHRISTMAS STORY”
Phoenix Theatre
Phoenix, AZ

The less said about the unfortunately hokey “A Christmas Story” script and the sloppy Phoenix Theatre production the better because this tired and dull stage treatment lacks the film’s magic.  The audience travels on young Ralphie’s holiday journey during the ‘40s to get a BB gun for Christmas.  The story should be funny and provide a nice historical glimpse into what the holidays were like in these simpler times.  Author Jean Shepard narrated the film’s story but the on stage Narrator, weakly played by Harold Dixon, doesn’t invite audiences welcomely into the adventure.  Pasha Yamotahari’s lackluster staging, dark sets, and blah costumes spark no holiday spirit and don’t make audiences care much about Ralphie.  Even the pros that play Ralphie’s parents, Dion Johnson and Debby Rosenthal, can’t save this still born production and the children actors are mediocre at best.

Audiences seemed lukewarm at the performance I attended.  For some reason, “A Christmas Story” has been extended to December 24.  For tickets, call the Phoenix Theatre box office at 602-254-2151 or order tickets online at www.phoenixtheatre.com.

Grade: D

**~~~ (2/5)

STAGE “WHITE CHRISTMAS“ MISSES FILM STARS DYNAMIC PERSONALITIES

“IRVING BERLIN’S WHITE CHRISTMAS”
ASU Gammage
Tempe, AZ

The 1954 movie musical “White Christmas” is a holiday tradition at my house.  Every Christmas Eve, the DVD starring Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen is the finishing touch to a festive celebration.  Irving Berlin penned the title tune in 1942 at the Arizona Biltmore.  The stage version, now at ASU Gammage through Sunday, was born in 2008 but, like the film, is only viable during the holidays.

On stage, it’s a big, splashy, and colorful extravaganza with elaborately choreographed production numbers.  There are small, inconsequential differences from the film story but the cast, while talented, misses the dynamic personalities of the four film leads.  In fact, much in the stage version seems to take on the film’s character but it lacks the sparkling pizzazz that dazzles on film.

“White Christmas” has two silly relationships between entertainer Bob Wallace, his partner, Phil Davis, and the Haynes, a sister act.  Betty links with Phil and Judy woos Bob.  Misunderstandings threaten the pairings, but get resolved resulting in two happy couples.  Throw in World War II patriotism where Phil and Bob fought under General Waverly who’s purchased a Vermont Inn run by the bossy but lovable Martha Watson.  That’s the story, one like so many others from the ‘50s.

This mundane plot frames several outstanding Irving Berlin songs that prompt the intricate and brassy musical numbers.  The songs and production numbers are what make “White Christmas;” not the limpid story.  Everyone heads to Vermont where the sisters perform a holiday gig and the guys bring their big musical entertainment to save the struggling lodge where it hasn’t snowed.  The weather finally cooperates and the show saves the Inn.  The guys call their soldier buddies who attend and several Berlin tunes, not in the film, are added.  The best production number is “I Love a Piano” but the finale featuring the title song disappoints due to its brevity and lack of grandeur.

Stephen R. Buntrock’s Bob is quite a crooner, while David Elder’s Phil dances with verve and polish.  Stefanie Morse’s Betty captures Vera-Ellen’s spunky exuberance and Shannon M. O’Bryan is a sophisticated, attractive, and poised Judy.  All four leads sing and dance well.  Best, though, is Ruth Williamson’s Martha, a spunky, opinionated, but truthful Inn manager.  She’s the only performer who outdoes the film’s Mary Wickes.  The ensemble sings and dances with dazzling style, energy, and excitement.

Flimsy sets wobble but vivid costumes instill the period look and add some visual dash.

The stage “White Christmas” entertains but less successfully than the superior film.  It earns three stars out of five.  It’s cheaper and more fun to watch the DVD.  It continues at ASU Gammage through Sunday, December 11.  For tickets, call the ASU Gammage box office at 1-800-982-2787 or order tickets online at www.asugammage.com.

Grade: C

***~~ (3/5)

Chris Curcio

This review aired in a different version from the modified review below on KBAQ December 5, 2011

WACKY, IRREVERENT “MILK, MILK LEMONADE” SAYS IT’S OK TO BE GAY

“MILK, MILK LEMONADE”
Stray Cat Theatre, Tempe Performing Arts Center
Tempe, AZ

“Milk, Milk Lemonade,” Stray Cat Theatre’s latest, is a wacky, irreverent view of a young gay boy trying to live in the conventional world on his grandmother’s chicken farm.  It tells us it’s OK to be gay even if society doesn’t approve.  There’s lots of weirdness in how playwright Joshua Conkel’s tells this story and how the Stray Cat production looks at this situation that has been examined a lot recently.

For starters, casting is unusual.  A man plays the boy’s Nanna and a woman plays Emory, the boy.  There’s a talking hen, Linda, you come to know and love so when the chicken faces the expected slaughter, there’s a pang of sadness.  There’s Emory’s friend, Elliot, who the grandmother wants her grandson to emulate, but Elliot has his own secrets – he’s also gay, lusts after Emory, and loves to set fires.  Finally, there’s a madcap narrator, Lady in a Leotard, who is also played by a man.  Nothing conventional here and the short play takes an unusual route to discuss emerging gayness in young people.

The Stray Cat staging is fine.  It’s well acted, cleverly directed, and creatively conceived.  Louis Farber stages it with an exhilarating pace making the play breeze by effortlessly as it spins its bizarre storytelling.  The director is blessed with a bright barnyard set that allows the various plot machinations to play well and a chorus of chickens is crafted using little models.

Best is the able cast.  Kaleena Newman plays Emory with just a hint of gayness.  There’s nothing blatant or outlandishly over-the-top in her playing of this gay kid.  And you forget quickly that an actress plays Emory.  Sam Wilkes shines as Nanna sashaying around concerned that her grandson might not be straight but flipping a bird to his gender.  It’s a hoot of a performance.  Rod Amez suggests almost immediately that he has his eye on Emory but the cautious confirmation still comes as a surprise as this character could be either straight or gay.  Molly Kurtz clucks up a storm as Linda, the chicken, as she endears herself to audiences.  Finally, Michael Thompson has a field day with the Lady in a Leotard.  He’s plays the character proudly as he explains things to the audience, translates Linda’s chicken clucks, and keeps us moving ahead with Conkel’s message.

“Milk, Milk Lemonade” makes an excellent case that gays are no different than others and should be entitled to live their lives and pursue their loves without societal judging, but this oft told message is looked at uniquely here.  “Milk, Milk Lemonade” continues through December 17.  For tickets, call the Stray Cat Theatre box office at 480-634-6435 or order tickets online at www.straycattheatre.org.

Grade: B

****~ (4/5)