The Dixie Swim Club, currently playing at Swift Creek Mill Theatre, is “The Golden Girls,” “Designing Women” and “Steel Magnolias” all rolled into one. This is not surprising since one of the writers, Jamie Wooten, also wrote for “The Golden Girls.”

The play follows the friendships of five classically southern women, who met on their college swim team in North Carolina. Every August, they hold a reunion at a cottage on the beach in the North Carolina Outer Banks. The action takes place when the women are 44, 49, 54 and 77. It shows how the bonds of friendship and team camaraderie stay with them through the good times and bad; through love and loss; in sickness and in health.

Sheree (Joy Williams) was the team captain, who still tries to run and organize everything. Lexie (Georgia Rogers Farmer) is the “Blanche” of these Golden Girls; forever obsessed with sex and a nip and tuck to stay young and beautiful. Vernadette (Jennifer Frank) is the long-suffering, hard luck case who keeps her sense of humor while weathering everything life throws at her. Dinah (Jody Strickler) is the “Dorothy” of the group; a strong, independent woman who is married to her legal career. Jeri Neal (Jacqueline Jones) comes close to being the “Rose” of the group — sweet, naïve and optimistic.

Tom Width’s direction keeps the dialogue moving and the action flowing as the women throw out the frequent set-ups, zingers and one-liners. While all the women display exceptional comedic timing, Frank’s dead-pan humor brings the biggest laughs. All five also admirably portray the women over 33 years, with minimal time for costume, wig and make up changes between scenes, but it is Farmer who is mesmerizing as she makes Lexie get “younger” through surgical enhancement and then age gracefully and believably.

Width’s set uses the wide, shallow stage well and creates a realistic bungalow feel through accents and terraces. Joe Doran’s lights enhance the set, especially with blue lights representing the reflection from the water. There were a couple of technical drawbacks, however, with lights reflecting off the windows, and extremely long set changes in the middle of each act.

It was also a bit confusing trying to follow the time period, and I am assuming this was a script issue. If the initial scenes are around 30 years ago, then references to cell phone’s charging seemed odd.

The ending, which of course I will not reveal, is touching and sweet without being schmaltzy. The five women of The Dixie Swim Club show that while aging is no day at the spa; you can walk through it with dignity and laughter.

Photo Gallery

Jody Strickler as Dinah and Georgia Rogers Farmer as Lexie	Georgia Rogers Farmer as Lexie, Jennifer Frank as Verandette, Jacqueline Jones as Jeri Neal, Joy Williams as Sheree, Jody Strickler as Dinah
Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie	Jacqueline Jones as Jeri Neal and Jody Strickler as Dinah
Georgia Rogers Farmer as Lexie, Joy Williams as Sheree, Jacqueline Jones as Jeri Neal	Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie, Joy Williams as Sheree and Jacqueline Jones as Jeri Neal

Photos by Robyn O’Neill

The Cast

• Sheree: Joy Williams
• Dinah: Jody Strickler
• Lexie: Georgia Rogers Farmer
• Jeri Neal: Jacqueline Jones
• Vernadette: Jennifer Frank

The Crew

• Direction and Scenic Design: Tom Width
• Lighting Design: Joe Doran
• Costume Design: Maura Lynch Cravey
• Sound Design: Paul Deiss
• Stage Manager: Jesse Mattes
• Assistant Stage Manager: Cory Williams
• Props Coordinator: Tom Width
• Wigs: Robyn O’Neill
• Lights/ Sound Board Op: Becky Lussier
• Set Crew: Bob Foley, Jesse Mattes, Cory Williams, Eugene Mason
• Lighting Crew: Becky Lussier, Jesse Mattes, Stephen West

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Judy Garland is probably the most impersonated performer there is; making Swift Creek Mill Theatre’s production of Beyond the Rainbow a great challenge. Fortunately, Grey Garrett is up to the challenge of taking on the role.

While there was only one Judy, Garrett is fascinating in creating many of Garland’s mannerisms, body motions and facial expressions. Vocally, her performance contains much of Garland’s range and emotion. While she doesn’t always reach the depths of Garland’s vibrato, and it is clear you are not listening to the legend herself, she is believable and authentic in her characterization.

Beyond the Rainbow uses Garland’s famous 1961 come back concert at Carnegie Hall (slightly before my time) to frame Garland’s life story. Through brief vignettes, writer William Randall Beard shows the pain and turmoil Frances Gumm went thru to become the emotionally damaged Judy Garland. The portrayals of each chapter of her life shows what lead up to her committing suicide at such a young age, as she desperately sought someone to love her and someone she could lean on and rely on.

It is a bit of a conundrum to evaluate the performance of Grace Mincks as the younger Judy, starting at age 4. Clearly, it is a challenge for any one actress to cover over 30 years of a person’s life. Mincks is not very believable as a toddler, but as Garland ages, Mincks becomes more and more authentic both emotionally and vocally. While she does not come as close as Garrett in replicating Garland’s trademark vocals, she definitely has a powerful, booming and appealing voice of her own.

Lisa Kotula is stoic and cold as Garland’s stage mother, Ethel Gumm. Three other actors round out the cast playing multiple roles. The multi-talented ensemble add humor and energy throughout the play. Vicki McLeod is hilarious as Hedda Hopper, among others. Frank Creasy capably shifts between several of the villains in Garland’s life including Louis B. Mayer and Sid Loft. Richard Koch is spot on as Ray Bolger and George Jessell; but it is a bit creepy having him portray Garland’s father, Frank Gumm at some points, then make out with her as her husband Vincente Minelli in others.

One of the biggest weaknesses in this production however is in the technical areas. As even my 15-year-old son pointed out, Tom Width’s set is rather visually boring with just classic white pillars and a black back drop curtain. Joe Doran’s lights are very directional, causing the cast to often walk in and out of spotlights into darkness while still performing. Also, a center stage ramp, added to the smallness of the stage and tended to inhibit Garrett from turning some of the big numbers into the full-fledged productions they could have been.

Still, since Garland has been gone for 50 years, Garrett and Mincks’ talents make Beyond the Rainbow the closest we can come to experiencing the legend live today.

Photo Gallery

Grey Garrett as Judy Garland	Frank Creasy as Louis B. Mayer and Vickie McLeod as Mayer’s Assistant
Grey Garrett as Judy Garland, Lisa Kotula as Ethel Gumm, Grace Minks as Young Judy Garland, Frank Creasy as Louis B. Mayer, Richard Koch as Vincente Minelli	Frank Creasy as Sid Luft, Grey Garrett as Judy Garland, Grace Minks as Young Judy Garland

Photos by Robyn O’Neill

The Cast

• Judy Garland at Carnegie Hall: Grey Garrett
• Judy Garland in memory: Grace Mincks
• Ethel Gumm: Lisa Kotula
• Kay Thompson, Hedda Hopper, Mayer’s Assistant, Wardrobe Assistant: Vicki McLeod
• Stage Hand, Frank Gumm, Vincente Minelli, George Jessell, Ray Bolger, Mickey Rooney, Walter, Bob Hope, Reporter, Attendant, TV Director: Richard Koch
• Announcers, Lousi B. Mayer, Sid Loft, Manager, Reporter, Jack Haley, Minelli’s Trick: Frank Creasy

The Crew

• Director: Tom Width
• Musical Director: Paul Deiss
• Stage Manager: Tom Width
• Set Designer: Tom Width
• Lighting Design: Joe Doran
• Light Board Op: Becky Lussier
• Costume Design: Maura Lynch Cravey
• Sound Board Op: Stephen West
• Follow Spot Op: Jesse Mattes
• Props: Tom Width
• Photography: Robyn O’Neill

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Ah, the music of the ’50’s. As Artistic Director Tom Width says in the opening of Swift Creek Mill Theatre’s production of Life Could Be A Dream, they just don’t write them like that anymore.

Life Could Be A Dream is two hours of simple family fun entertainment. The plot of this jukebox musical, written by Roger Bean, creator of The Marvelous Wonderettes, is basically just a device to join a string of ’50’s hits. The unemployed Denny (Brian Baez) sits in his mom’s basement, planning to win a big radio singing contest with his nerdy friend Eugene (Ryan Lynch). The pair are joined by church choir boy, the always sweater vest wearing Wally (Jason Campbell) to form a harmonizing trio. When they look for a sponsor for the $50 entry fee, they call upon the daughter of a local auto repair business owner, Lois (Morgan Meadows) who brings along her father’s head mechanic and greaser, Skip (James Brock). Since “4”s are in, in the ’50’s (ala the 4 Tops and the 4 Seasons); Lois decides to add Skip to the group and thus we have Denny and the Dreams.

Some conflicts are added along the way. Each of the four guys has a crush on Lois; Skip is from the wrong side of the tracks, and none of the guys are very good dancers, but of course it all works out in the end.

Director Dennis Clark scores a casting hit with five phenomenal singers. Whether singing solo or harmonizing, they are always pitch perfect, high energy and entertaining. Even my 15-year-old rapper son was tapping and singing along! The live backstage band was spot on as well.

Sets at Swift Creek Mill Theatre are always impressive, and Tom Width’s ’50’s basement set continues to impress — right down to the wood paneling and the plethora of vinyl and chrome. Joe Doran’s lights really hit the mark, as well, setting mood and spotlighting each singer perfectly. Maura Lynch Cravey’s costumes are also period perfect and help establish the characters and mood.

This was the first time I partook of the “dinner” part of this dinner theater; and it was impressive as well. From the ambiance and the service to the food itself, the dinner thoroughly enhanced the experience. Having performed in dinner theaters myself, one of the added bonuses is often getting a cast or crew member as your server. For us, it was great getting to have James Brock as our server, which helped us see just how different he was in real life from the character he created on stage. (Also, the pickled watermelon was every bit as good as I had heard before dining there).

As spring arrives and we “spring forward,” venture down to Colonial Heights and take a step back in time; to a simpler time and a couple of hours of pure, charming entertainment.

Photo Gallery

Brian Baez as Denny; Ryan Lynch as Eugene	Brian Baez as Denny; Ryan Lynch as Eugene; Jason Campbell as Wally
Brian Baez as Denny; Ryan Lynch as Eugene; Jason Campbell as Wally; James Bock as Skip; Morgan Meadows as Lois	Jason Campbell as Wally; James Bock as Skip; Morgan Meadows as Lois; Brian Baez as Denny; Ryan Lynch as Eugene

Photos by Robyn O’Neill

The Cast

• Denny: Brian Baez
• Eugene: Ryan Lynch
• Wally: Jason Campbell
• Skip: James Brock
• Lois: Morgan Meadows
• Mrs. Varney: Morgan Meadows
• Bull’s Eye Miller: John Porter

The Crew

• Director/Choreographer: Dennis Clark
• Musical Direction: Paul Deiss
• Scenic Design: Tom Width
• Lighting Design: Joe Doran
• Costumes: Maura Lynch Cravey
• Technical Director/Stage Manager: Tom Width
• Props Coordinator: James Bock
• Stitcher: AliaRadabaugh
• Light Board Ops: Becky Lussier, Weston Corey
• Sound Board Op: Stephen West
• Set Crew: Jesse Mattes, Cory Williams, Noah Downs
• Lighting Crew: Becky Lussier, Jesse Mattes, Stephen West
• Photographer: Robyn O’Neill

Orchestra

• Reeds: Sheri Oyan
• Guitar: Sam Kindle
• Conductor/Keyboard: Paul Deiss
• Keyboard II: Susan M. Davis
• Drums: Nick Oyler

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

As I have said before, it is tough when reviewing some plays to try to block out prior iconic performances. When older people like me think of The Miracle Worker it is hard not to immediately think of Patty Duke and Anne Bancroft. Putting those thoughts aside, Swift Creek Mill presents a capable and interesting production.

While it is factual, educational and visually appealing, the production lacked the emotional attachments and dysfunction between the cast members that make the story so compelling. The individual performances were strong, but in a story where the family dynamics are quite complicated; the performers didn’t seem to quite gel together.

The role of Helen Keller is alternated between two young actresses. On the date I attended, Ellie Martin was mesmerizing as the young deaf, blind and mute child. She was especially convincing when Helen would have a tantrum or try to find ways to grunt and communicate.

Audra Honaker was spunky, energetic and convincing as Annie Sullivan. Her nervous energy and comedic timing worked well in portraying Helen’s young teacher. Tom Width was strong and sensitive both as Helen’s father, Captain Keller; and as the production’s director and scenic designer. Along with Lighting Designer Joe Doran he created a visually appealing presentation, which worked especially well in momentary freezes framed in spotlights that created portrait like tableaus. However, scene changes with the elaborate set sometimes slowed the pace of the production.

Width also used Swift Creek Mill’s new sound system well. Trains, crying babies and hoof beats sounded as if they were right in the room. Maura Lynch Cravey’s costumes also worked well to enhance the visual appeal of the production.

As a teacher and special educator, I would recommend this production especially for families and schools as it beautifully brings the story of Helen Keller to life.

Photo Gallery

Ellie Martin as Helen Keller and Audra Honaker as Annie Sullivan	Audra Honaker as Annie Sullivan and Isabella Cipollina as Helen Keller
Ellie Martin as Helen Keller, Addison Bills as Percy and Audra Honaker as Annie Sullivan	Audra Honaker as Annie Sullivan and Ellie Martin as Helen Keller
Sharlyn Bailey as Viney and Ellie Martin as Helen Keller

Photos by Robyn O’Neill

The Cast

• Helen Keller: Isabella Cipolina or Ellie Martin
• Captain Keller: Tom Width
• Kate Keller: Lisa Kotula
• Annie Sullivan: Audra Honaker
• Doctor: Kevin Grantz
• Viney: Sharalyn Bailey
• Percy: Donathan Patrick Arnold (Addison Bills-understudy)
• James Keller: Jesse Mattes
• Mr. Anagnos: Paul Deiss

The Crew

• Direction and Scenic Design: Tom Width
• Light Design: Joe Doran
• Costumes: Maura Lynch Cravey
• Stage Manager: Tom Width
• Assistant Stage Manager/Properties: Paul Deiss
• Light/Sound Board Op: Becky Lussier/Weston Corey
• Set Crew: Jesse Mattes, Cory Williams, Eugene Mason, Noah Downs

Disclaimer: Swift Creek Mill Theatre provided two complimentary show (not dinner) tickets to ShowBizRadio for this review.

As anyone who reads this site knows by now, I am a firm believer that one of the great things about Richmond theater is that there is such diversity in what is offered. There have been several phenomenal dramas already produced this season in Richmond; but my personal preference has always been musicals and comedies — and, as such, musical comedies.

After seeing The Drowsy Chaperone at Swift Creek Mill Theater; I now have a new favorite musical comedy! I have to state up front, not only did I thoroughly enjoy this production, but my 15-year-old son, Jeffrey, who has patiently been attending shows with me the last few weeks; gave it his hearty endorsement with “this is the best show yet!” (Guess I’m raising him right!)

Director Tom Width also got it right, casting this show with many of Richmond’s most talented musical comedy actors and actresses and placing their talents in the perfect roles.

The plot is basic — “A Man in a Chair” (Richard Koch) is sitting in his living room, sharing with the audience his favorite record album — the cast recording of a 1930’s musical The Drowsy Chaperone. As he plays the album and narrates, the actors appear in his living room and perform the show, with occasional commentary and interruptions from the man in the chair. The musical acted out within this musical involves a young couple about to be married, and the cast of characters who surround them — some who support their marriage and some who do not want it to happen.

There are magic tricks, acrobatics, toe-tapping musical numbers (which literally shook the theater) a live eight piece orchestra and even an airplane or two!

I wish I could sing the praises of all 17 performers, but that would make this review too long. To highlight a few — Koch is just so engaging and entertaining as Man in Chair. Imagine one part Richard Simmons, one part Martin Short and one part Pee Wee Herman.
Christie Jackson is dazzling as the bride to be Janet, and Georgia Rogers Farmer is a riot as the Gracie Allen-esque Blonde Ditz Kitty. Both also put their beautiful and powerful singing voices to good use.

It is hard to say who had the greatest comedic moments; but David Janeski and Evan Nasteff gave me my biggest laughs with their oft punning gangsters posing as bakers. As a self-ordained master of the pun, I found that their timing and delivery made comedy seem to be a “piece of cake.”

In a cast of real characters, Matt Shofner and Nicole Oberleitner stood out as Latin lover Adolpho and “the Drowsy Chaperone.” Jacqueline Jones and Steve King also had some excellent moments as Mrs. Tottendale and her butler Steve King. I give them a special “Spitting Image” award, and will say no more, so you must see the show yourself to find out why.

This was the grand re-opening after a major renovation at Swift-Creek Mill Theater, but since it was also my first experience there, I can not say too much in comparison. I am told not only is it now ADA compliant with an elevator and larger restrooms, but there is also six miles of new wiring for new sound, light and video systems. I can tell you each of these was impressive in presenting such an ambitious production on such a small stage. My son was also very impressed by Tom Width’s set design from the constantly changing Murphy bed to the airplane.

As my son proved, The Drowsy Chaperone will leave you anything but drowsy (even Jeffrey stayed awake for the whole show); and the lively and talented production will be enjoyed by all members of your family from every generation.

The Cast

• Man in Chair: Richard Koch
• Mrs Tottendale: Jacqueline Jones
• Underling: Steve King
• Robert Martin: Dan Stackhouse
• George: Paul S. Major
• Feldzieg: Joe Pabst
• Kitty: Georgia Rogers Farmer
• Gangster #1: David Janeski
• Gangster #2: Evan Nasteff
• Aldolpho: Matt Shofner
• Janet Van deGraff: Christie Jackson
• The Drowsy Chaperone: Nicole Oberleitner
• Trix the Aviatrix: Tarnee Kendell Hudson
• Superintendent: Lucas Hall
• Ensemble: Maggie Roop, Sarah Pruden, Asa Maurer, Lucas Hall

The Crew

• Director/ Scenic Designer: Tom Width
• Musical Director: Paul Deiss
• Choreographer: Dennis Clark
• Stage Manager: Tom Width
• Assistant Stage Manager: Jesse Mattes
• Lighting Design: Joe Doran
• Costume Design: Maura Lynch Cravey
• Running Crew: Vicki McLeod, Brandon Johns
• Light Board Op: Becky Lussier
• Sound Board Op: Stephen West
• Stitchers: Alia Radabaugh, Dee Tomczak, Maura Lynch Cravey
• Lighting Crew: Jesse Mattes, Becky Lussier, Todd Schall-Vess
• Set Crew: Austin Cappiello, Bob Foley, Jesse Mattes, Cory Williams
• Wigs: Maura Lynch Cravey
• Photography: Robyn O’Neill

Orchestra

• Reed 1: Susan M. Davis
• Reed 2: Sheri Oyan
• Trumpet 1: Alisa Erway
• Trumpet 2: Jeff Erway or Randy Abernathy
• Trombone: Alex Theofanos or Joel Nieves
• Keyboard 1/ Conductor: Paul Deiss
• Keyboard 2: Beth Almore
• Percussion: Nick Oyler

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.