David Hansen's adaptation of 'Toothpaste Millionaire' is all heart, and Talespinner Children's Theatre's world premiere production of it is all color. Under the direction of Ananias Dixon and assistant direction of Diwe Augustin-Glave, audiences watch sixth grader Rufus develop his own ingenious business plan to make and sell a cheaper version of toothpaste called... Toothpaste. It's cheap, and it works! He, his friend Kate, and a handful of other classmates form a successful company and become accidental millionaires, with the help of some supportive adults and a whole lot of perseverance. Ren Twardzik's scenic design delights, with bright yellows, oranges, and blues at sharp angles and adorning machine gears, set against a backdrop of a large wall of graph paper. Projections designed by Joshua Smith depict real math problems on the chalkboard that the kids must solve in order to map out whether their 'dentifrice' (a word I learned during this show!) business will see success. The verdict - it will be wildly successful! The excited 6th grade underdogs set out to find that success and boy, do they. Actors wore adorable costumes designed by Jaclyn Vogel, who really captures the 1970's feel with sweater vests, high waist and wide leg pants, bright colors, jumpers and more. Shout out to Ren Twardzik again and Andy Zicari for pleasing light and sound design, respectively.
Quincy Brame presents a thoughtful and serious Rufus, who spearheads the business idea after finding out how much toothpaste costs. His new friend Kate, the endearing Kierstan Conway, is set to be his right hand human, adding her own ingenuity to the mix. Conway and Brame, accompanied by a fantastic ensemble, do a great job of presenting authentic children characters without making them into caricatures. Michael Frye especially shines in his cameos as Joe Smiley, Mr. Purcell, and Morton McCallister, three varied and hilarious portrayals of odd adults the kids come across. Michael, along with Nelia Holley, Kailyn Mack, and Julia Boudiab, play an array of other characters as well, including the teacher, other students, and the toothpaste manufacturing competitors. Alija Toles will understudy for Kailyn Mack. All of the ensemble actors differentiate well between their child characters and their adults. Some of the language and references will be nostalgic for older audience members and probably pleasantly silly for kids - "cool beans!" "groovy" "can you dig it?" and Peanuts-style "wa wa wa wa" noises for some adult voices. Talespinner is known for its accessibility design, and the design for this show by Executive Artistic Director Heather Utsler-Smith does not disappoint, with a touch/taste/smell display in the lobby to enjoy after the performance. There was also a design your own tube of toothpaste coloring page, an iPad where you can listen to playwright Hansen's playlist of songs that inspired his writing, and images that bring East Cleveland and the 1970s to life. Audiences receive an Education Guide designed by Education Director Rebecca Burcher upon entering that offers curricular connections between the show and subjects including physical education, science, and English. It's difficult to offer a story about capitalism that the socialist in me wants to enjoy, but Hansen and Talespinner have accomplished this by capturing the sweet and determined personalities of the characters - characters you will really find yourself rooting for. Catch 'The Toothpaste Millionaire' through Sunday, May 26 at the Rainey Institute presented by Talespinner Children's Theatre.
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Last Stop on Market Street is an upbeat, heartwarming, and surprisingly complex story about seeing beauty in difference, making friends out of strangers, and finding love in community.
With sharp direction from Rebecca Burcher and beautiful music direction from Heather Utsler-Smith, the adaptation of a well-known children's book by the same name (authored by Matt de la Peña, illustrated by Christian Robinson, adapted for the stage by Cheryl L. West) tells the tale of 7 year old CJ, who is forced to spend 96 hours (not a minute more!) with his outgoing and community-centric Nana. We follow CJ through this strange neighborhood where his grandmother lives, sans his electronic comfort items, as he meets strangers who become friends when he looks at them through the eyes of community and love. Ryanne Fury and Andy Zicari provide excellent production stage management. Diwe Augustin-Glave plays CJ beautifully and truthfully, an anxious and easily overwhelmed child who is unsure how to interact with this strange world. Neda Spears plays Nana with an unflappable joviality and doting sweetness that makes audiences long to call their own grandmothers if they still can. She reminds me of my own mom, who I always say could make friends with a brick wall, knows the name of every dog on the block, and has your life story in her hands within minutes of meeting you. CJ and Nana experience a culture clash we see play out in various ways - CJ doesn't speak Spanish, Nana doesn't allow electronics, CJ is hesitant to talk to strangers, and Nana says things CJ cannot understand, even in English ("lay some sugar on your grandma"). But throughout the piece, CJ learns to appreciate the differences in the strangers he meets - he learns to see with his ears, find similarities with what seems quite different, join in in the dance and song of the community, and not to judge by appearance as he makes new friends. The ensemble of Kailyn Mack, Darnell Weaver, (these two also directed the show's excellent choreography), Sara Chapman, Quincy Brame, and Karl Kimpo, brought incredible soul to this piece, their singing and dancing providing a wonderful accompaniment to the journey of CJ and Nana. The scenic design by Joshua Smith is classic Talespinner with an iconic mural backdrop (gorgeously, meticulously painted by Ren Twardzik) and simple set pieces that work effectively into one's imagination, with the ensemble providing Broadway-level sharpness in their quick and effective set changes. Colors abound - a red and yellow bookshelf, blue bench, and a rainbow umbrella. The costumes, designed by Jaclyn Vogel, are as colorful as the set and bring a tangible complementary energy to the set and action. I loved the Madame Butterfly costume! Sound design by Daniel Zilka is alternatingly tender and upbeat, matching the visual elements well. Talespinner continues to shine and lead in the Cleveland theatre community in its accessibility design, designed for this show by Heather Utsler-Smith and Ryanne Fury. There are sign language interpreters and audio descriptions at some performances, flashing lights indicating loud sounds and intense movement, sensory stations for overwhelmed little ones, and more. Children of all abilities and needs can enjoy this show. A few more things I loved about this piece:
If you have kids age 6-12, take them to see this piece, and talk with them afterwards about what they discovered. If you don't, take yourself to go see this piece - you'll be surprised what you discover, too. Last Stop on Market Street runs March 16-24 at the Rainey Institute. |
All of my reviews contain spoilers. You've been warned.
I'm not a critic.I don't particularly like critics. I think they can be unnecessarily harsh. What I do like is seeing local theatre, and I like uplifting theatres, actors, productions, playwrights, and designers, especially those that center the voices of marginalized folks. That's all.
I don't have any say in the Broadway World or Cleveland Critic's Circle awards and doubt I'll get invited. Archives
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