Charming Times at 3

Jason Alberty as Professor Peter Pizzle

by Genevieve Heinrich
photos by James E. Trainor III

Cedar Rapids—"How can you speak about everything, briefly?" This dilemma, raised by Jason Alberty's pontificating Professor Pizzle, seems uniquely well-suited to 3, the most recent installment of SPT Theatre's "Tales from the Writer's Room." The most obvious answer, of course, is sketch comedy... but as SPT has long realized, that doesn't *quite* cut it. Pertinent music and some well-placed moments of sincerity are also needed in order to truly approach full coverage. In order to sufficiently untangle what Pizzle refers to as the "dialectic conundrum" of 3, the group calls on every skill in its considerable arsenal, and rises to the challenge.

On the poster for this show, SPT indeed references the "triumvirate of music, comedy and drama"—but what emerged more clearly from last night's performance was the triarchy of actors, writers, and musicians, weaving their skills together seamlessly while at the same time competing good-naturedly for audience attention. Wonderful moments were created to showcase and savor each. Alberty's engaging physicality and special guest Matthew James' ability to pull faces that speak more than a full page of dialogue draw focus to the actors' contribution. Director Richard Barker's hand in all this is obvious, especially when pointed attention shifts serve to highlight the clever or beautiful wordplay. The musicians had opportunities to play up their versatility and flexibility, bouncing around stylistically with infectious joy.

Be First in Line for SPT's New Show, 1

by Kassia Lisinski

Cedar Rapids - I count myself lucky to have had the opportunity to experience SPT Theatre's first production of their newest season. This season is based on the theme of numbers and opens with the appropriately titled: 1. It's my first time back at an SPT production in a few years, and I've been itching to return since that first show, curious about the art and growth of a company which includes three of my former teachers. And well I waited, for it is a trauma of a unique and delightful sort to witness your one-time instructor dressed in a tight white hoodie, swimming goggles, and prosthetic tail, arms tucked under the spandex, making swimming motions as he imitates a sperm dropping pick-up lines for a sexy anthropomorphization of an unfertilized egg.

I loved the ridiculousness of this show, and I love CSPS for supporting it: for the venue itself—the old wood floors, the post-flood expansion of space, the ceiling tiled in dove-grey mandalas—and for the crowd, a delightful amalgam of cultured New Bo residents and enthusiasts, wine-drinkers, and bespectacled intellectuals. I always feel like this kind of crowd could use a little mess to it, and the raunchiness of SPT's humor provides. The sheer absurdity of subjects—a school of fish with one daring individual breaking the grapevine dance routine, the endearing guest Nicolette Coiner-Winn's rampant string of unexpected expletives on a Jeopardy spoof, the dating show complete with a neo-Nazi in search of his beloved fascism (broadcast on US news)—is mind-boggling in its originality and dedication to "no subject too odd to be awesomely produced." The show comes complete with a full and fantastic band, particularly guest Matt Brooks on soul-enthralling electric blues guitar and founders Gerard Estella's keys and Jane Pini's voice.

The energy was apparent as the audience seemed to anticipate the beginning even before the lights dimmed and the actors took their places. The show began with Akwi Nji giving a short definition of the many different meanings of the word "one," or "won," or even "wan," with a relevant quip for each delivered in a few lines by Mary Sullivan and guest Nicolette Coiner-Winn (potentially an overused ploy, but saved by charisma and humor). Following this, the audience was immediately abducted by the band and SPT's spectacular arrangement of Harry Nilsson's famous "One," led by Jane Pini's beautiful, space-filling vocals. The whole audience was enlivened; the musical assortments which interspersed skits and monologues helped to carry a sense of unity through what could have been a more confusing, disjointed production. However, like a dream in which the scenes change rapidly but maintain a theme of meaning or feeling, so was this performance linked by the prompt of "One," the music, and the five sequential episodes of "Grant Woody," in which Sullivan's Nan and guest David Combs' Grant Wood part ways and journey through the art world in search of space from each other.

The performance of each and every participant was wonderful, with almost too many highlights to point out. Sullivan's Nan, with her Fargo accent, startled jumps, and conspicuous huffing her bangs from her face, was especially endearing. Coiner-Winn, Adam Witte, and David Morton also had their stage-stealing moments, and their parts in "Alex Trebek," "The Search," "First Among Equals," "Madame Ovary," and "School of Fish" are certainly to be anticipated.

Yet, however strong the acting, the real star of the show was the unceasingly unique and engaging writing, particularly evident in the innumerable one-liners provided by the one-sided phone conversation in "First Among Equals" and in the poignancy of "I Would Like to Say," written by Nji. This latter in particular stuck with me, not least because of its sobriety of topic—ideas of kindness and the universality of religious teachings—in the midst of all the silliness. I found especially memorable the lines, "I believe peace on Earth comes in fleeting moments," and "...Heaven is bribery, Hell is extortion, and senseless kindness is the only kind that makes sense." Nji's writing shone again in her monologue about her young headstrong daughter, who replies to "You can't go to Monroe, they're closing the school," with "Watch me!" Which of course results in on-stage consumption of a quantity of wine (provided by the attendant Witte with a nice bottle of red).

There were few flubs and mistakes throughout the production, although there were several instances of unintended darkness. Most mistakes were, I'm sure, unnoticeable to me, and the rest were covered adequately with ad lib, such as when the wine in the aforementioned skit was spilled a bit and Nji simply proceeded to sip it off her sleeve and glass, no big deal. The one major trip-up came in one of the last musical numbers: I'm not sure exactly what was going on, but the song seemed vocally unrehearsed and more than a little sloppy to begin with. Just as I was becoming concerned that the magic of the production would be ruined, the piece was salvaged and ended strongly, and I envy the audience's experience tonight.

I am so glad I was able to experience SPT's production of 1, playing one more night only: September 15 at 8:00 p.m., at CSPS in Cedar Rapids. It was was immensely engaging and, surprisingly, left me with equal doses of giggle-induced endorphins, meditations on meaning, and pride in the talent inherent in the artists of my home region. I look forward to the next show, 2, which opens early in November, and the many future "Tales From the Writers' Room." Don't miss out- make sure to get your tickets and seats early!

SPT Returns to CSPS

Cedar Rapids - SPT's "Tales from the Writer's Room" series opens its fifth season on September 14, with David Combs, David Morton, and Nicolette Coiner-Winn as guest artists, Matt Brooks and Ron DeWitte as musical guests. Episode 1 runs September 14 - 15 at 8:00 at CSPS - 1103 3rd St SE in Cedar Rapids. Tickets are $20 online, $25 at the door.

SPT Has Nothing to Apologize For

By James E. Trainor III

SPT - This weekend, SPT closes its Games People Play series of "Tales from the Writer's Room," its first season at CSPS, with Sorry, a funny and thoughtful show with a host of skilled performers and an amazing band.

SPT's shows feature a wide variety of adept artists, and guest Craig Erickson is no exception. Erickson is an accomplished guitar player who can make a guitar speak truthfully no matter the style of the song. He lays down some powerful guitar solos on "Sorry Seems to Be the Hardest Word" and "Perfect Word." He also signs with passion and soul on "Rivertown" and "Prodigal."

As usual, we have excellent performances and a great selection of songs from Doug Elliott, Janelle Lauer, and Jane Pini. The band is great; everyone's really listening to each other and the effect is impressive. This setup is ideal - Greg Kanz and Dave Ollinger anchoring everyone with a steady beat so that Gerard Estella can set off into playful flights of fancy. What makes Sorry really work is this dynamic throughout the show: consistent pacing and really connected performers who are free to experiment and launch into a rockin' solo, a moving monologue, or a hilarious bit of comic acting.

Joining the acting ensemble this show are Scott Humeston, Aaron Murphy, and Hannah Spina. Humeston is an excellent character actor; he's always willing to pick something memorable and go all the way with it. From his wild-haired, rock-and-rolling Nikola Tesla to his creative rendition of "the voice from above" in the garden of Eden, Humeston is simply laugh-out-loud funny. He's also a rock when he needs to play a straight man or set up a punchline.

Aaron Murphy and Hannah Spina work well together. You can tell they're having a blast and some really fun comedy comes out of their interaction. Spina is big and bold with her character choices. Murphy is quick-witted and quite charming. They're both excellent listeners and really clear with their body language, which makes for a great pair. One of the best scenes is "My Best Ideas," where a blocked writer fields suggestions from his "helpful" wife. Spina jumps up and starts acting out her outrageous ideas in the middle of the kitchen; Murphy's reactions are priceless. They're also great in "Sweet and Cold," where a couple of spurned siblings plot revenge on their elders.

There's plenty of laughter in Sorry, but there's also a lot of heart. "Il Padrino" tells a poignant story of a woman and her dying mother-in-law sharing a quiet moment before they have to say goodbye forever. Mary Sullivan's acting is very effective as her character struggles to accept the facts in this scene.

"Check One" is a tear-jerking monologue that takes off from a simple form at the doctor's office—Akwi Nji is asked to check a box reporting to the government whether she's "black" or "white." "I can't check two?" she asks. It's suffocating, being stuffed in a box like this, forced to choose Africa over America or vice-versa, and the exploration of this idea is emotional without being sentimental, passionate without being didactic. At the heart of what makes these shows meaningful are these thoughtful or personal elements, and "Check One" is an excellent example.

It's also interesting in that it shows the theme cutting both ways. Nji starts the scene being "sorry"—embarrassed, even—but the monologue takes her from being defensive about the situation to being proud of her courage in rejecting the very idea of boxes for people. Many of these scenes are about people who refuse to apologize for who they are or what they've done—from a comic scene about an engineer who's alienated his daughter by deciding to become a mime to a thoughtful monologue about Fay Wray taking a wild chance and, quite literally, reaching new heights. There's also characters who are angry, wronged, and out for revenge, such as the spurned lover in "Young Woman's Lament." There are some funny examinations of the nature of apologies and of guilt itself in scenes like "Sweet and Cold," "And Mean It," and "Eden Prairie." It's always interesting to see the wide variety of ideas that come from the themes these shows take as their base.

The structure of the show, particularly in the second act, takes full advantage of the flexibility of the variety-show format. Songs can frame scenes, taking us in and back out again, and the combination of music and theatre has an additive effect; though two very different arts, they feed each other and keep the energy in the room always creeping up to a higher level. The pacing can be lightning-quick, with little snapshot moments taking off into the next thing as soon as they land, or there can be some breathing room for a longer and more complicated scene when there needs to be. The transitions, the choice of the songs, and the order of the scenes were well-considered in this show, and director Richard Barker's vision brings all of these elements into one coherent show quite well.

Games People Play: Sorry has one more night at CSPS (Saturday, June 2 at 8:00), then the series goes on break until September 14. Stay tuned for more information on SPT's next season!

Sorry Opens June 1

SPT - The 2011-12 "Tales from the Writer's Room" series closes this weekend with Games People Play: Sorry. Special guests will be Scott Humeston, Aaron Murphy and Hannah Spina. Musical guests will be Craig Erickson, Greg Kanz and Dave Ollinger.

Games People Play: Sorry runs June 1 & 2 at 8:00 at CSPS in Cedar Rapids. Tickets are $25 at the door, $20 online.

A Belated Review of Clue

By James E. Trainor III

SPT - The fourth installment of the "Games People Play" series of SPT's "Tales from the Writer's Room" played to a packed house this weekend. Special guests Bret Goethe and Katy Slaven joined the SPT crowd onstage, along with Matt Brooks, Ron DeWitte, Dave Nolte, and Dave Ollinger in the band.

The show takes a slightly different format this time, with a couple of intertwined stories that run through the entire evening: Julie (Katy Slaven) and Nick (Adam Witte), a couple of old friends, find themselves watching a classic film noir called The Clueless Dick. No, it's not a porno; "Pierce Arrow" (Jason Alberty) is a private eye who's been called on to solve a mystery. While they're discussing the movie, it becomes clear that Julie has long been in love with Nick, but doesn't know how to tell him, much like Pierce's assistant Kitty (Mary Sullivan) can't confess her infatuation with her boss.

Jason Alberty is very funny as the overconfident Pierce, playing beside Mary Sullivan and Bret Gothe (who does a hilarious turn as the damsel in distress). The writing is very punchy; it's a little bawdy, but a lot of fun, and the cast gets the patter very well. The film noir genre is lampooned with love and care by the company, and the scenes with Pierce and Kitty leave you wanting more.

Meanwhile, Julie is trying to convince Nick to quit pining over Penny (Akwi Nji) and see what's right in front of him. This storyline is silly and farcical, with equally good writing, and it's a lot of fun to watch. It also has heart: Julie's journey is instantly familiar and very engaging, and Slaven's acting is touching in these moments. It's something you don't get to see very often with the variety-show SPT format: character growth. Clue keeps moving along, with great music inbetween scenes and visits from old friends like Professor Pizzle and Fiona, but you also get to spend time with a character, and living inside a role with focus and specificity is something Slaven does really well. It's good to see SPT mixing things up a bit, and the dual storyline in Clue is particularly effective.

Richard Barker's direction holds this piece together, with very simple staging that allows for energetic performances from the actors. Most of the props are mimed, which allows for a lot of fun gags as items slip in and out of existence. The actors make great use of the space, they really pay attention to each other, and the pacing is very tight.

SPT has one more show in their "Games People Play" season - Sorry on June 1 & 2. Get tickets now; they're going fast!

SPT Tales From the Writers' Room: Clue

SPT - The fourth installment in the "Games People Play" series, Clue, will open April 13 at CSPS. Guest artists Bret Goethe and Katy Slaven will be featured.

Games People Play: Clue plays April 13 and 14 at 8:00 at CSPS (1103 3rd St. SE in Cedar Rapids). Tickets are $25 at the event or $20 online.

SPT Corners the Market on Comedy

By James E. Trainor III

SPT - Last night a crowd gathered at the recently-renovated CSPS building to see the latest installment of SPT's Tales from the Writer's Room. The theme this year is "The Games People Play;" each show revolves around a specific popular board game. This weekend's fare involves that classic game of money-grubbing, Monopoly.

The Writer's Room shows have been a cornerstone of SPT's work for a while now, but it is a new deveolpment that they have a large, flexible space in which to present them. The stage at CSPS, now with more seating, is deep enough to comfortably fit a band, with a lower space downstage for the skits and scenes, or for Doug and Jane to come down and do a fun number.

The stage offers a lot of options, and however director Richard Barker stages the action, everyone can be seen. Sightlines were becoming a serious problem as the Writer's Room series outgrew its previous accommodations. Monopoly makes great use of the larger space, employing a number of entrances on different levels to keep things moving. Actors talk to the band, one scene can set up while the other finishes, and people can enter from the mainstage, the smaller stage, or the house, altogether allowing for a show that doesn't stop to catch its breath unless it wants to. Arranging for a larger, more flexible performance space is probably the smartest move SPT has made, and they take full advantage of it here.

The band, as always, is great. Joined by local pop/rock musician Layton White as well as regular guests Greg Kanz and Dave Ollinger, they fill the space with sound, keep the show moving along, and provide a groove that keeps you tapping your feet. Band regulars are Janelle Lauer (who sits at the piano and sings a bouncy, defiant version of "I'm not Falling for You Anymore"), Doug Elliot, (who applies his clear charming voice to such nostalgic numbers as "Boardwalk" and "Everybody Wants to Rule the World") and Jane Pini (who brings down the house with "Little Pink Houses").

It's a rare treat to hear Dave Ollinger sing a number. His take on "Folsom Prison Blues" is a perfect choice to end an act; the catchy beat stays in your head throughout intermission and leaves you hungry for more.

Layton White is a young artist with a strong, soulful voice and a lot of passion. His versions of "Billionaire" and "Talk is Cheap" are a lot of fun. He's also game to join in the fun onstage, playing characters in "Rich Uncle Pennybags Falls on Hard Times" and "The People vs. Hallmark."

The actors — Akwi Nji, Mary Sullivan, and Adam Witte, with Jason Alberty and Dr. David Martino filling out the writing credits — are joined onstage by special guests Jim Kropa and Susie Streit.

Kropa is an excellent addition to this group, and he fills the stage with a very large and energetic presence. A great interstitial in this show is Kropa coming through between scenes, telling us in choppy, nervous monologues about how his ex-lover "monopolized" all his favorite love songs, and now music is ruined. In a comic twist on Aesop's "Grasshopper and the Ant," he creates a wild, loud, fun-loving insect to counter Nji's focused, industrious ant. He also sings, offering a steady, irreverent take on "King of the Road."

Streit is a solid performer with a great sense of comic timing. In "The People vs. Hallmark" she does a hilarious turn as a drunken, confused Judge Judy presiding over a case wherein a spurned lover tries to sue Hallmark for a faulty Valentine's card. With precision and biting sarcasm, she is able to hold her own against Kropa's larger-than-life Cupid, making for a lively, fast-paced skit.

There are a couple of interesting ideas that play out in this show. Part of it feels like an easy stroll around the block, reflecting on themes of hearth and home. In "Cedar Rapids," Adam Witte calls out Stephen Bloom with a witty, poetic counter to Bloom's much-reviled essay. In an inspiring note he remarks on our "battleship federal buildings" built to raise a defiant middle finger to the river; the sentiment, made in the midst of a New Bohemia that is decidedly in recovery, makes one wonder how cultural cornerstones such as CSPS failed to make a blip on Bloom's radar.

In a more comic vein, "A More Perfect Union" takes and turns Iowa's progressive marriage policies, as Sullivan and Witte play a straight couple who have come up from Arkansas to have a "happy, gay wedding," confounding the attempts of the "Pride Productions" wedding planner (played masterfully by Nji) to be inclusive. It's a very funny scene that leaves a warm and homey feeling, even as it pokes fun at the bitter state of our national discourse.

On the darker side, we are reminded in Monopoly of the economic realities we live in at the moment. The board game took off during the Great Depression, when people forgave the game its quirky mechanics for the chance to roleplay wheeling-and-dealing millionaires. Our own time is similar, and the "Monopoly" theme gives SPT a chance to compare and contrast these days to those. In "Rich Uncle Pennybags Falls on Hard Times" the masses revolt and occupy Park Place, a sardonic nod to the political turmoil going on even here in Iowa. In "Back to Start" a young woman gives herself a second chance to get the finances right. The pacing itself reflects the ups and downs of hard times — or a game of Monopoly: at times the show is fast-paced, energetic and restless, pulling itself up by its own bootstraps, and at others it is reflective, uncertain, assessing its situation. The timing always feels right for the moment, and director Richard Barker's hand is clearly at play here, bringing a wide variety of scenes and songs into a cohesive whole.

SPT's The Games People Play: Monopoly plays one more night: tonight, February 18th at 8pm at CSPS. If you don't have tickets to see this show, do not pass Go, do not collect $200 - get them now!

SPT offers Monopoly this weekend only

SPT - "We are now in the age of acquisition. For some reason gain equals status. We must have what we want, and the chase is no longer the ends, but the means to have more than others."

SPT Theatre is in the midst of their "Games People Play" season. Previous shows this season were inspired by the classic games Twister and Trivial Pursuit. Running just two nights, February 17 and 18, SPT will next present an evening of music and sketches inspired by the granddaddy of all board games, Monopoly.

At this blog, we've been encouraging you to check out one of their shows for a while now. Reviewer Sarah Jarmon summed up the experience well last November: "A sketch show feel spliced with powerhouse vocal performances and a comfortable lack of barriers between the audience and the performers makes this somewhat expensive ticket well worth the admission price."

SPT performs at CSPS (1103 Third St SE) in Cedar Rapids. You can get tickets here.

SPT opens new show tonight

Cedar Rapids - SPT Theatre presents another installment of its Writers Room series tonight and Saturday. Guest artists are Alisabeth Von Presley and Mike Wilhelm. Musical guests are Ron DeWitte, Dave Nanke and Dave Ollinger. This installment is entitled Trivial Pursuit, to continue the Games People Play theme of their season.

December 2nd & 3rd
at CSPS - 1103 3rd St. SE
8:00 p.m.
(note new location & time)

Tickets are $20 when purchased on line at Legions Arts. Tickets are $25 at the performance.

For a review of their first show of the season, go here.

Local Theatre With A Twist

by Sarah Jarmon

Cedar Rapids - SPT Theatre Company never fails to put on a good show. But Friday night, within the slick, yet familiar interior of the newly renovated CSPS building, they blew me away, and I was not the only one. Tales from the Writer's Room is a singular experience in this town. A sketch show feel spliced with powerhouse vocal performances and a comfortable lack of barriers between the audience and the performers makes this somewhat expensive ticket well worth the admission price.

Mary Sullivan along with this installment's special guest, Scott Humeston, opened the show with a bitingly funny bit about the farmer and his wife from Grant Wood's American Gothic playing twister according to the direction of a disembodied voice from the beyond.

Twister was the theme for the evening and it was weaved through every piece. It was also showcased by the dangling twister board hanging above the stage, though I'm not sure I liked this touch. The white plastic board, even when it wasn't lit, drew your eyes, and was slightly distracting during some of the more serious pieces.

But serious, certainly did not dominate the evening. One of the things I appreciate most about Tales from the Writers Room is the seemingly effortless ability that the writers have to hit every possible genre without any of the pieces feeling forced or out of left field. The exuberant hilarity of "Straight Up with a Twist," a game show/reality TV series piece, poked fun at local regions as effectively as the hypnotizing and sweetly flawless monologue, "Endings," drew you into the world of a woman at the end of her marriage. And every piece slid into the next with a liquid grace, tied in perfectly by every apt song choice superbly executed by the band.

And if you've never been to an SPT show, even if you HATE theatre, come for the band. Filling the space and setting people dancing, literally dancing in their chairs, is an all star concoction of musical genius. Whether it was a keyboard solo from the inspiring Gerard Estella, or a magical riff flowing forth from the fingers of Ron DeWitte on Guitar, every song the band hit was a testament to their unbelievable skill. Add in the nearly discordant but somehow delicious and haunting vocals of Janelle Lauer, Jane Pini, and Doug Elliot and you have a powerful combination of rock and soul. The band also helped showcase the original song, "Twister" and the the melodious and surprisingly delightful singing voice of SPT company member, Jason Alberty, in the song "Giant-Sized Butterflies."

This is not to say that the show was perfect. There were a spattering of lighting issues that left some people in the dark a bit longer than they should have been. Gerard accidentally knocked a set piece askew during a transition. But those few slight missteps just brought you closer to the performers, making you feel like you were a part of the show. And the company clearly wanted audience participation, encouraging dancing and clapping, and cracking up during a few particularly funny skits. It felt natural and inclusive.

And the actors were so much fun to watch. It felt like a gift to just be able to sit there and watch them play together. Alberty and Humeston played particularly well together, whether they were doddering old men, looking forward to dressing up in the perfect costume to snare a saucy biddy on Halloween this year, or pantomiming mixing a drink of epic proportions on an eastern Iowa game show. Akwi Nji and Mary Sullivan were adorable and generous onstage too, complimenting the high-octane effervescence offered by Adam Witte, Humeston, and Alberty well.

The energy ebbed and flowed, even after the 20 minute intermission. I will say that as the show started late, I did begin to feel the length of the event by the end. But just when I was reaching for my phone to check the time, the whole feverish wonder came to a magnificent ending. I can't wait till the next show, December 3rd and 4th. I hope you'll meet me there. Even if you can't, tell your friends. And if you haven't seen the new CSPS building, check it out. It's gorgeous.

SPT Finds a New Home at CSPS

Cedar Rapids - CSPS has reopened in Cedar Rapids, complete with gallery, bar, and some blackbox space downstairs. The renovated space was opened to the public this fall, and it's great to see this cornerstone of cultural life revived. The upstairs performance space will be home to, among others, SPT Theatre, who open their new season on Friday with "Games People Play."



SPT's season "explores life's twists and turns through the lens of popular board games." The first installment, Twister, will feature guest artists Scott Humeston, Ron DeWitte, Greg Kanz and Dave Ollinger. It runs October 28th and 29th at 8pm at CSPS, 1103 3rd St in Cedar Rapids. Tickets are $25 at the door, $20 here.

SPT Sticks Its Neck Out

By James E. Trainor III

SPT - Friday, February 18th saw another installment of SPT's "Tales from the Writer's Room," this show entitled "Pain in the Neck."

Special guest stars were David Bolt and Cherryl Moon Thomason, and special musical guests were Ron DeWitte, Dave Ollinger, Gayle Elliot and Greg Kane. Many of the skits and songs focused on the "pain" motif - everything from sorrow to irritation to physical agony. In "Love Scabs," David Bolt tells a touching and somewhat rambling tale of coping with shyness as a teen. In "Pain's Pain," Cherryl Moon Thomason mounts Dr. Peter Pizzle's podium as his mother, telling us what a pain the learned professor has been over the years. Both these performers embody their parts quite well and fill the space wonderfully.

Some of the skits ran with the "neck" part and created some humorous situations. In "Betty at the Stove," Mary Sullivan has to perfect a prize-winning recipe, despite the awkward crick in her neck, or risk losing her chance at the Golden Casserole Dish. In "Things Are Looking Up," Jason Alberty's neck problems trigger a humorous examination of mob mentality. These scenes have some great writing, and the execution of the physical comedy is a lot of fun to watch.

This show seemed to be a little more weighted toward the high-energy comedy than some previous shows, which tempered the fast-pasted hilarity with some truly tender moments. Part of this is probably due to the theme - we've all dealt with pains in the neck (metaphorical and literal), and it's cathartic to commiserate with each other, but one finds oneself wondering if there couldn't be a little more meat.

"Pain in the Sears" is a good example. Jason Alberty and Akwi Nji-Dawson are a frustrated customer and a pushy retail clerk, respectively. It basically consists of a monologue where Alberty complains of all the silly deals and surveys they try to push on you when you're on your way out the door, and it's quite funny, but the staging gave me pause. While Alberty monologues about his struggle to keep his temper, Nji-Dawson is frozen upstage, forever the peppy college student forced to stand as a "corporate shill." I couldn't help but feeling more empathy for her than for the shopper. This was addressed in the monologue, granted, but at the beginning, and the subsequent action consisted mainly of growing ire. It seems there was a missed opportunity to bring these characters into some resolution, because underneath the caustic comedy there was some serious social tension. Alas, the scene took a different path, and slipped out the door with a fourth-wall breaking joke. Oh, well. I can't say I'm particularly fond of the checkout ritual myself.

We did have some quiet, insightful moments in this orgy of orneriness: Akwi Nji-Dawson's monologue "Dust, Like Angels" and Mary Sullivan's poem "Gremlins" were joyful little gems. "Dust" dealt with finding your place in the world, and "Gremlins" was a very juicy poem about jealousy and heartbreak, which blended quite well into Doug Elliott singing "King of Pain."

Some of the best moments were actually the most raucous. "Here's Looking at You" starts with a very funny premise as Adam Witte is using an instructional CD (read by David Bolt) to learn how to tie a tie. It twists the premise when the reader diverges into a bitter rant about the suffocating, monotonous corporate environment the young man is looking forward to. David's delivery is priceless and Witte's physical performance fleshes it out marvelously. Also a blast was SPT's version of R.E.M.'s "Stand," in which they recreated the classic video.

The band was great as always. Particularly enjoyable was Ron DeWitte's precise, exquisite guitar work throughout all manner of rock and blues songs. His vocal solo, "Dangerous Mood," had a great feel.

David Bolt and Cherryl Moon Thomson were great guests as well, portraying babies in the nursery, old folks in the nursing home, and everything in-between. Both performers have a wealth of experience and a variety of talents, and it showed onstage.

"Pain in the Neck" has one more performance tonight. Sadly, this show is sold out, according to SPT's website. The next "Tales from the Writer's Room" is "Bottoms Up" on April 1st.

Mistle Toe Opens December 3rd

SPT - The next installment in SPT's "Tales from the Writer's Room: Body of Work" series plays December 3-4. The troupe will take on holiday traditions with special guest David Combs.

The venue is once again the Cedar Rapids Museum of Art, 410 3rd Ave SE. Doors open at 7pm. Tickets are $20 and are available here.

SPT's Writers' Room: White Knuckles

SPT - The next installment from SPT's "Tales from the Writers' Room" opens tomorrow (October 29th). The theme this season is "Body of Work," and this weekend's "White Knuckles" is just in time for Halloween.

The show features skits and monologues interspersed with music.

This installment's special guests are Jim Kropa and Phil Schramp on stage, and Billy Heller, Greg Kanz and Dave Ollinger in the band.

SPT's "Tales from the Writers' Room: White Knuckles" will be presented at the Cedar Rapids Museum of Art, October 29 & 30. Doors open at 7pm; performance at 7:30. The show on the 29th is sold out, but tickets are available for the 30th at $20.

SPT Closes the Season With No Regrets

by James E. Trainor III

The tagline for SPT's latest "Tales from the Writer's Room" offering is "Penniless at the End of My Life...What Great Timing!" As themes go, it's difficult to penetrate, somewhere in the realm of April's "I'd Rather Eat Dirt." For these shows, however, it's enough to point the writers in a general direction and they walk out a coherent path time and time again. This one struggles a bit, with a couple of spoofs of "The View" that don't really seem to fit, but the larger themes resonate, and the music, as always, keeps the show going smoothly and seamlessly.

This one seems to be about fate and choice, life, death and afterlife. There are many images of death, with the obligatory comic twist, from Archangel Gabrielle ("you can be whatever you want up here") to a wry bureaucratic "post-Mortem facilitator." There are seekers of great secrets, from a fortune-cookie writer who takes his job a little too seriously ("In Bed") to a woman who climbs a mountain to find a rather incompetent guru ("Great Guru"). The songs, from "I Still Haven't Found What I'm Looking For" to "Losing My Religion" and "Pocketful of Stars" recount a contemplative yearning, a melancholic crisis of identity. We're on a journey in search of meaning; in short, the drama of all life. Lest we forget the journey is in the steps, though, the show is peppered with tiny moments that shine.

Akwi J. Nji-Dawson's monologues are spread out here, barely speeches at all but brief, dramatic images. "A100" reminds us to rejoice in the little things, while "Graduated" shows us a darker journey. In "Pennies," finally, we're reminded how close the things we're looking for often are. A young child plucks a penny from a couch, and holds it up like the world's greatest treasure. "Look, mom! I told you we were rich!"

SPT's final installment of the season started two actors in the red - Jason Alberty and Adam Witte have prior engagements - but the remaining cast more than makes up for it with the help of some enthusiastic guests.

It's always refreshing to see Marty Norton perform. She commits wholeheartedly to a part with gut-wrenching honesty, no matter how silly or scary a scene. In "A Slice of Heaven" her nervous energy takes over the stage. In "Sara Dippity" she is hilarious as the bitter fortune teller Frau Den Schreude. In "Great Guru" the frustration of her breakdown is captivating and contagious.

Tim Boyle is a lot of fun, too. His turn as Bill Clinton on plugging his book "At Least I didn't..." is somehow as charming as it is sleazy. As the befuddled Guru in "Great Guru" he plays off Norton's energy quite well. He's particularly sharp as the afterlife's outreach agent in "The Kinder Gentler Death," mastering a linguistically dense patter than would make John Cleese reach for a thesaurus.

Lynne Rothrock is a versatile performer, and she fits in well on stage and with the band. Particularly memorable is her solo, "Louisiana 1927." The song, telling the story of the Great Mississippi Flood of '27, is made even more solemn in the aftermath of Katrina '05 (not to mention Cedar River '08).

Ron Dewitte joins the band again. He is a great guitarist and it's always fun to listen to him play. He jams well with the regulars and they go through a great variety of musical styles without once breaking stride.

Meanwhile, the regular cast is short two. Fortunately, Mary Sullivan and Akwi J. Nji-Dawson more than make up for it, performing the work, especially "You Can't Take it with You" with style, grace, and impeccable comic timing. After some hilarious physical comedy between Sullivan and Doug Elliot, the band brings it home with a rendition of "Life is a Highway." Here, as in "Get It While You Can," Jane Pini lays down some serious vocal power.

It's a strong ending to the show, and the season as a whole. The only drawback, however, is that the whole thing seems to have gotten two big for its britches. The Writer's Room shows have grown quite popular lately, and the Museum of Art space doesn't make for very good sightlines when the room is full. Hopefully, if the audience continues to grow, SPT will find a larger space. In the meantime, I suggest showing up early if you want a good seat.

Tales from the Writer's Room: Penniless at the End of My Life...What Great Timing! will be performed again on Saturday, June 19th at the Cedar Rapids Museum of Art. Doors open at 7:30; tickets are $20. Check SPT's website for more info.

SPT's "Best of" Show opens Friday

SPT - Our reviewers have been raving about SPT Theatre's Tales from the Writers Room series since day one. This is your chance to catch this a "best of" performance of this unique theatre. The show features original works by writers David Martino, Mary Sullivan, Adam Witte, Jason Alberty and Akwi Nji-Dawson. Musical performances by Doug Elliott, Janelle Lauer, Jane Pini and Gerard Estella.

The show runs for two performances only - April 23 and 24. Tickets are $20. Doors open at 7:00 pm To reserve tickets, contact Riverside Theatre at 319-338-7672. Riverside Theatre is located at 213 N. Gilbert in Iowa City.

I'd Rather Eat Dirt Goes Beneath the Topsoil

by James E. Trainor III

After the opening scene of I'd Rather Eat Dirt, the latest installment of SPT's "Tales from the Writer's Room" series, Adam Witte comes onstage and confesses that this show's vague, open theme had them rather stumped at first. The question - what would you rather "eat dirt" than do? - seems to belong to a schoolyard dare or a slumber party, and it's not obviously conducive to creative writing. SPT's writing team, however, succeed in embracing the idea's awkwardness to create a series of scenes that range from the thoughtful to the confessional to the ridiculous.

The uniting concept that the writers arrived at when they discussed it amongst themselves, says Witte, was that they'd rather eat dirt than go back to middle school. So to create the segues that help glue the scenes together, they did something most of us would rather eat dirt than do: they dug up their middle school journals and shoveled the contents onto the stage.

The results of this - awkward poems and journal entries from young writers still discovering their voice, read by mature artists who can hardly keep a straight face when they see what they'd written - are riddled with sentimentality, irony, pathos, and a healthy helping of cliche. I can't help but admire the bravery of these artists, though. It takes a lot of courage to face up to the embarrassing task of revisiting your middle-school writing in public (as a writer myself, I'm perfectly happy that the contents of my "Amazing Comics" will never see the light of day), not to mention your adolescent musings of unrequited love (or, in the case of some, requited lust). The readings are done with humor and honesty, and the light-heartedness opens us up to explore the larger theme of reflection and life choices.

Many of the pieces go beneath the topsoil and dig up some forgotten treasures. Jason Alberty's monologue "The Truth Does Not Always Set You Free" airs some buried secrets from his family history. Akwi J. Nji-Dawson's "I'd Rather Play With Dirt" contrasts her childhood playing with dirt in Africa with the overabundance toy aisle at Wal-Mart. She draws a delightful and fascinating picture of childhood fantasy when she shares her story. Another thoughtful scene is "The Bait Shoppe" in which guests Steve Ginsberg and Rip Russell play a city slicker and a bait shop owner. Russell creates a wonderful character as the philosophical rustic who quotes Shakespeare.

Both Russell and Ginsberg are versatile performers, great in both the comic and the serious scenes. Ginsberg in particular is a great straight man, hilarious when set against Adam Witte, the waiter at a "dirtcentric" restaurant in "I'd Rather Eat Dirt." Guitarist Billy Heller was a great addition to the SPT band, jamming on some fun and energetic songs and holding his own on the mic in "Walk of Life."

The music in general was very good in this show; Janelle Lauer in particular shined in "I Like Dirt" and "Vertigo," both gritty, slightly funky songs. The band is always a joy, and the music helps fuse the wide range of styles in the theatrical pieces into a solid show. It was a shame, however, that the performance of "Break on Through" was somewhat truncated; it would have been nice to see Gerard Estella and Billy Heller get a chance to really jam on this blues-rock classic.

I'd Rather Eat Dirt is being performed again tonight, April 3rd, at 7:30pm at the Cedar Rapids Museum of Art. Tickets are $20 and may be purchased at the door.