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Bob Weesner, the director of Harvey, needs some crew members for the run of the show. Needs a stage manager and other tech crew - set design/building, light design/op, etc. If you are interested, or know someone who would be, please contact Bob Weesner at bweesner1939@yahoo.com.

This weekend’s OCTAFest, held at the Emerald City Players, produced two invitees who will represent the Central Region at this year’s state conference to be held on Labor Day weekend in Cincinnati.  Grove City’s Little Theatre Off Broadway has been invited to feature a selection from You’re a Good Man Charlie Brown, and Mt. Vernon’s Alcove Dinner Theatre earned an invitation to present a portion of Hidden in This Picture.  The Licking County Players from Newark earned an alternate position for the conference with their excerpt from “The Kitchen Witches.”

Complete list of other awards for the 2009 OCTAFest Central Regional:

Kate Mock Elliott- Merit in Acting-” Burn This “

Christopher Seitz- Merit in Acting- ” Burn This “

Chris Petee- Merit in Costumes- ”Good Help Is So Hard To Murder “

Dianna Langley- Merit in Acting- ”Good Help Is So Hard To Murder “

Doug Gustafson- Merit in Vocal Acting- ”Good Help Is So Hard To Murder “

Chris Petee- Merit in Acting- ”Good Help Is So Hard To Murder ”

Susan Kahrl- Merit in Acting- ”Good Help Is So Hard To Murder “

Tammy Souhrada- Merit in Acting as “The Grim Reaper”- ”Good Help Is So Hard To Murder “

Michele Bayko- Outstanding in Costumes- ”Anne of Green Gables - The Sequel “

Thor Fox- Excellence in Acting- ”Anne of Green Gables - The Sequel “

Courtney Schmitt- Excellence in Acting- ”Anne of Green Gables - The Sequel “

Alexandra Wilson- Merit in Acting ”Anne of Green Gables - The Sequel “

The Cast of ” Anne of Green Gables - The Sequel “- Merit in Ensemble- ”Anne of Green Gables - The Sequel “

Michele Bayko- Merit in Stage Adaptation- ”Anne of Green Gables - The Sequel “

Amy Little- Outstanding in Musical Performance- ”You’re a Good Man, Charlie Brown “

Jay Rittberger- Excellence in Acting- ”You’re a Good Man, Charlie Brown “

Aerika Brofford- Excellence in Acting- ”You’re a Good Man, Charlie Brown “

Doug Mondell- Excellence in Acting- ”You’re a Good Man, Charlie Brown “

Veronica Alexander- Excellence in Acting- ”You’re a Good Man, Charlie Brown “

Ed Schwartz- Excellence in Acting- ”You’re a Good Man, Charlie Brown “

The Cast of “You’re a Good Man, Charlie Brown”- Outstanding in Ensemble- ”You’re a Good Man, Charlie Brown “

The Musicians- Excellence in Musical Performance- ”You’re a Good Man, Charlie Brown “

Rosemary Cullison- Excellence in Costumes- ”You’re a Good Man, Charlie Brown “

Sue Rapier- Excellence in Directing- ”You’re a Good Man, Charlie Brown ”

Aaron Moreland- Outstanding in Acting- ”Hidden In This Picture “

Bruce Jacklin- Outstanding in Acting- ”Hidden In This Picture “

Andrew Duffy- Outstanding in Acting- ”Hidden In This Picture “

Christopher Johnson- Outstanding in Acting- ”Hidden In This Picture “

Bruce Jacklin- Outstanding in Directing- ”Hidden In This Picture “

The Cast of ” Hidden in This Picture “- Outstanding in Ensemble- ”Hidden In This Picture “

The Alcove Theatre- Merit in Costumes- ”Hidden In This Picture “

Kathy Sturm- Excellence in Acting- ”Ladies at the Alamo “

Emerald City Players- Excellence in Props- ”Ladies at the Alamo “

Brian Cheslik- Merit in Directing- ”Ladies at the Alamo “

Melody Long- Merit in Acting- ”Ladies at the Alamo “

The Cast of ” Kitchen Witches “- Excellence in Ensemble- ”Kitchen Witches “

Tim Smith- Excellence in Acting- ”Kitchen Witches “

Sue Saline- Excellence in Acting- ”Kitchen Witches “

Vickie Maddux- Merit in Acting- ”Kitchen Witches “

Emerald City Players will be holding auditions for…

“Harvey”
By: Mary Chase
Director: Robert Weesner
Performances: September 4 - September 19, 2009

Auditions:              Sunday, July 19, 2009 - 7:00 PM
Monday, July 20, 2009 - 7:00 PM

Synopsis: When Elwood P. Dowd starts to introduce his imaginary friend,
Harvey, a six-and-a-half-foot rabbit, to guests at a society party, his
sister, Veta, has seen as much of his eccentric behavior as she can
tolerate. She decides to have him committed to a sanitarium to spare her
daughter, Myrtle Mae, and their family from future embarrassment. Problems
arise, however, when Veta herself is mistakenly assumed to be on the verge
of lunacy when she explains to doctors that years of living with Elwood’s
hallucination have caused her to see Harvey also! The doctors commit Veta
instead of Elwood, but when the truth comes out, the search is on for
Elwood and his invisible companion. When he shows up at the sanitarium
looking for his lost friend Harvey, it seems that the mild-mannered
Elwood’s delusion has had a strange influence on more than one of the
doctors. Only at the end does Veta realize that maybe Harvey isn’t so bad
after all.

Character Breakdown:
VETA LOUISE SIMMONS
A woman appearing to be early to late 50’s. A society matron, serious,
runs the
Dowd family mansion with an iron hand. A pretender to the society throne.

MYRTLE MAY SIMMONS
Veta’s daughter. Typical 1944 ingénue. Because of this, the character is
open to
a wide range of individualistic interpretation. (whatever that is …)

ELWOOD P. DOWD
Age relative to Vita (Early 40’s to early 50’s) Brother to Veta.
Very laid back and warm personality. Dignified, a true gentleman.

HARVEY
The title character, a pooka (shape shifter) who appears in this play as a
rabbit. .
Although he is on stage for virtually the entire play, he is actually
never seen nor
heard by the audience or the characters.

MISS JOHNSON
The maid at the Dowd mansion. Very young or very old or somewhere
in between, Open to interpretation. Very.

MRS. ETHEL CHAUVENET
With a name like that, you’d expect Ms Chauvenet to be an older woman
who is the reigning queen of society. You’d be right. She even blings when
she walks.
She is Elwood’s aunt … if that helps. She is very fond of him.

RUTH KELLY, R.N.
The head nurse at “ Chumley’s Rest.” Per the script, she is “a very pretty
young woman of about twenty-four.” If this was a horror movie instead of a
play,
she’d be the first one turned into fish food.

DUANE WILSON
The Sanitarium strong attendant, only recently evolving to
become more-or-less human.

LYMAN SANDERSON, M.D.
Just out of medical school. Darkly handsome. Warmly charming.
He has all the qualities that make you want to run over him
with a truck in the parking lot.

WILLIAM R. CHUMLEY, M.D.
An older man. Successful and secure in both his position and ability.

BETTY CHUMLEY
Wife of Dr. Chumley. Age appropriate. Lots of energy. Very pleasant.

JUDGE OMAR GAFFNEY
An older man, very serious, very … uh, judgelike …

E. J. LOFGREN (Cab Driver)
Appears at the end of the play. Could be 30 to 40 years in age.
Could be double cast with another role.

Auditions will be reading from the script.

Bring Headshot and Resume if Available (not mandatory)

Auditions will take place at the
Emerald City Theater, 6799 Dublin Center Dr,
in the Dublin Village Shopping Center.

Visit www.emeraldcityplayers.com for more information.

Auditions for  Arsenic and Old Lace  by Joseph Kesselring

Where:  RoundTown Players

When:  Sunday & Monday July 26 & 27

Time:   7:00 PM

What:  Cold Reading

Play dates:  Sept 25, 26, Oct 2, 3, 4

Script available for preview in the library

Lots of great character roles:  Men and women of all ages

Two maiden ladies, a young couple, a Teddy Roosevelt type.  Boris Karloff and Peter Lorie types as well.  We need officers of the law and others.

Directed by John Rankin

Call 477-3300 with questions.

RoundTown Players

165 1/2 E. Main St.

Circleville, Ohio 43113

740-474-5856

by Danielle Filas

This Saturday, July 11, Dublin’s community theatre, Emerald City Players (ECP) will host the 2009 Central Ohio Regional OCTAFest theatre festival. The Ohio Community Theatre Association (OCTA), formed in 1953, organizes this annual competition consisting of five regional events (including some theatres in Kentucky and West Virginia) that culminate in a state conference held in Cincinnati on Labor Day weekend.  Seven central Ohio theatres will present 40 minute excerpts of shows from the past season at the Dublin event. Three trained theatrical adjudicators from other regions will offer critiques for all performances, commenting on acting, technical and design quality, cohesion, and overall integrity before selecting two winning performances.  Open to the public for the ticket prices of $15, attendees will not only enjoy a full day of theatre ranging from drama to comedy and everything in between, but will also be able to sit in on the critique sessions.  The two theatres chosen as winners at Saturday’s competition will attend the state conference representing the Central Ohio region.

Emerald City Players has been participating in OCTAFest since opening its doors in October 1998, but has never hosted the event prior to this year.  ECP’s large space and centralized location make it a logical choice for the competition, which features companies from as far away as Marengo (Orange Barrel Production Company), Mt. Vernon (Alcove Dinner Theatre and Vernon Players), and Newark (Licking County Players).  Also featured will be theatres from Westerville (Curtain Players), Grove City (Little Theatre Off Broadway), and Dublin (Emerald City Players).  In preparation for the event, ECP has rearranged its space and assembled a staff of 20 volunteers; no small feat for this community theatre company.

This kind of hard work reflects the passion at the basis of all community theatre.  Brian Cheslik, member of the ECP board of directors, explains the spirit of community theatre, saying it “depends upon volunteers who work … for the love of art and theatre… Community theatre helps to bring culture to the community. It is made up of people and actors who do this for the love of theatre, not for fame or money.”  OCTA seeks to promote and support community theatre through the regional events and to celebrate the best through the state conference.

Should community theatre, however, be judged in a competitive or critical environment such as this event?  Should community theatre productions even be reviewed?  In a recent comment, a Theatre Vault reader articulates this argument.  Lisa Foster, responding to negative comments in a posted review, states that the choice to “post negative criticism on a website aspiring to be a destination for local theater lovers seems counter-intuitive…Should [your] published opinion possibly deter someone from attending that show? I think the answer should be no, at least for community theater.”

Cheslik argues that critiques and reviews, positive or negative, can only help community theatres.   Critiques offered by adjudicators at OCTAFest help provide feedback and suggestions to assist participating theatres to improve the quality of future productions.  Cheslik and ECP regularly invite reviewers to attend their productions, stating, “Honestly, we believe that no press is bad press. Or all press is good press. I do not think that reviewers can convince the public NOT to go see a show. In fact, in my experience, I have seen where the worst reviews … have generated more audience attendance. Look at Richard Ades; he NEVER gives a good review. But that does not stop people from going to see it, nor does it stop him from coming back for more.”

OCTAFest and the upcoming state conference offer more than heavy criticism, of course.  Cheslik elaborates, saying, “It’s a very fun experience. You get to see other theatres, meet new people. If you go to States, it’s a weekend long thing with parties, games, dances, dinners.”  Of this Saturday’s event, he promises a top notch performance from ECP’s entry, Ladies of Alamo and says of the other entries, “You can expect, some cute Peanuts characters, a scorned lovers triangle, interesting debates over cows … and much much more.”

Ticket price is $15 for the entire day which includes seven excerpts from the listed theatres as well as listening to the adjudication of each excerpt. Tickets can only be purchased at the door.  For more information, including a full schedule and a map, check out the Columbus Theatre Calendar on Theatre Vault.  Just click the OCTAFest on July 11.

Emerald City Players is located in Dublin, Ohio at 6799 Dublin Center Road in the Dublin Village Shopping, just off Sawmill Road near the AMC movie theater complex, close to Applebees.  Visit www.emeraldcityplayers.com to learn moreabout Emerald City Players.

Visit www.octaweb.org to learn more about the Ohio Community Theatre Association.

_____

Danielle Filas serves as a contributing editor to Theatre Vault. She recently moved from Chicago and holds Theatre degrees from Northwestern University and Knox College. You can visit her personal blog by clicking here.

AUDITIONS

07.19.09 & 07.20.09
Charley’s Aunt
by Brandon Thomas
Directed by Petie Dodrill
Farce

Theatre Vault proudly continues Dramatis Personae, a series of essays written by and about local theatre artists.  In this essay, Arvin Donner, creative force behind The Drama Foundry, a Central Ohio group dedicated to providing opportunities for dramatic writers to hone their craft and forge new work. The first writers’ group meeting will be held on Saturday, July 11 from 5-7pm at the Junctionview Studios in Grandview. Learn more about the group and the meeting by visiting The Drama Foundry website.

*******

What makes a great writers’ group? I thought I had been doing a really good job in my attempts to avoid answering this nagging question for the past two weeks. That is until Theatre Vault asked me to write about it for this series. The timing is uncanny…

You see, on Saturday July 11, 2009 from 5-7 pm I will be standing in front of a group of like-minded people proselytizing as a witness to the good news of cross-disciplinary collaboration. To put that another way, I am the guy who is starting The Drama Foundry, a writing group for dramatic writers at Junctionview Studios.

My intentions are to bring writers and actors together to develop new work, and to create an incubator of sorts to help foster new work for local theaters, filmmakers, and other dramatic artists. After careful thought and some teeth gnashing, here is a list of what I think makes a great dramatic writing group.

1. Be dignified
A great dramatic writing group promotes and values an environment where its members know they have the dignity to fail, find their own way, learn, and experiment.

2. Don’t hog the earth as it orbits around you
A great dramatic writing group has to be accessible. This includes everything from having a timekeeper to manage the critiques so everyone has an equal opportunity to share, to making sure everyone has an equal opportunity to submit work to be read.

3. Know whom you are ultimately serving
A great dramatic writing group cannot please everyone. At the end of the day when the chips are down, there needs to be a group consensus on how the group is going to best serve the writers. When people make suggestions on how the group can be improved, always ask the question, “How is this going to serve the writer?”

4. Have ground rules
A great dramatic writing group has some structure, but not too much structure. Ground rules are a jumping off point not meant to be a straight jacket. They are there to create a space so people will feel safe and respected during critiques. Rules build trust in the group by allowing everyone to know there is common ground shared among the participants that will foster dignity. Ground rules also help to manage focus.

5. Communicate
A great dramatic writing group has an email list, phone list, and uses them. Remind people when the next meeting is. If your dog used your only copy of your next submission as a piece of toilet paper, well… that may be a sign from the Gods that your play wasn’t very good. If it is a sign, then notify the group to let them know you won’t be reading at the next meeting and try and find someone to take your spot.

6. Be flexible
A great dramatic writing group knows that the Buddha said stuff is impermanent. The group’s needs change. Individuals’ needs change. Well-intentioned ideas thought up by guys like me don’t work and need to change. Have a regular group conscious to discuss possible ways the group can address new issues that arise and make changes accordingly.

7. Be predictable
A great dramatic writing group meets at the same place every week but also has some flexibility with the time.

8. Meet anyway
A great dramatic writing group meets anyway even if the members don’t have anything to read and critique. This is a good opportunity to do improvisational exercises on new story ideas and to work on all those exercises in those screenplay and playwriting books that are collecting dust next to your toilet.

9. Have Kibble
A great dramatic writing group has the writers being critiqued bring some kibble to feed the actors who are being very kind and generous with their time to come and read the writers’ brilliant-yet-stilted-and-unfocused first draft.

10. The writer chooses the focus of the critique
A great dramatic writing group puts the focus of the critique in the hands of the writers. Do you want to talk about a particular character, or beat, or event in the story? The writer can even choose to not have the piece critiqued and instead may just observe what the emotional responses are to the work by the group members.

11. Focus on the process and not the outcome
A great dramatic writing group focuses on the process of writing and the development of stories. Ultimately, if the writing is solid, the agents will come, the cinematographers and directors will find you, and the productions will happen. Though, it is nice to share the contact information of a good entertainment lawyer or two.

12. Have some fun
That’s the most important. If you are not having fun, what’s the point?

My hope is that with these ideals and some luck, The Drama Foundry will run smoothly and help forge the development of new work, and avoid leaving too many blood stains on the carpet.

Set Designer for 2009 – 2010 Season
Candidate must have previous experience designing sets, developing ground plans, elevations and models, have a strong proficiency in scenic construction and must be able to work within strict budgetary constraints.  Duties include overseeing set build schedule, ordering materials, installing, maintaining and striking set elements for each production.  There is pay.
Those interested should send cover letter and resume to info@evolutiontheatre.org with Set Designer in the subject line or by mail to:
Mark Phillips Schwamberger
Executive Director
Evolution Theatre Company
P O Box 21072
Columbus, OH 43221
NO PHONE CALLS PLEASE.

Lighting Designer for 2009 – 2010 Season
Candidate must have previous experience in Lighting Design for both small and large productions and be able to work within strict budgetary constraints.  Duties include hanging, focusing, and maintaining fixtures, and programming, running and supporting shows.  There is pay.
Those interested should send cover letter and resume to info@evolutiontheatre.org with Lighting Designer in the subject line or by mail to:
Mark Phillips Schwamberger
Executive Director
Evolution Theatre Company
P O Box 21072
Columbus, OH 43221
NO PHONE CALLS PLEASE.

Costume Designer for 2009 – 2010 Season
Candidate must creative and have previous experience in Costume Design or Costuming for both small and large productions and be able to work within strict budgetary constraints.   Position is responsible for design, coordination and/or construction and maintenance of costumes. Successful applicant must have the ability to effectively manage a budget, oversee inventory and work well in a team setting. There is pay.
Those interested should send cover letter and resume to info@evolutiontheatre.org with Costume Designer in the subject line
Mark Phillips Schwamberger
Executive Director
Evolution Theatre Company
P O Box 21072
Columbus, OH 43221
NO PHONE CALLS PLEASE.

Development Director
Seeking a Development Director to join a small staff and help implement innovative fundraising and communications campaigns. The company is seeking an adventurous, creative individual to help with the promotion of its unique development process, public engagement activities and new online strategies. The Development Director will support the Executive Director in building individual donor base and developing and maintaining relationships with new funders and sponsors and potential partners. Salary will be commission based.
Those interested should send cover letter and resume to info@evolutiontheatre.org with Development Director in the subject line
Mark Phillips Schwamberger
Executive Director
Evolution Theatre Company
P O Box 21072
Columbus, OH 43221
NO PHONE CALLS PLEASE

Both reviewers agree that Weathervane Playhouse’s Into the Woods will leave you feeling happily ever after.  Weathervane Playhouse presents Into the Woods at the Mary A. Alford Memorial Pavilion located at 100 Price Road, Newark, Ohio.  Shows start at 8:00 p.m. July 2-3 and July 8-11, and at 7:00 p.m. on July 4.  Tickets range in price from $15 to $23 and are available at the box office before the show or for purchase online.  For more information about this show or the upcoming shows this season, please visit the Weathervane Playhouse website or call the box office at (740) 366-4616.

Into the Woods Worth the Trip Out to the Woods Little Red (Logan Baker) and The Baker (Jonathan Bragg) share a plate of cookies unaware The Witch (Sara Michalski) is close at hand. Weathervane’s production of “Into The Woods.” Photograph courtesy of Matt Upchurch, MVproductions. by Krista Threadgill This past Thursday evening, Weathervane Playhouse opened the latest production in their 41st summer season with the Stephen Sondheim favorite Into the Woods, an ambitious undertaking for any theatre company.  I am thrilled to report that this is a show well worth seeing.  There isn’t a bad seat in the house at the partially-enclosed pavilion tucked away in the small town of Newark.  It’s a bit of a hike for some Columbus natives, but once the show starts, you’ll forget all about the long drive. Matthew Trombetta directs Sondheim’s Tony Award-winning musical, set in an enchanted forest where the Narrator (Dennis Kohler) introduces some familiar characters:  Cinderella (Kirstin Flagor), her evil stepmother (Carolyn Clippinger) and taunting stepsisters (Maggie Taylor and Lisa Anfield); Little Red Ridinghood (Logan Baker), her Granny (Carolyn Redman) and a hungry Wolf (Morgan McCann); the local baker (Jonathan Bragg), his wife (Katherine DeBoer) and their neighbor, the Witch (Sara Michalski; young Jack (Raymond Havey), his mother (Belinda Paisley), and the family’s aging cow, Milky White (Marisa Riegle); the lovely Rapunzel (Samantha Mastrian); and two charming princes (McCann and Jesse Adam Koza).  Spellbinding melodies and a fast-paced plotline keep the audience riveted to this story about wishes—and the consequences that arise from a wish fulfilled. The ensemble cast is outstanding in this production.  The primary female cast members—Flagor, DeBoer, Baker, Mastrian and Michalski—have lovely singing voices and great stage presence.  Although Reigle’s character doesn’t speak, her expressive face and balletic movement make Milky White an audience favorite.  The men don’t disappoint either.  McCann’s duet with Baker, “Hello, Little Girl” is one of the standout pieces for a little-seen character in the Wolf.  His duets with Koza in “Agony” and the reprise are both fantastic with the right amount of real emotion and self-deprecating humor.  The singing for all is polished and understandable.  The actors also embody their characters well, and watching them learn and grow through the course of the play is moving and poignant. Tory Depew’s costumes convey the storybook feel needed for this play, adding just the right amount of sparkle and whimsy.  Adam Liston’s sets are beautifully designed.  The lighting (designed by Jennifer Sansfacon) and the pyrotechnics add to the magical and mysterious themes of the show without feeling too overdone. There was some trouble in the first act on opening night when the orchestra, under the musical direction of Cheridy Keller, was so loud that the actors couldn’t easily be heard; this was rectified during intermission, however, and the second act was much better balanced. If you do make it out to Newark to see this production, there are a few things to keep in mind:  The play runs just under 3 hours with a 15-minute intermission between acts.  If you’re hungry, the concession stand is pretty good and not expensive at all; however, you’ll need to bring cash since they don’t accept credit cards.  Also, there’s a ton of construction on 161 in their neck of the “woods” right now.  The detours are pretty obvious, so trust the road signs.  All that notwithstanding, this is an excellent production.  Take the plunge and go.  After all, “anything can happen in the woods”! ***** Krista Threadgill spent her childhood following her parents around the Actors Guild of Parkersburg. After that, she wiled away her summers at Jenny Wiley Amphitheater, and she has performed in two Neil Simon plays. She has an English degree from the Ohio State University.

Weathervane Strikes Delightful Chord with Into the Woods Little Red (Logan Baker) adventures through the wood with The Witch (Sara Michalski) close behind in Weathervane’s production of “Into The Woods.” Photograph courtesy of Matt Upchurch, MVproductions. by Tahrea Maynard Weathervane Playhouse opens Into the Woods this holiday weekend, delivering a performance worthy of Broadway. From the acting, to the singing, and the production values, the Newark-based professional summer stock company delivers powerhouse entertainment well worth the trek out of Columbus. In Act I, the audience is introduced to the classic, yet reimagined fairy tales of Cinderella (Kirstin Flaglor), Jack (Raymond Havey) of Beanstalk fame, Little Red Riding Hood (Logan Baker), Rapunzel (Samantha Mastrian), and a Baker and His Wife (Jonathan Bragg, Katherine DeBoer).  What ties all of these characters together is their wishes, each longing for uniquely personal desires. In Act II, the stories continue past the usual “Happily Ever After” conclusions, climaxing delightfully to reveal chaotic hilarity and lessons well learned. Though this production boasts a cast of 20 talented performers, each adding to the magic of the story, several characters steal audience members’ hearts. Morgan McCann certainly grabs attention as the creepy, villainous Wolf, singing “Hello, Little Girl” as he drools over the naive and sweet Little Red Riding Hood, played by the adorable young Baker. Juxtaposed to the vile Wolf, McCann’s version of Cinderella’s Prince may leave several female audience members, this reviewer included, swooning in the aisles with his one-two-punch of handsome looks and a richly toned voice. Paired with Jesse Adam Koza, his brother and Rapunzel’s Prince, the two inspire peals of laughter with their rendition of “Agony.” Another performer to stand out in the cast is Sara Michalski as the witch behind most of the magic and mischief throughout the story. In Act I she is introduced as an old hag, particularly repugnant in appearance. Yet, her touching performances in “Stay with Me” and “Children Will Listen” will reach hearts and eventually overcomes first impressions to finally win over the audience with a smart and endearing performance. One would be remiss in not mentioning the performances of Brag and DeBoer. Vocal performances by these two are outstanding. Their chemistry as the husband and wife characters is believable as, together, they struggle against the obstacles that lie before them in their efforts to have a child.  The depth and commitment they bring to the role adds a poignant layer to the mix. One wonderful characteristic about “Into the Woods” is this sort of reality inserted within all the fantasy, making the stories all the more believable.  Weathervane’s production certainly capitalizes on this, even with the set and lighting, thanks to Scenic Designer Adam Liston. Looking onto the stage, audience members will forget where they are as the set is crafted with trees, branches, and the occasion gust of smoke float about the stage increasing the sense of a realistic forest. All moments , touching or scary are complemented well with the moody lighting, designed by Jennifer Sansfacon. Costuming also plays a big part in making the stories believable, and Tory Depew certainly made sure the costumes balance between fantastic and realistic. Each character’s costume giving a fairy tale feel without be too “costume-y.” Bravo! Insightful, creative director Matthew Trombetta certainly should be proud of such a successful production. Note that the production may be enjoyed by younger children, but is rated PG-13. Younger children may be slightly frightened by spontaneous and loud sound effects, surprising entrances, and some pyrotechnics. ***** Tahrea Maynard has spent the majority of her life onstage, appearing on stages with such Central Ohio theatres as Roundtown Players and Rosebriar Shakespeare Co. She also teaches Musical Theatre classes with the Charmion Performing Arts Center in Circleville.  Check out her blogs here and here.