REVIEW: Hilberry scores a laugh-fest with “The 39 Steps”

By David Kiley for Encore Michigan. Read the full review here. Buy tickets here!

It isn’t often a reviewer gets to say “I laughed ’til I cried,” but that is exactly what happened at The Hilberry Theatre Company’s production of The 39 Steps. At one point, I almost had to leave my seat. But since I wasn’t alone in my break-down, it was all right.

39 Steps Blog Photo

This is the third time I have seen this farce produced, and I always wonder what percentage of the audience has seen Alfred Hitchcock’s “The 39 Steps” film from the 1930s. The staging of the film’s story in British-farce style is extremely funny for anyone, but it is downright hilarious for anyone who is a fan of the Hitchcock film catalog and has seen “Steps” multiple times.

The play rolls out as if a drama teacher told a group of talented improv actors who had seen the film twenty or so times to stage the film using whatever happened to be in the costume and prop rooms.

It is a seven-member cast. Manocchio plays Hannay throughout with great flair and comedic timing, with his Errol Flynn-cool comedic timing and dash, and athletic maneuvering around the stage–including using the backstage ladder and catwalk as the Forth Bridge in Scotland. Bell-Hall plays multiple roles with several costume changes–from the spy to the seemingly innocent, but really very randy, farmer’s wife to Hannay’s love interest and cohort in the story. She carries a big load in the show, and is marvelous and sexy at every turn.

It is Brandy Joe Plambeck and Michael Phillip Thomas, though, billed as “clowns” who keep the audience in stitches. They do a dizzying number of character and costume changes in rapid fire, sometimes doing a scene requiring four people as they duck behind a steamer trunk and slide on a coat or beard to each play two characters, other times as when Thomas wears a trench coat half-on/half-off and just keeps turning side to side as he does a conversation between two characters both played by him. Sometimes, the changes happen so fast, it seems like a Houdini trick. It looks like an exhausting show for the two of them, but they could soar with these roles on any stage in the world, and the Hilberry is lucky to get them for this run. They do some turns in drag, and bring such gaiety to it, with touches of improved bits of business, that you’ll be laughing and tearing up the next day just thinking about it. It helps that the two of them have faces seemingly created by nature to do sketch comedy.

Three “stage-hands” are part of the on-stage ensemble–played by Devri Chism, Julian David Colletta and Santino Craven–who portray a couch, chair, a car, doors, sound effects, etc. Their presence throughout, moving set pieces around and then performing, as they do–for example, forming a car with their bodies and the steamer trunks, and then transitioning to sheep blocking the road–is all part of the wondrous cleverness of the show and excellent direction by Russel Treyz and company.

Read the full review here. Buy tickets here!

When nobody wants to hear the truth

Originally posted by Encore Michigan and written by Martin F. Kohn. Read the full review here.

Left to Right: Julian David Colettta, Michael Phillip Thomas, Brandy Joe Plambeck Photo by Bruce Giffin

Left to Right: Julian David Collettta, Michael Phillip Thomas, Brandy Joe Plambeck
Photo by Bruce Giffin

In Henrik Ibsen’s “An Enemy of the People,” a dedicated physician discovers that his town’s healthful mineral baths, its big tourist draw, are dangerously polluted. The town doesn’t want to hear about it.

If it hadn’t been written in 1882, you might suspect the play was an allegory about today’s science deniers, those people who won’t acknowledge the perils of climate change, proclaiming disingenuously: “We’re not scientists, we can’t judge.”

That’s precisely what somebody says in “An Enemy of the People.” And they do judge. And what the dedicated physician learns is that the truth, which is supposed to set you free, will do nothing of the sort if it’s bad for business.

The production at the Hilberry Theatre is Arthur Miller’s adaptation of Ibsen’s play. You’re forgiven if you assumed (as I did) that Miller wrote his update in the present century, in his final years; in fact, it premiered in 1950. There’s a temptation to call it “An Enemy of the People, by Henrik Ibsen as told to Arthur Miller,” but Ibsen couldn’t have told Miller anything: he died in 1906, Miller was born in 1915.

But Ibsen certainly speaks to Miller, and both of them speak to today. It has points to make, but “An Enemy of the People” remains a human drama as well.

At first, Dr. Thomas Stockmann thinks the townsfolk will hail him as a hero for his discovery that could save many lives. But the whole town, with one or two exceptions, turns against him, led by his brother, the mayor. Even the local newspaper, self-proclaimed champion of free speech, refuses to publish the doctor’s findings.

Read the full review here.

REVIEW: Marat/Sade – ‘The Hilberry doing what it does best – educate’

Reviewed by John Quinn, Encore Michigan

Read the review on the Encore Michigan website.

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Simonne Evrard (Megan Dobbertin), Jean-Paul Marat (Edmund Alyn Jones) Credit: Kevin Replinger

Simonne Evrard (Megan Dobbertin), Jean-Paul Marat (Edmund Alyn Jones)
Credit: Kevin Replinger

The Hilberry Theatre closes its 50th season with an extraordinary challenge. “The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade,” better known, I am grateful, simply as “Marat/Sade,” is still avante garde even at age 50. It’s more pageant than play: cruel, unrelenting and hard to like. It is also, thanks to its director, guest-artist Matthew Earnest, a compelling, visceral work, satisfying for its sheer theatricality. Earnest has gotten everything right by simply honoring the playwright’s intent.

That playwright was Peter Weiss, born a Czech but a naturalized Swede. His work was heavily influenced by German playwright and director Bertolt Brecht and Antonin Artaud, the French director who espoused the Theatre of Cruelty – as explored in “Marat/Sade,” meaning a violent determination to shatter false reality. Weiss has created a timeless work; he crafts a framework of societal dysfunction during the Napoleonic Empire, using techniques developed amidst the dysfunction of the Weimar Republic. His purpose was to explore the dysfunction of the Cold War, but his theme was eerily echoed this week in the streets of Boston. In a nut shell, “Marat/Sade” asks, “What needs to be altered in order to promote change? Is it society, or is it the individual?”

Weiss delved into history and chose as his debaters Jean-Paul Marat, firebrand journalist of the French Revolution, and the Marquis de Sade, whose sexual predilections gave us the term, “sadism.” While the characters were contemporaries, they had no historical conversation. “Marat/Sade” by intention is an unsettling work, and it all begins with the structure. The setting is Charenton Asylum; the date is July 13, 1808. Dr Coulmier (Joshua Blake Rippy), the “progressive” head of the institution, uses theater as therapy for his patients. He has encouraged his most notorious charge, the Marquis de Sade, to write and direct an account of the assassination of Jean-Paul Marat on the 15th anniversary of the event. He’s looking for a celebration of how successful the new regime is compared to the old. For his patients, and especially Sade, the difference is summed, “Meet the new boss/Same as the old boss.” Even the word “freedom” sets off the insane. Weiss has already set us up for layers of unreality. “Marat/Sade” is a play within a play in which the interior playwright may interact with his creations.

Historically, Marat was pushing for further bloodshed as the Revolution devolved to murderous infighting among factions. Charlotte Corday, representing a less violent faction, stabbed him to death in his bath in an effort to head off a civil war. The effort was in vain, and the Reign of Terror commenced.

We can dispense with the historical narrative, though; it’s not terribly relevant. Weiss put it, “Our play’s chief aim has been to take to bits great propositions and their opposites, see how they work, and let them fight it out.” The antagonists are Marat (Edmund Alyn Jones)and Sade (Joe Plambeck), polar opposites, representing anarchy and authoritarianism. Is there a winner? This is Brechtian theater; the resolution is left to each audience member.

This is edgy stuff. Ernest has toned down the violence and sex, but “Marat/Sade” still resonates on a primitive level. But as an educational experience for both artists and audience, it is unparalleled. Earnest’s notable achievement is his success in the Brechtian concept of “alienation.” Brecht, an ideologue to the bone, believed art was merely an educational tool. Thus “alienation” creates situations that interrupt the audiences’ imagination so that they can’t forget that it’s “only make-believe.”

The asylum residents are in mime makeup. Our narrator, “The Herald,” is the formidable Topher Payne, cross dressing in heels, a white slip, and red opera gloves. Overall, his remarkable performance is reminiscent of the Master of Ceremonies in “Cabaret.” Evoking that account of the failing Weimar Republic would warm the cockles of Becht’s Marxist heart.

Two especially satisfying performances stand out; Vanessa Sawson as a narcoleptic playing Charlotte Corday, paired with Brandon Grantz as a grabby satyromaniac playing Duperret, one of her compatriots. Their downstage-center dialogues practically define alienation as the artists portray multiple layers of fantasy, destroying them as the go.

Ultimately, though, Edmund Alyn Jones and Joe Plambeck own this show. Jones is able to limn both Marat and the paranoid patient that plays him without leaving a bathtub – a tub on wheels, no less. He holds his own against Plambeck’s imposing stage presence and the Marquis’s more appealing philosophy, a sort of libertine libertarianism. Plambeck plays one of the most memorable scenes; Sade dispenses political musings while being lashed (in mime, faint of hearts) at his own request.

“Marat/Sade” is not a production for the easily offended. Nor is it likely to entertain patrons with rigid prejudices. It instead demands an intellectual, internal discussion in each member of a discerning audience. Once again our society is caught in a riptide of clashing forces: It’s the wise citizen who will be ready.

SHOW DETAILS: “Marat/Sade” continues at the Hilberry Theatre, 4743 Cass Ave., Detroit, Thursday-Sunday through May 11, plus Wednesday, April 24. Running time: 2 hours, 25 minutes. Tickets: $12-30. For information: 313-577-2972 or www.Hilberry.com.

REVIEW: ‘Marriage’ Madness at the Hilberry

Reviewed by Sue Suchyta, Dearborn Times-Herald

Click HERE to read the review on the Times-Herald website.

Posted: Mar. 5, 2013

Gogol’s Marriage, adapted by Barbara Field, is a comic romp and satire of the rituals that lead up to marriage and the awkwardness of attraction.

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev), Annie Keris (Agafya)Photo: Kevin Replinger

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev), Annie Keris (Agafya)
Photo: Kevin Replinger

The show runs in rotating repertory through April 6 at the Hilberry Theatre, 3424 Woodward in Detroit. For tickets call 313-577-2972 or go to www.hilberry.com.

Set in St. Petersburg, Russia, in the 1840s, but surprisingly modern in its portrayal of human idiosyncrasies, Marriage focuses on Podkoliosin, a minor court official and a bachelor, who feels pressured to marry.

Soon, a matchmaker, and an unhappily married friend jump into the fray to find him a wife who will enrich his life monetarily and will accept the reluctant bachelor; however, other reluctant grooms have the same agenda, and soon the loony bin is full of silly suitors.

Michael Wilkki’s colorful set, a giant garish wedding cake flanked by two gigantic cupcakes, calls to mind a technicolor Seuss story come to life with whimsical details and enthusiastic excess.

Likewise, Clare Hungate-Hawk’s costumes evoke thoughts of Alice’s madcap romp in Wonderland with a brace of suitors with exaggerated character flaws in their comic costumes highlighted with bright splashes of unabashed color.

Set against the cartoonish colors and stage magic, the cast completes the comic characterization with entertaining earnestness. Brent Griffith, as Podkoliosin, the anxious and procrastinating bachelor, plays the character with laughable nervous energy as he tries to conform to society’s demands and still clings to the safety net of procrastination.

Ty Mitchell as Kochkariev, Podkoliosin’s unhappily wed wingman, is energetically motivated to engage his best bud. Kochkariev pushes, prods and plays his pal like a piano to lead him to the altar.

Annie Keris is a wide-eyed delight as Agafya, the overwhelmed potential bride trying valiantly to follow society’s courtship rituals while discretely trying to sort the toads from the potential princes as she faces an onslaught of beaus more interested in her dowry than in her.

Joshua Blake Rippy, a physically imposing man in drag, is funny as her Aunt Arina, reminding one of a similar device often used to invoke laughter in Oscar Wilde’s plays.

The three main suitor rivals – Chris Call as Poach’Tegg, Miles Boucher as Anuchkin and Topher Payne as Zhevakin – have fun and make the most of their characters’ eccentricities.

Between scenes, karaoke takes center stage as the cast sings and dances along to pop tunes associated with falling in and out of love, much to the amusement of the house.

As characters bounce on and off stage, looking for love in all the wrong ways and places, audiences laugh and breathe a mental sigh of relief that they are  not stuck in the middle of the engagement games.

Broadway Wold Interview: Brent Griffith Talks MARRIAGE at Hilberry Theatre

Katie Laban of BroadwayWorld.com caught up with second year MFA Actor Brent Griffith about his leading role in Marriage. Here’s what Brent had to say about his experience working on the show.

Click HERE to read the interview on Boradway World’s website.

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Thursday, February 21, 2013; 10:02 PM – by 

Brent Griffith (Podkoliosin)Photo: Kevin Replinger

Brent Griffith (Podkoliosin)
Photo: Kevin Replinger

The comedy Marriage opens this weekend at the Hilberry Theatre and actor Brent Griffith is excited to perform the lead role of Podkoliosin the bachelor although he did not do any extreme preparations for the role. “I am not married and have never been engaged,” he says, “and I didn’t go out and do either to gain experience for the role.”

Griffith, native to the Seattle area and a graduate of Central Washington University, is a second year graduate student who enjoys being part of the Hilberry company. “So far my favorite role has been (Adolphus) Cusins in Major Barbara last season,” he says. “I also had a lot of fun learning the ropes of tour life during my undergrad with the touring children’s show Fool the World.” With the role of Podkolionsin, Griffith gets to play a very indecisive character. “He is a guy that has reached a point in his life where he knows he should be married, but doesn’t know if it’s right for him. He’s very sort of wishy-washy. He will be all one way, then all in the other way. He also lets himself be affected by outside forces more so than his own and what he really wants I think,” he says. “He realizes being married is a good thing, but at the same time I don’t think he really wants it.”

Marriage is by Nikolai Gogal and was originally published in 1842. It is consider to the classic Russian tale of arranged marriages. “The title says it all. My character decides that he wants to get married, but is undecided at the same time so he goes to a matchmaker to try and find a wife,” says Griffith. “Then my friend decides he can set me up better than the matchmaker can and tries to get rid of other suitors that are after this one single lady and set me up with her. It is really just a comedy about matchmaking and making the right match in marriage.”

An interesting aspect of this production is that while the play is by a Russian playwright, the director, James Thomas, choose to use a Russian method of Etude during the rehearsal process. “It was a different process than I was used to because I don’t think at any point we had our scripts in hand on stage while we were rehearsing,” says Griffith. “We would read through the scene twice, then we would say it in our words without the script in front of us, and finally we would go on stage and just sort of fudge through it in our own words.” The Etude Method is very popular in Russian theatre and Griffith found it unusual to never actually rehearse with the script in his hand on stage, but he felt it made more of a connection between the actors by using the method. “It forced us to really look at each other and go for what we wanted and get what we wanted instead of just reading along with our noses in the book,” he says.

The comedy is a lighthearted show that is strictly meant to be a fun time according to Griffith. “There is no deeper message we are trying to get across,” he says. “It’s just sort of a fun, breezy night at the theatre. You don’t have to think hard about it, you can just come in and enjoy what you are watching.”

Marriage opens February 22nd and run in repertory through April 6th at the Hilberry Theatre in Detroit. For more information or ticket, visit www.hilberry.com or LIKE the Hilberry Theatre on Facebook.

REVIEW: Hilberry Theatre makes the comedy of ‘Marriage’ larger than life

Reviewed by Patty Nolan, The Examiner

Click HERE to read the review on the Examiner’s website.

Posted: Feb. 23, 2013 at 3:45 p.m.

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev)Photo: Kevin Replinger

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev)
Photo: Kevin Replinger

Few subjects lend themselves to universal mirth the way marriage does. The theatre canon would be slim indeed if we were to remove comedies about the attempts to woo and win a life partner. One of the classic comedies in this vein is “Marriage,” penned in 1842 by Russian playwright Nikolai Gogol. A new production opened last night at the Hilberry Theatre to an enthusiastic audience.

It’s one of Gogol’s most frequently performed plays, but it’s not exactly trending in the hashtag world of social media. So you might think it’s an odd choice for the fifth production in the Hilberry Theatre’s 50th season. And it would be, if we didn’t know that the Hilberry company has a wonderful habit of making each production its own.

This classic Russian tale of arranged marriages has as its hero a youngish bachelor who gets cold feet whenever confronted with the chilly reality of marriage. He has been proposed by the official matchmaker as a suitor for an eligible young lady in town. The bachelor’s best friend, who has an ax to grind with the matchmaker, decides to usurp her duties and arrange the marriage himself. Of course, there are three other suitors who have their own ideas about how things should be arranged. And the would-be bride is terrified of the whole situation.

The translated dialog is clever, but most of Gogol’s laughs are visual and situational. And that’s where director James Thomas takes everything to the next level … and deliberately over the top. It’s brilliant.

It starts with an outrageous set design by Michael Wilkki that features a giant pink wedding cake through which the actors make their entrances and exits. The suitors’ costumes, by Clare Hungate-Hawk, are also larger than life, with shocking colors, giant buttons and hats that are a few inches taller and wider than you’d expect to find in 1840’s Russia. The inventive use of props, including graphic signs that pop up like thought bubbles behind the actors, add to the levity.

And then there’s the music. We’re pretty sure that Gogol didn’t open his show with a choreographed lip-sync to Bobby Darin’s “Dream Lover.” But he missed a bet. This was a fun, funny way to kick off the show, signaling to the audience that this is a thoroughly contemporary production and that the laughs will keep on coming. So do the musical numbers – not frequently, but enough to give this show a distinctive, upbeat pacing.

Of course, none of this would work without an ensemble cast that understands the fundamental ridiculousness of Gogol’s characters and their situations. They are wonderfully funny in the best way possible – which is to say, they play silly characters who take themselves very seriously.

Brent Griffith, as the hesitant bachelor, has a few hilarious scenes that work largely because we can see, in his facial expressions and body language, the quickly changing notions running through his head. He swings from confidant swagger to horrified terror in the span of a few swift heart beats. Ty Mitchell, as his manic best friend, brings crazy energy and a certain grace to the role that seems appropriate in one who is essentially a con man. Annie Keris, as the bride-to-be, is lovely and dainty and catches everyone off guard when she occasionally drops her perky ingénue babble to deadpan the key lines that express what she’s really thinking.

The matchmaker is played by Sarah Hawkins Moan, who serves up the suitors as if they are choice cuts of cured beef. The bride’s overbearing Aunt Arina is played with all the sincerity of a bludgeon by Joshua Blake Rippy. He earned laughs with every flounce of his lovely, man-sized gown, and clearly enjoyed intimidating the suitors. The suitors – played by Chris Call, Miles Boucher and Topher Payne – each have fun moments in the spotlight that underscore the unrealistic expectations the men have regarding marriage.

Even the servants have fun in this play. Alec Barbour, as the valet, responds to his master’s elaborate requests with clipped, belligerent answers. And Chelsea Ortuno, as the maid, brings a trippy otherness to a role that adds a charming silliness to all of her scenes.

Director James Thomas is supported in this production by: Michelle Brock (Choreographer), Dana Gamarra (Stage Manager), Michael Wilkki (Scenic Designer), Leah McCall (Lighting Designer), Clare Hungate-Hawk (Costume Designer), Heather DeFauw (Sound Designer), Leazah Behrens (Property Master), Maz Amitin (Technical Director), Curtis Green (Asst. Technical Director), Kimbra Essex (Paint Charge), Kevin Replinger (Publicity Manager), and Max Bolton (Publicity Design).

There’s much to enjoy in this unique production of “Marriage,” which runs in rotating repertory through Saturday, April 6, with the dark comedy “Detroit” by Lisa D’Amour and the comedic Shakespearean reimagining “Goodnight Desdemona (Good Morning Juliet)” by Ann-Marie MacDonald. Check the website for dates. Tickets for “Marriage” range from $12–$30 and are available by calling the Hilberry Theatre Box Office at (313) 577-2972, online, or by visiting the box office at 4743 Cass Avenue on the corner of Hancock.

REVIEW: Happily never after

Reviewed by John Quinn, Encore Michigan

Click HERE to read the review on the Encore Michigan’s website.

Posted: Feb. 23, 2013 at 3:45 p.m.

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev)Photo: Kevin Replinger

Brent Griffith (Podkoliosin), Ty Mitchell (Kochkariev)
Photo: Kevin Replinger

My mother’s first response upon hearing that I was seeing a Russian comedy was, “There are Russian comedies?” Yakov Smirnoff would answer, “Many people are surprised to hear that we have comedians in Russia, but they are there. They are dead, but they are there.” The Russians are stereotypically a dour people, but that has more to do with their weather and political science than innate disposition. The Russians indeed have comedies, and some of the best were penned by Ukrainian-born Nikolai Gogol, who, with rapier-sharp wit, skewered the social conventions of tsarist Russia. The Hilberry Theatre dips yet again into the funny fountain with “Marriage,” a sly, satirical farce that raps the “popular institution” upside the head.

The Hilberry is blessed with long-time patrons, many of whom will remember a previous Gogol romp, “The Inspector General” from 2006. The troupe moves from exposing government corruption to poking fun at an old-country practice, the arranged marriage.

While “Marriage” was published in 1843, Gogol had a 21st century cynicism about matrimonial traditions, and he didn’t have the Kardashians for role models. Bashful bachelor Ivan Kuzmich Podkolyosin (Brent Griffith) has hired Fiokla the Matchmaker (Sarah Hawkins-Moan) to find him a suitable bride. Her choice is an orphan with property, Agafya Tikhonovna (Annie Keris). The presence of the matchmaker alerts Kochkariev (Ty Mitchell), our swain’s best friend, that wedding bells might chime. Cursed with an unhappy marriage (courtesy of Fiokla), Kochkariev insists – nay, demands – that the hesitant Podkolyosin woo and win the maiden without delay. After all, misery loves company.

The duo are about to try an end-run around Fiolka and deprive her of her commission, so she finds three more unsuitable suitors for the dithering Agafya. They are Chris Call’s blustering bully, who’s only in it for the money; a foppish, intellectual poseur played by Miles Boucher, and a retired Navy lieutenant, Zhevakin (Topher Payne), a crashing bore. Can Kochkariev outwit Fiolka and her three stooges and unite the reluctant couple in wedded bliss?

Pardon me; this alphabet borscht has given my spell check indigestion. Gogol has great fun satirizing unusual Russian names – Chris Call’s character, in this adaptation by Barbara Field, is named Poach’Tegg (whisper that under your breath; you’ll get it). He also plays with the snobbish notion that to be sophisticated, one must speak French. But first and foremost, Gogol won’t let us forget that a marriage of convenience need not be a happy one.

James Thomas directs a tight ensemble in performing some pretty sophisticated material. The production hums when the scenes are played broadly for farce; less successful when the action goes a little over the top. Yet “Marriage” never falls into camp. Even the redoubtable Joshua Blake Rippy, who cross-dresses to play Aunt Arina, Agafya’s formidable guardian, delivers a thoughtful, measured performance.

As funny as the shtick can be, the play is at its very best in some quieter moments. Most memorable is a “getting to know you” scene starring Keris and Griffith, a gentle blend of uncomfortable silences, awkward conversation and Granny Smith apples. Even silence is golden; Payne’s Zhevakin resolutely squaring his shoulders on his exit is mute testimony that the rejected lieutenant is down but not out.

There are some puzzling choices in design. Michael Wilkki’s set is rather cartoonish, dominated by a giant pastel wedding cake that might have come from a confectionary in Wonderland. It oddly contrasts with a script that was at the forefront of the realism aesthetic of Russian theater. Cartoonish, too, are some, but not all, of Clare Hungate-Hawk’s costumes. The three suitors are decked in oversized hats and garish colors; the rest of the characters in suitable period clothing. One can only assume that the contrast is deliberate, sort of delineating the freaks from the geeks.

Gogol’s targets may be outdated, but the satirist’s ultimate goal is to expose pretentiousness and hypocrisy in any time. “Marriage” is an opportunity to reflect on our own foibles.

Or as Yakov Smirnoff might have said, “In Soviet Russia, Art criticizes YOU!”

SHOW DETAILS: “Marriage” continues in rotating repertory at the Hilberry Theatre, 4743 Cass Ave., Detroit, through April 6. Running time: 2 hours. Tickets: $12-30. For information: 313-577-2972 or www.Hilberry.com.

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Performance Information

Show times

Friday, February 22, 2013 at 8:00 pm
Saturday, February 23, 2013 at 2:00 pm
Saturday, February 23, 2013 at 8:00 pm
Wednesday, February 27, 2013 at 2:00 pm
Thursday, February 28, 2013 at 8:00 pm
Thursday, March 7, 2013 at 8:00 pm
Friday, March 8, 2013 at 8:00 pm
Saturday, March 9, 2013 at 8:00 pm
Thursday, March 21, 2013 at 8:00 pm
Thursday, March 21, 2013 at 8:00 pm
Saturday, March 30, 2013 at 8:00 pm
Saturday, April 6, 2013 at 2:00 pm
Saturday, April 6, 2013 at 8:00 pm