Review: SCENE & HEARD: MOLLY'S MAINSTAGE THEATRE FESTIVAL at Southern Arkansas University Magnolia

Performing One Acts has increasingly become a popular way for schools to give more students meaningful stage time while exploring bold themes within a manageable rehearsal window, and Southern Arkansas University in Magnolia embraced that spirit beautifully with their Scene & Heard: Molly's Mainstage Theatre Festival! Presented November 8–10, the festival was entirely student-directed, student-designed, and student-produced, showcasing the remarkable creativity and leadership flourishing within their program. 

Featured in this year’s festival was an impressive lineup of classics and contemporary gems: SURE THING by David Ives directed by Annabelle Ferren, TRIFLES by Susan Glaspell directed by Morgan Ayala, THE ACTOR’S NIGHTMARE by Christopher Durang directed by Charlie Bradshaw, THE BEAR by Anton Chekhov directed by Whit Shelton, and THE SANDBOX by Edward Albee directed by Emma Melvin. Each production benefitted from the thoughtful oversight of Festival Coordinator Morgan Baker and Directing Mentor Joann Kaar, whose guidance supported the students as they shaped these works from page to stage. 

SURE THING – David Ives 
In Sure Thing, audiences are treated to a fast-paced comedic sketch where two strangers repeatedly restart their conversation every time one of them says the “wrong” thing with each reset triggered by the ding of a bell. As awkward missteps are erased and replaced with better choices, the pair gradually discovers a surprising connection. With its snappy rhythm and clever structure, it’s a charming exploration of timing, second chances, and the hopeful possibility of getting it right. 

In this duet performance, the witty back-and-forth was elevated even further by the delightful performances of Savannah Sivils as Betty and Erica Zofcin as Bill. Sivils brought a sharp, charismatic presence to Betty, navigating each conversational reset with charm and impeccable timing. Zofcin matched her beat for beat, delivering Bill’s growing confidence and awkward humor with an ease that kept the audience fully engaged. Together, their chemistry made every bell ding funnier than the last, turning this clever sketch into a genuine crowd-pleaser. 

TRIFLES – Susan Glaspell 
Trifles shifts the tone into detective-driven drama as investigators search a rural farmhouse for clues surrounding a man’s mysterious death. While the men dismiss the domestic space as unimportant, two women uncover emotional details and subtle evidence pointing toward a much more tragic story. Through its quiet revelations, the piece offers a powerful commentary on gender roles, overlooked truths, and the hidden weight of so-called “trifles.” 

The ensemble in TRIFLES worked with remarkable cohesion, creating a tense and immersive world inside the Wright household. Nicholas Martinez brought a firm, authoritative presence as the County Attorney, while Danajah Penn’s steady portrayal of the Sheriff grounded the investigation with impressive control. Jaimeson Baird delivered Mr. Hale’s perspective with sincerity, offering a crucial bridge between the domestic sphere and the official inquiry. Gracie Robertson as Mrs. Peters and Egypt Dollmeyer as Mrs. Hale were especially compelling, capturing the emotional undercurrents and unspoken truths that drive the heart of the play. Together, this ensemble balanced subtlety and intensity, allowing the story’s revelations to unfold with powerful resonance. 

THE ACTOR’S NIGHTMARE – Christopher Durang 
In Christopher Durang’s absurdist comedy The Actor’s Nightmare, an unassuming man named George suddenly finds himself thrust backstage and mistaken for an actor expected to perform immediately. With no idea what show he's in, he stumbles through scenes from Private Lives, Hamlet, Endgame, and beyond as the world around him becomes increasingly chaotic. It’s a hilarious and relatable spiral into confusion, fear, and theatrical madness—every performer’s worst nightmare brought to life. 

This cast dove headfirst into Durang’s chaos with fearless comedic energy. Luke Butts delivered a standout performance as George Spelvin, navigating the rapid-fire shifts between plays with wide-eyed panic, sharp instincts, and an irresistible charm. If I were choosing a festival winner, my starry-heart eyes would absolutely go to Butts. His charisma and bright smile captivated the audience from the moment he stepped onstage. Kai Russo’s Meg anchored the madness with crisp authority, while Madeline Couture as Sarah Siddons and Tristyn Armstrong as Ellen Terry heightened the absurdity with their theatrical flair. Zek Strickland’s Henry Irving added a wonderfully dramatic presence, and Chris Richardson brought just the right amount of ominous humor as the Executioner. Together, the ensemble balanced confusion, making this piece a true highlight of the festival. 

THE BEAR – Anton Chekhov 
Chekhov’s The Bear brings delightful farce to the festival lineup, following the emotional collision between Popova, a widow deep in mourning, and Smirnov, a brash landowner determined to collect a debt from her late husband. Their fiery confrontation quickly escalates into insults, threats, and an unintentionally comedic duel, only to transform into something shockingly romantic. With its sharp wit and escalating antics, the play captures the absurd unpredictability of human passions. 

The trio of Cassandra Tew as Popova, Kingston Henderson as Smirnov, and Ray Burns as Luka delivered a lively and wonderfully textured performance. Tew and Henderson, in particular, sparked electric chemistry from the moment their characters collided. Tew’s simmering sorrow clashed beautifully with Henderson’s blustering impatience. Their escalating argument danced hilariously between rage and attraction, each sharp insult fueling an energy that practically crackled across the stage. Meanwhile, Ray Burns provided delightful support as Luka, grounding the chaos with understated humor. Together, the cast captured Chekhov’s blend of farce and passion with infectious enthusiasm. 

THE SANDBOX – Edward Albee 
Albee’s The Sandbox closes the set with dark humor and striking symbolism. A wealthy couple places Grandma in a literal sandbox to wait for her impending death, maintaining a veneer of cheerfulness as they avoid confronting their own cruelty. When the Young Man—symbolizing the Angel of Death—arrives, the play’s surreal blend of satire and tenderness rises to the forefront. Through its bold imagery and biting commentary, The Sandbox examines mortality, family dysfunction, and the roles we play in daily life. 

The cast delivered a sharp, striking ensemble performance that embraced Albee’s absurdity with confidence and clarity. Kalla Fudge as Beloved and Nicholas Martinez as Darling balanced artificial sweetness with biting detachment, capturing the unsettling hollowness beneath their picture-perfect exterior. Tianna Bonner gave a touching and grounded portrayal of Grandma, offering moments of vulnerability that cut through the satire. Luke Butts brought a gentle, luminous presence as the Young Man, embodying the symbolic Angel of Death with grace and sincerity. Austin Ezell as the Musician added an atmospheric layer to the storytelling, enhancing each moment with subtle but impactful underscoring. Together, the ensemble navigated the play’s dark humor and emotional undertones with tender precision. 

Collectively, their storytelling was captivating. Also, I love how this theatre troupe feels like a true creative family, where they lift one another up, take artistic risks together, and support bold ideas with confidence. It’s clear that the students at Southern Arkansas University in Magnolia are receiving an exceptional theatre education, one that not only sharpens their craft but empowers them to lead, collaborate, and create work that resonates. Watching them grow through festivals like this makes the future of Arkansas theatre feel incredibly bright. 

For more information about this fabulous program, visit their website at https://web.saumag.edu/theatre.