Charles K. Hodges

Theatre Memphis announces the pre-sale of a unique Valentine's Day offering, Love Notes. Designed to be the complete package for a special Valentine gift, a treat-filled basket comes with a digital link to specially performed audio (songs and the spoken word) by local theatre artists to benefit Theatre Memphis.

Theatre Memphis is presenting the Disney family classic musical, Beauty and the Beast, September 2 - 25, 2016, on the Lohrey Stage.

Theatre Memphis is presenting the Disney family classic musical, Beauty and the Beast, September 2 - 25, 2016, on the Lohrey Stage.

Let's see now -- older married man with mistress, seething ex-wife, resentful and mistrustful offspring -- where was Dr. Phil? Alas, nowhere in sight in Chinon during the Christmas of 1183, as the powerful English king Henry II has released his imprisoned wife (and sparring partner) Eleanor of Aquitaine and allowed her admittance to a family gathering (along with his mistress Alais). Is it for personal or political reasons? Perhaps a bit of both? Henry, great in stature and accomplishments, has to decide which of his sons (none of whom will historically 'measure up') will become the future King of England. It's a Lear-like choice, and poor Henry has 'slim pickings.' With the oldest son dead, the three remaining are a snarling, disgruntled lot -- in one corner (Eleanor's), there's the pillage-prone Richard (later Richard the Lionhearted, who will spend most of his time abroad); in the other (Henry's), there's the pimply, unwashed, and feckless John (later, a famously unpopular king who will be forced to capitulate to baronial pressure and sign a little document known as the Magna Carta). Oh, yes, and then there's the ignored, Machiavellian Geoffrey, mistrusted by both parents and willing to play anyone on the human chessboard.

The Lion in Winter by James Goldman reigns over the Lohrey Stage at Theatre Memphis January 22 - February 7, 2016. As historical fiction this modern classic pits Queen Eleanor of Aquitaine (after a decade of imprisonment for her part in a rebellion) against her husband King Henry II of England,  Eleanor arrives at court during a Christmas furlough and proceeds to scheme to challenge the King's authority and his choice of heir to the throne. The fray engulfs their three sons and French royalty who all lay claim to rule.

George Cukor's 1940 film version of Philip Barry's THE PHILADELPHIA STORY was Katharine Hepburn's return to glory after the actress had been labeled 'box office poison' after the failure of several films. 021The savvy Hepburn was able to bend MGM to her will when it wanted to film Barry's play, and the end result rewarded everyone involved: Hepburn, her old RKO co-star Cary Grant, and the up and coming James Stewart. Not only were Oscar nominations and wins in store, but at the center of it all was Hepburn in all her patrician, high cheek-boned elegance. She may have given greater performances as the tragic, dope-addicted 'Mary Tyrone' in the film version of Eugene O'Neill's LONG DAY'S JOURNEY INTO NIGHT or as the caustic, sparring 'Eleanor of Aquitaine' in James Goldman's THE LION IN WINTER, but for those who want to see Hepburn at the height of her unusual beauty and comedic gifts, THE PHILADELPHIA STORY is a must. Having seen the film numerous times, I was wary of Theatre Memphis' staging of Barry's work. THE PHILADELPHIA STORY, once seen, leaves such an impression that it's rather like tackling a remake of THE WIZARD OF OZ or GONE WITH THE WIND or THE GODFATHER. Director Jason Spitzer has taken the dare, and he and his cast have mostly succeeded in the satiny, stylized production currently playing at Theatre Memphis.

A number of years ago, I was ordering breakfast at the Dogwood Cabin in Gatlinburg, Tennessee, and before the food arrived, a barbershop quartet began to harmonize. 'How delightful,' I thought - and then there was another song, followed by yet another: A barbershop quartet convention was in town, and several groups were scattered throughout the restaurant and waiting for their opportunity to perform. Before my pancake syrup was even out of the bottle, I was already craving some antidotal 'heavy metal.' Such experiences remind me of Mark Twain's story CAPTAIN STORMFIELD'S VISIT TO HEAVEN: Upon first arriving behind the Pearly Gates, the Captain is delighted to hear the heavenly harps; but as time passes, the harmonies become stultifying. Thankfully, the barbershop quartet that strolls through Theatre Memphis' colorful new production of Meredith Willson's THE MUSIC MAN never overstays its welcome.