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We’ve officially opened KCAT’s Blithe Spirit at Union Station.  It is a hilarious riot of ghosts, wives, and whiskey.  Come check it out!  We run until August 26th!

The critics and audiences are having a wonderful time.  Witty entertainment seems to be the catchphrase.

Here are a couple of excerpts from recent reviews:

Bob Evans of KC Appaulds says:

It seems many theatres end their season with their biggest show so as to build for the finale, but with “Blithe Spirit,” KCAT serves notice that the bar has been raised for any forthcoming KC Metro shows. Doug Weaver placed this play in the hands of the most outstanding cast and allowed them to embolden each character. The cast brings flavor, color, and nuance to each part. All technical aspects demand attention from start to fade out. An old play looks shiny and fresh with this effort by Weaver, the cast and crew.

Paul Bolton at Broadway World says:

KCAT casts a talented ensemble (directed by Doug Weaver) to tackle Coward’s cynical humor. […]  If there’s a single element to this show that makes it a “must see” it is the expertly executed love triangle performed by Coleman CrenshawCinnamon Schultz, and Vanessa Severo. The strong trio capture the vulnerability of the characters (that Coward so wittingly constructed) as their words become shockingly unfiltered and honest. The dialogue is still current today and, as Coward wrote, “It’s discouraging to think how many people are shocked by honesty and how few by deceit.”

Bec Pennington at PerformInk says:

Coleman Crenshaw successfully portrays the poor husband in over his head and demonstrates great timing with a sense for his audience. Cinnamon Schultz develops her character expertly, obviously enjoying the shift of tone in her final scenes. Margaret Shelby is raucously funny as the incompetent maid, Edith, as Jan Rogge is the perfectly silly Madame Arcati, and Matt Rapport and Cheryl Weaver are great as supporting characters (Cheryl’s talent begs for more lines). Vanessa Severo’s Elvira would steal all the scenes if she could, and we would let her. Her sparkling, fast-paced exchanges with Crenshaw keep the play moving, and my hat’s off to anyone who can pull that kind of high energy performance in those heels. Still, it’s hard to pick a standout performance, everyone in the cast seems to relish their role. Even Kelli Harrod’s set is enthusiastic, designed to surprise.

In a role I’ve been excited to play a very long time, Charles Condomine, I am pleased to share a few extra personal performance selections from these reviews.  Thank you for the kind words, Mr. Bolton:

Coleman Crenshaw (Charles Condomine) is solid in his portrayal of the confused novelist and it helps that he seems to be enjoying himself “immensely”. His charm keeps the cynical sarcasm controlled enough to maintain his likability, yet he’s energetic enough to drive the pace of the piece quite well.

And Mr. Evans:

Crenshaw delivers a comedic interpretation that just screams Cary Grant or David Niven (who actually starred in the movie classic). Suave, sophisticated, aloof, mostly disengaged until the twist of fate engulfs him in the love triangle, Crenshaw shows a new level of comedic timing, facial expression, and physical movement.

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