Month: June 2026

Dr. Jamie Allen has a new patient. Ruby Tuesday was named by her ultra-cool hippie parents. Like her brother, she was adopted. She’s reluctantly agreed to see a psychologist because of an incident at work. Seems she climbed out on the ledge, to rescue a cat. Why would she do something so dangerous? That’s for Ruby to know, and Jamie to find out. Even though she insists on her reasoning, Dr. Jamie isn’t convinced. As he recovers bits and pieces, her story’s less and less plausible. And wouldn’t you know, Dr. Jamie goes gaga for Ruby. She may be loopy, but there’s something enchanting, other-worldly about her.

Dr. Ron Hook is Jamie’s mentor, counselor, and “dad”. Therapists seeking therapy from another therapist is not an uncommon. When Jamie confides he and Ruby have crossed an ethical boundary, Ron is understandably appalled. So is Ruby’s best friend, Julie.  Both try to intervene, they’re not wrong. But Ruby and Jamie are smitten. In the midst of all this, Ruby has discovered she has an astonishing power. A secular miracle (if you will). It’s truly fantastic, but strains possibility.

Director James Prince has it nailed. The tone, the blocking, the timing. Unpredictable punchlines land quite nicely. Blackouts fall neither early nor late. Performances are amusing, compelling, and balanced. For his part, playwright Mike Byham, has written sophisticated, well-developed characters, without resorting to tropes. His dialogue feels natural rather than fabricated. The plot organic and effective. David Huner (Dr. Jamie Allen) shifts from pragmatic to starry-eyed rather deftly. Jennifer Nachazel (Ruby Tuesday) mixes eccentricity with eclat. She’s playful yet grounded. Julie Richardson (Bri McKay) looks out for her closest friend, protective but firm. Tony Magee (Dr. Ron Hook) is relaxed, thoughtful, intelligent. His own, unique interpretation. He doesn’t emulate Freud, Jung or Frasier.

Playwright Mike Byham has conceived a crackerjack comedy that explores important (perhaps crucial) questions about our shared and dubious humanity. The nature of the metaphysical and how we partake. Some of the best plays leave key questions unanswered. Agnes of God, The Rainmaker, The Man from Atlanta. If we yearn for the answer, we must decided for ourselves. Ruby Tuesday blurs the line between the fanciful and plausible. For those of you unfamiliar, there’s a legendary column wherein a little girl named Virginia writes to the Editor of The Sun. Her father tell her: If it’s in the Sun, it’s so. Virginia asks: Is there really a Santa Claus? The editor answers with detailed explanation. He exists if we believe he does. If we all agree, essentially, it’s true. We act on it. We celebrate it. Perhaps that’s all it takes. Ruby Tuesday is consummately entertaining. Tickling, intriguing, authentic.

The Core Theatre presents Mike Byham’s Ruby Tuesday, playing June 26^th -July 19^th, 2026. 518 West Arapaho Road, Suite 115, Richardson, Texas, 75080. thecoretheatre.org (214) 930-5338. james@corethetre.org

 

Dr. Jamie Allen has a new patient. Ruby Tuesday was named by her ultra-cool hippie parents. Like her brother, she was adopted. She’s reluctantly agreed to see a psychologist because of an incident at work. Seems she climbed out on the ledge, to rescue a cat. Why would she do something so dangerous? That’s for Ruby to know, and Jamie to find out. Even though she insists on her reasoning, Dr. Jamie isn’t convinced. As he recovers bits and pieces, her story’s less and less plausible. And wouldn’t you know, Dr. Jamie goes gaga for Ruby. She may be loopy, but there’s something enchanting, other-worldly about her.

Dr. Ron Hook is Jamie’s mentor, counselor, and “dad”. Therapists seeking therapy from another therapist is not an uncommon. When Jamie confides he and Ruby have crossed an ethical boundary, Ron is understandably appalled. So is Ruby’s best friend, Bri. Both try to intervene, they’re not wrong. But Ruby and Jamie are smitten. In the midst of all this, Ruby has discovered she has an astonishing power. A secular miracle (if you will). It’s truly fantastic, but strains possibility.

Director James Prince has it nailed. The tone, the blocking, the timing. Unpredictable punchlines land quite nicely. Blackouts fall neither early nor late. Performances are amusing, compelling, and balanced. For his part, playwright Mike Byham, has written sophisticated, well-developed characters, without resorting to tropes. His dialogue feels natural rather than fabricated. The plot organic and effective. David Huner (Dr. Jamie Allen) shifts from pragmatic to starry-eyed rather deftly. Jennifer Nachazel (Ruby Tuesday) mixes eccentricity with eclat. She’s playful yet grounded. Julie Richardson (Bri McKay) looks out for her closest friend, protective but firm. Tony Magee (Dr. Ron Hook) is relaxed, thoughtful, intelligent. His own, unique interpretation. He doesn’t emulate Freud, Jung or Frasier.

Playwright Mike Byham has conceived a crackerjack comedy that explores important (perhaps crucial) questions about our shared and dubious humanity. The nature of the metaphysical and how we partake. Some of the best plays leave key questions unanswered. Agnes of God, The Rainmaker, The Man from Atlanta. If we yearn for the answer, we must decided for ourselves. Ruby Tuesday blurs the line between the fanciful and plausible. For those of you unfamiliar, there’s a legendary column wherein a little girl named Virginia writes to the Editor of The Sun. Her father tell her: If it’s in the Sun, it’s so. Virginia asks: Is there really a Santa Claus? The editor answers with detailed explanation. He exists if we believe he does. If we all agree, essentially, it’s true. We act on it. We celebrate it. Perhaps that’s all it takes. Ruby Tuesday is consummately entertaining. Tickling, intriguing, authentic.

The Core Theatre presents Mike Byham’s Ruby Tuesday, playing June 26^th -July 19^th, 2026. 518 West Arapaho Road, Suite 115, Richardson, Texas, 75080. thecoretheatre.org (214) 930-5338. james@corethetre.org

 

Dr. Jamie Allen has a new patient. Ruby Tuesday was named by her ultra-cool hippie parents. Like her brother, she was adopted. She’s reluctantly agreed to see a psychologist because of an incident at work. Seems she climbed out on the ledge, to rescue a cat. Why would she do something so dangerous? That’s for Ruby to know, and Jamie to find out. Even though she insists on her reasoning, Dr. Jamie isn’t convinced. As he recovers bits and pieces, her story’s less and less plausible. And wouldn’t you know, Dr. Jamie goes gaga for Ruby. She may be loopy, but there’s something enchanting, other-worldly about her.

Dr. Ron Hook is Jamie’s mentor, counselor, and “dad”. Therapists seeking therapy from another therapist is not an uncommon. When Jamie confides he and Ruby have crossed an ethical boundary, Ron is understandably appalled. So is Ruby’s best friend, Bri. Both try to intervene, they’re not wrong. But Ruby and Jamie are smitten. In the midst of all this, Ruby has discovered she has an astonishing power. A secular miracle (if you will). It’s truly fantastic, but strains possibility.

Director James Prince has it nailed. The tone, the blocking, the timing. Unpredictable punchlines land quite nicely. Blackouts fall neither early nor late. Performances are amusing, compelling, and balanced. For his part, playwright Mike Byham, has written sophisticated, well-developed characters, without resorting to tropes. His dialogue feels natural rather than fabricated. The plot organic and effective. David Huner (Dr. Jamie Allen) shifts from pragmatic to starry-eyed rather deftly. Jennifer Nachazel (Ruby Tuesday) mixes eccentricity with eclat. She’s playful yet grounded. Julie Richardson (Bri McKay) looks out for her closest friend, protective but firm. Tony Magee (Dr. Ron Hook) is relaxed, thoughtful, intelligent. His own, unique interpretation. He doesn’t emulate Freud, Jung or Frasier.

Playwright Mike Byham has conceived a crackerjack comedy that explores important (perhaps crucial) questions about our shared and dubious humanity. The nature of the metaphysical and how we partake. Some of the best plays leave key questions unanswered. Agnes of God, The Rainmaker, The Man from Atlanta. If we yearn for the answer, we must decided for ourselves. Ruby Tuesday blurs the line between the fanciful and plausible. For those of you unfamiliar, there’s a legendary column wherein a little girl named Virginia writes to the Editor of The Sun. Her father tell her: If it’s in the Sun, it’s so. Virginia asks: Is there really a Santa Claus? The editor answers with detailed explanation. He exists if we believe he does. If we all agree, essentially, it’s true. We act on it. We celebrate it. Perhaps that’s all it takes. Ruby Tuesday is consummately entertaining. Tickling, intriguing, authentic.

The Core Theatre presents Mike Byham’s Ruby Tuesday, playing June 26^th -July 19^th, 2026.518 West Arapaho Road, Suite 115, Richardson, Texas, 75080. thecoretheatre.org (214) 930-5338. james@corethetre.org

 

 

Myron Siegel nervously waits for the straight dope on Carl Dennam’s latest attraction, kept closely under wraps. Seems both their shows overlap, and Myron is afraid of poaching. Family members are on hand, and Myron’s henchman, Little Willie. Myron’s borrowed money (5 figures) from his mother-in-law Sally, and she reminds him constantly. Daisy his niece, is visiting from a very chaste and devout Midwest Catholic community.

Kong’s Night Out uses familiar tropes of stage comedy. Injects them with a shot of verve, ingenuity, and chipper dialogue. It develops the characters and their back stories. They’re familiar, without caricature or stereotype. We don’t see the punchlines headed down Fifth Avenue, and they don’t come with a rimshot. Scenes don’t resolve in the way we expect. Neither does King Kong. It develops the characters and their back stories. They’re familiar, without caricature or stereotype.

There’s Ann Farrow: dishy, intelligent, platinum blonde, kidnapped and rescued and kidnapped again. Sally the raspy, cantankerous mother-in-law, who hides her compassion, really well. Myron the sweet producer who can’t catch a break. Carl the gleeful, equal opportunity schmuck. Daisy the ingenue who may be slow to catch up, but she’s not dense. Her comedy technique is positively acrobatic. Bertrille is the coniving, unfaithful wife. Her butter’s spread on both sides. Sig Higginbottom, the frisky Hungarian financier with the embarassing toupee. Jack Driskel is Ann’s devoted fiance. His generous spirit ignores danger and jeopardy. Little Willie is Myron’s go-to muscle. Pragmatic and personable. By and large the women come off better than the men. (Maybe that’s not so rare in comedy) They’re savvy, convivial, and resourceful.

The best theatre is like the Hubble. The closer you look the more you see. The title set’s the tone. Kong’s Night Out. Dapper yet absurd. Is Kong Equity? Is he invited to the after-party? Does he conceal an air of sophistication? We might be inclined to compare Carl Dennam with Kong, he sports a sharp suit, but who’s the bigger beast? At least Kong has tenderness for Ann Farrow. Carl is contemptuous of everybody. He swats dragonflies. He steals your lunch bag. He doesn’t silence his cellphone. He’s an arrogant misanthrope. He comes after Myron because he’s at the disadvantage. Because he can.

Rachael Lindley has landed this this 50 lb. fish without a care. Has a director ever gotten so much use from a sofa? Or a balcony? Or a powder room? Darlin, how do you do it? Brian Hoffman (Myron) Sue Goodner (Sally) Kendra Young (Daisy) Nathan Beeman (Little Willy) Emily Fry (Bertrille Siegel) Lloyd Webb (Higginbottom) Elise Stuart (Ann Farrow) Christopher Dean (Carl Dennam) Adam Koch (Jack Driskel) tuck into that dizzy energy like monkeys on a sugar bender. Kristin Moore’s costumes from debonair suits to the glamorous gowns bring the posh to the play. Greg Smith’s set design would put the Grand Budapest Hotel to shame.

So what are you waiting for, already?

Richardson Theatre Centre presents Jack Neary’s Kong’s Night Out from June 5th-28th, 2026. 518 W Arapaho Rd, Ste 113, Richardson, TX, 75080. (972) 699 1130

richardsontheatre@gmail.com facebook.com/RichardsonTheatreCenter

Myron Siegel nervously waits for the straight dope on Sig Higginbottom’s latest attraction, kept closely under wraps. Seems both their shows overlap, and Myron is afraid of poaching. Family members are on hand, and Myron’s henchman, Little Willie. Myron’s borrowed money (5 figures) from his mother-in-law Sally, and she reminds him constantly. Daisy his niece, is visiting from a very chaste and devout Midwest Catholic community.

Kong’s Night Out uses familiar tropes of stage comedy. Injects them with a shot of verve, ingenuity, and chipper dialogue. It develops the characters and their back stories. They’re familiar, without caricature or stereotype. We don’t see the punchlines headed down Fifth Avenue, and they don’t come with a rimshot. Scenes don’t resolve in the way we expect. Neither does King Kong. It develops the characters and their back stories. They’re familiar, without caricature or stereotype.

There’s Ann Farrow: dishy, intelligent, platinum blonde, kidnapped and rescued and kidnapped again. Sally the raspy, cantankerous mother-in-law, who hides her compassion, really well. Myron the sweet producer who can’t catch a break. Sig the gleeful, equal opportunity schmuck. Daisy the ingenue who may be slow to catch up, but she’s not dense. Her comedy technique is positively acrobatic. Bertrille Siegel is the conniving, unfaithful wife.  Her bread’s buttered on both sides. Jack Driskel is Ann’s devoted fiance. His generous spirit ignores danger and jeopardy. Little Willie is Myron’s go-to muscle. Pragmatic and personable. By and large the women come off better than the men. (Maybe that’s not so rare in comedy) They’re savvy, convivial, and resourceful.

The best theatre is like the Hubble. The closer you look the more you see. The title sets the tone. Kong’s Night Out. Dapper yet absurd. Is Kong Equity? Is he invited to the after-party? Does he conceal an air of sophistication? We might be inclined to compare Higginbottom with Kong, he sports a sharp suit, but who’s the bigger beast? At least Kong has tenderness for Ann Farrow. Higginbottom is contemptuous of everybody. He swats dragonflies. He steals your lunch bag. He doesn’t silence his cellphone. He’s an arrogant misanthrope. He comes after Myron because he’s at the disadvantage. Because he can.

Rachael Lindley has landed this this 50 lb. fish without a care. Has a director ever gotten so much use from a sofa? Or a balcony? Or a powder room? Darlin, how do you do it? Brian Hoffman (Myron) Sue Goodner (Sally) Kendra Young (Daisy) Nathan Beeman (Little Willy) Emily Fry (Bertrille Siegel) Lloyd Webb (Higginbottom) Elise Stuart (Ann Farrow) Christopher Dean (Carl Dennam) Adam Koch (Jack Driskel) tuck into that dizzy energy like monkeys on a sugar bender. Kristin Moore’s costumes from debonair suits to the glamorous gowns bring the posh to the play. Greg Smith’s set design would put the Grand Budapest Hotel to shame.

So what are you waiting for, already?

Richardson Theatre Centre presents Jack Neary’s Kong’s Night Out from June 5th-28th, 2026. 518 W Arapaho Rd, Ste 113, Richardson, TX, 75080. (972) 699 1130

richardsontheatre@gmail.com facebook.com/RichardsonTheatreCenter

Detective Mark McPherson is sent to solve a murder. A body has been discovered with a mutilated face. From what he infers, the victim is Laura Hunt. In her apartment. He learns details of her past, her interests, her moods. Gazing upon her portrait, he gradually becomes infatuated, perhaps intoxicated. The men in her life, mostly Platonic, are Danny, who listens to jazz records with her, Waldo, her erudite and droll critic, and Shelby her possible fiance. Each feels a strong emotional tie to Laura. Subsequently, each is a possible suspect.

I apologize for the spoiler alert, but it turns out Laura is alive after all. She visits her cabin in the woods, for reflection and solitude. She loans her apartment in the city to a friend. Sadly the murderer mistakes her for Laura. When Laura shows up on the QT, McPherson, naturally, is overcome. A love he never thought possible, has turned up. The two spend the night with coffee and conversation. The others start scrambling for alibis.

There are many thing to appreciate in Rover Dramawerks production of Laura, an exercise in Noir. Noir evokes a chill worldview: cynicism, brusque and clever dialogue, ruthless motives, an undercurrent of despair. An uneasy balance to be sure. Rover has taken these ingredients and combined them with ingenuity and imagination. The setting suggests understated opulence but also detachment. The script includes a lot of colloquialisms from back in the day, and the actors quite comfortable with the lingo. (I recognized some slang from O’Neill.) The acting is subdued, with an edge. It’s difficult to pull off this kind of homage without resorting to caricature, but no worries for director Carol M. Rice. It’s as if she built it from the ground up. With aplomb.

Rover has assembled a time machine to New York back in the 1940’s. The lonely lives of characters and intense attraction, The disappointment and suspicion, and coldness to keep predators at a distance. Written by Vera Caspary and George Sklar, this is a somber rumination on the struggle for genuine contact. Carol M. Rice, the cast and crew have tapped into this lightning in a bottle.

Rover Dramawerks presents Laura, playing June 4th-20th, 2026. Cox Playhouse, 1517 H Avenue, Plano, Texas 75074. 972-349-0358 www.roverdramawerks.com

Detective Mark McPherson is sent to solve a murder. A body has been discovered with a mutilated face. From what he infers, the victim is Laura Hunt. In her apartment. He learns details of her past, her interests, her moods. Gazing upon her portrait, he gradually becomes infatuated, perhaps intoxicated. The men in her life, mostly Platonic, are Donnie, who listens to jazz records with her, Waldo, her erudite and droll critic, and Shelby her possible fiance. Each feels a strong emotional tie to Laura. Subsequently, each is a possible suspect.

I apologize for the spoiler alert, but it turns out Laura is alive after all. She visits her cabin in the woods, for reflection and solitude. She loans her apartment in the city to a friend. Sadly the murderer, mistakes her for Laura. When Laura shows up on the QT, McPherson, naturally, is overcome. A love he never thought possible, has turned up. The two spend the night with coffee and conversation. The others start scrambling for alibis.

There are many thing to appreciate in Rover Dramawerks production of Laura, an exercise in Noir. Noir evokes a chill worldview: cynicism, brusque and clever dialogue, ruthless motives, an undercurrent of despair. An uneasy balance to be sure. Rover has taken these ingredients and combined them with ingenuity and imagination. The setting suggests understated opulence but also detachment. The script includes a lot of colloquialisms from back in the day, and the actors quite comfortable with the lingo. (I recognized some slang from O’Neill.) The acting is subdued, with an edge. It’s difficult to pull off this kind of homage without resorting to caricature, but no worries for director Carol Rice. It’s as if she built it from the ground up. With aplomb.

Rover has assembled a time machine to New York back in the 1940’s. The lonely lives of characters and intense attraction, The disappointment and suspicion, and coldness to keep predators at a distance. Written by Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt this is a somber rumination on the struggle for genuine contact. Carol Rice, the cast and crew have tapped into this lightning in a bottle.

Rover Dramawerks presents Laura, playing June 4th-20th, 2026. Cox Playhouse, 1517 H Avenue, Plano, Texas 75074. 972-349-0358. www.roverdramawerks.com