September 7, 2011
A slapstick take on Hitchcock’s international espionage adventure
by Deanna Darr
Take one Alfred Hitchcock thriller inspired by a classic 1930s espionage mystery, turn it on its head and fill it with equal parts smart and silly humor, and you get The 39 Steps, Idaho Shakespeare Festival’s closing show of the 2011 season.
The result is a fun, light and humorous production that fully embraces slapstick comedy. With a cast of ISF veterans–including David Anthony Smith, Joe Conley Golden, Richard Klautsch and Kathryn Cherasaro–the minimalist staging and production is the perfect nightcap to another theater season, leaving audiences with warm and fuzzy memories that will linger as they look back.
The 39 Steps is the tale of an idle Englishman who is pulled into an international espionage adventure after a chance run-in with a mysterious woman who is murdered in his flat. He is pegged for the crime and heads off across the countryside to try and uncover the truth. That’s where the comparison to the well-loved Hitchcock thriller ends.
The four actors portray more than 100 over-the-top characters to create a tale that is far more farce than mystery. The chemistry and talent of the cast are essential to the production, and the actors’ easy rapport with the audience creates a communal atmosphere that gives the distinct feel that they’re sharing an exciting story around a campfire.
With quick, witty dialogue that is in line with the exaggerated nature of film noir, the actors have their hands full, but it’s all the more fun for the audience.
Anyone who saw ISF’s 2010 season closer, The Woman in Black, will likely feel a sense of deja vu when they see The 39 Steps’ minimalist set, which uses structural metal elements to outline the world of the play. While the simplest props form a door frame, a set of wooden boxes, ladders and window molding are catalysts for the audience’s imagination, letting each person fill in the blanks with guidance from the cast. It’s a wonderful example of how a strong script and good actors can be enough to weave a well-told tale.
But if there were an award given for the best use of box fans and a fog machine, this production would be the hands-down winner. A full wall of fans forms the back of the set and not only helps move the comically copious amounts of fog around, but is easily transformed into a plethora of objects thanks to some creative and effective lighting design.
The 39 Steps is a laugh-out-loud production and it seems clear that this play is as much fun for the cast and crew as it is for the audience
By Dan Lea
© 2011 Idaho Press-Tribune
BOISE — Stuck in the ‘80s and lovin’ it.
This is Shakespeare like you’ve never seen it before and like only our friends at the Idaho Shakespeare Festival can deliver it … with zeal, side-splitting humor, sensitive emotion and incredible physicality.
Director Tracy Young made her ISF debut last weekend when the festival premiered its month-long run of William Shakespeare’s comedy classic “Taming of the Shrew.”
Young promised surprises and she and the talented ensemble certainly delivered. She blends together familiar pop tunes, some outrageously colorful costumes, and an equally eye-popping set. References to Olivia Newton John’s “Let’s Get Physical,” a sassy Robert Palmer number to the tune “Simply Unbelievable,” complete with those iconic background singers in skin-tight black dresses, are only a couple of the ‘80s references weaved into this show.
Katherina and Bianca are the two daughters of wealthy merchant, Baptista. But, Katherina has a shrewish disposition and her father is determined that Bianca will not be wed until her older sister is.
While suitors scheme and scam for the affections of Bianca, Petruchio of Verona pays a visit to his friend Horensio (one of Bianca’s suitors). He is intrigued by Katherina’s large dowry and is determined to woo her.
What ensues is a comical delight.
Petruchio, played with zeal by Jim Lichtscheidl, stuns everyone by saying he finds Katherina charming and pleasant. A marriage is arranged and Petruchio sets out to tame Katherina through a series of increasingly worse tricks.
Petruchio achieves his goal and eventually tames Katherina … or does he? When Bianca and Lucentio are wed Petruchio wagers that his wife is the most obedient and Katherina lectures her sister on how to be a good and loving wife.
As always, Shakespeare’s complex characters leave the audience wondering.
ISF veteran actress Sara M. Bruner portrays “The Shrew” Katherina magnificently. She rants and raves, flings herself about and provides the play’s most poignant and thought-provoking dialogue in a superb performance.
The talented ensemble also includes Reggie Gowland as Lucentio, a suitor to Bianca; Neil Brookshire, who is brilliant in his role in ISF’s current run of “Cabaret,” plays Biondello the servant to Lucentio who masquerades as a tutor and suitor to Bianca; the always delightful Eduardo Placer as Horensio, another suitor to Bianca; Laura Perrotta, the rich widow who winds up with Horensio; Kjertsine Rose Anderson as the lovely but shallow Bianca; John Woodson as Batista Minola, a rich citizen of Padua and father to Bianca and Katherina; and Richard Klautsch in the role of Vincentio, father of Lucentio.
by Deanna Darr
Idaho Shakespeare Festival’s production of Taming of the Shrew may mark the first time the Bard’s work has included the terms “douchebag” and “don’t have a cow.”
Under the leadership of Tracy Young in her ISF directorial debut, the classic tale is ripped out of Padua, Italy, and dumped in the middle of 1980s Los Angeles, complete with all the ridiculousness of that time and place. From neon Spandex and popped collars to shoulder pads and big hair, the production is a tongue-in-cheek tribute to an era that those of us who lived through it are kind of glad is over.
The juxtaposition of ’80s trends and terms with the classic script is a bit jarring at first. The comedy has the air of farce as ’80s pop culture is laid out in an almost tribute to the decade of excess. But as the production progresses, it gains rhythm, especially with assistance from the iconic music of the era, which plays an integral role in helping to tell the story while creating a sense of nostalgia.
ISF veteran Sara M. Bruner takes the lead as Katherina, or Kate, the strong-willed daughter of a wealthy Hollywood resident. Her father has declared that no one will marry his Valley Girl-esque younger daughter Bianca (Kjerstine Rose Anderson) until Kate is married.
Lucentio (Reggie Gowland)–who is from a powerful Portland, Ore., family–arrives to see the wonders of Los Angeles, one of which turns out to be Bianca. He plans to win her heart by posing as a tutor. In the meantime, another of Bianca’s suitors, Hortensio (Eduardo Placer), talks his old friend Petruchio (Jim Lichtscheidl)–freshly arrived from Montana–into wedding the shrew with the promise of the riches that come with the union. Cue the hilarity.
ISF first-timer Lichtscheidl provides not only needed grounding but makes Petruchio a much more likeable character with more depth than the cock-sure, testosterone-poisoned character he is usually made out to be. This Petruchio has a softer and more thoughtful side. Initially, Bruner’s Kate is played less as a headstrong woman and more like a bat-shit-crazy lunatic who should be committed. Thankfully, her portrayal becomes more measured in later acts.
The highly physical show has actors circling in and out of the audience, constantly chucking things at each other and breaking into random dance moments, all without dropping a line of the complex dialogue.
By the end of the performance, the audience is won over by the story’s charm and the fact that the production owns its silliness as it ventures back to the 1980s and brings the audience along on a nostalgic trip.
BY DANA OLAND – firstname.lastname@example.org
Copyright: © 2011 Idaho Statesman
The 1980s are alive and well at the Idaho Shakespeare Festival this summer in director Tracy Young’s totally awesome take on Shakespeare’s “The Taming of the Shrew,” which opened Saturday to a nearly full house.
Young, a seasoned director in her ISF debut, doesn’t just restage Shakespeare’s play, she reinvents it for a contemporary audience, making choices along with her actors — principally Sara M. Bruner (Katherine) and Jim Lischtscheidl (Petruchio) — that mitigate many of the play’s problems.
Young freshens the text with lively and freewheeling use of ’80s idioms injected into the dialogue. She has fun with place: Lucentio (Reggie Gowland) isn’t from Pisa, but from Portland (Oregon one assumes), Petruchio is from the wilds of Montana, and lunch is served in Santa Monica. Young also replaces the play’s stock characters with 1980s icons and stereotypes: Indiana Jones, Ivana Trump and Madonna.
The ensemble cast is dynamic, with a mix of actors and dancers in the crew. They create wonderful moments outside of the two main stories that give the production much flavor, such as the four dancing bridesmaids, Philip Michael Carroll’s rendition of Tom Cruise’s “Old Time Rock-n-Roll” from “Risky Business,” and Eduardo Placer’s turn as a 1980s era Prince.
Using the play’s roots in commedia dell’arte, Young creates a rich physical language of slapstick and gesture that helps the story along.
In one scene, Lischtscheidl holds Bruner upside down. As Kate hangs on for dear life, Petruchio says “Give me your hand Kate,” which she does, but only too late realizes the complete meaning of his statement.
Musically, Young and sound designer Peter John Still put together a soundtrack that’s an MTV-athon, with everything from Duran Duran to Bob Seger, Prince to The Human League. It’s worth eating in the theater to enjoy the pre-show tunes.
The heart of the play, and why it is so good, comes from Bruner and Lischtscheidl’s portrayals of Kate and Petruchio.
Bruner’s Katherine, who dresses in post-Annie Hall style, is smart, independent and angry at the world. She rejects everything about the coming “Material Girl” image of the decade, which her sister Bianca (the delightful Kjerstine Rose Anderson) embraces.
“Shrew” is still a problematic play because it uncomfortably brushes against our modern sense of equality. The idea that a husband must tame a woman to become his wife is abhorrent, yet in the world of the play, and in our own, becoming a spouse requires a major attitude adjustment.
Bruner adds layers to her Kate’s biting wit. She takes her time with Katherine’s final speech that admonishes Bianca, the Widow (Laura Perrotta), and the audience on how a wife should behave. Kate chooses her words carefully and with this thoughtful approach, it doesn’t come off that a woman’s place is obediently in the home as much as it is by the man she chooses to love. That wins her respect and Petruchio’s honest love, which Lischtscheidl expresses in a wonderfully romantic gesture that changes the tone of the ending.
Lischtscheidl’s Petruchio enters with less bravado and more uncertainty, giving him more humanity. He needs it because the play requires he also make adjustments. This is Lischtscheidl’s first season with ISF.
One of Young’s influences, the gritty drama “American Gigolo,” gives the play its setting in early 1980s Los Angeles, reflected in Michael Locher’s sleek industrial set. As locales change, we peek into windows to see fruit pop art, Patrick Nagel’s iconic prints of beautiful women, a cherry-red loveseat and other touches from the decade.
That’s one reason the play sits so well in the candied-pop, party-to-the-max world of 1980s Los Angeles. Call it the attitude adjustment decade.
Granted this play from the 16th century takes that adjustment to extremes, but the central questions still resonate: what does it takes to be in a real relationship, how much is it worth, and what will you sacrifice for it?
Alex Jaeger’s costumes are a hoot and hit the true style of the decade, referencing the best and beautifully worst of 80s fashion: Bianca’s “Like a Virgin” wedding gown, a delicious gold lame jumpsuit, and the tight, black dresses of Robert Palmer girls.
It’s all helped along by Rick Martin’s subtle and effective lighting.
Frankly, for those who lived through the decade, it’s a little creepy. None of the elements by themselves are exaggerated, yet all together they scream hilarity. Half the audience was asking, “Did we really look like that?” Ahem, yes.
“Shrew” also boasts the funniest Greenshow of the season: “The Shrewly-Wed Game,” in which a familiar Shakespearean couple tries to win a set of luggage. Yes, it’s a play on that 1960s iconic game show, but lest you think they got it wrong, remember the “New Newlywed Game” became a hit in 1984.
Dana Oland: 377-6442
Tracy Young finds a niche for the play in the 1980s
By Dana Oland – email@example.com
Tracy Young chooses her words carefully so as not to give too much away about her debut production of “The Taming of the Shrew” which opens at Idaho Shakespeare Festival this weekend.
“Just come and see it,” she says with a laugh.
But by glancing around the rehearsal room, one can deduce a few things: orange furniture and bright pink and green props abound. Hey, is that a Walkman?
Yes, “Shrew” in the 1980s. Finally! We’ve been waiting for an ’80s take on The Bard.
Think “American Gigolo” meets “Pretty in Pink” and you’ll get there.
During rehearsal last week the large company filled the space with crazy amounts of energy and laughter as they learned their choreographed bows. (Don’t worry, Tracy, we won’t give it away.)
It’s clear Young’s “Shrew” will be full of surprises. She is known for creating compelling, visceral, physically dynamic — hysterically funny — theater.
Young is the first new director at the festival in the past five years, and she’s enjoying shaking things up with a new perspective, energy and some serious theatrical lineage.
In college, Young thought she would end up in working in film. Then she fell in with The Actors Gang, a company founded by Tim Robbins in Los Angeles. It’s deeply rooted in the traditions of commedia dell’arte, a highly physical form of storytelling filled with stock characters and pratfalls.
That’s a perfect fit because “Shrew” is Shakespeare’s commedia play.
Young worked with Actors Gang from 1985 to 2001, becoming that company’s first woman to write and direct. She also studied with SITI Company’s Anne Bogart learning her Viewpoints, an approach to theater that allows the actor’s physical perspective to influence the narrative. The idea is that the story is different from wherever you are on stage.
With those two influences, plus her own cheery look on life, she works organically, drawing on the energy and creativity in the room for inspiration.
“I like to get up and start sketching early. Every process is different. For this one, we did get up on our feet pretty early and the actors were bringing a lot of great impulses, which signaled to me we should keep working in this vein.”
It took producing artistic director Charlie Fee two years to get Young to Idaho. That’s when he saw her adaptation of “The Servant and Two Masters” at the Oregon Shakespeare Festival, where she directs regularly.
“That production was hysterically funny,” Fee says. “Let me tell you: lights come up and there’s a gigantic, full audience belly laugh at the top of the show. Then it never let up. Her work is incredibly inventive and rhythmically precise and exciting. I knew she’d be a good fit for our company.”
“Shrew” is a challenging play today. The idea of a Kate (Sara M. Bruner) being forcefully “tamed” or controlled by her husband Petruchio (Jim Lichtscheidl) goes against our modern sensibilities. There’s also the way the men barter and bid for the shrewish Kate and sweet Bianca (Kjerstine Rose Anderson).
“This play is so rife with ‘The Art of the Deal,’ the 1980s seemed a natural,” Young says. “There’s no ignoring those perceptions, there’s meeting them, countering them and incorporating the audience perceptions and what they are bringing … to the process.”
She does that by playing with gender games of the 1980s. Think of Annie Lennox in male drag and Boy George anytime.
Young turned to “American Gigolo” for inspiration. Set in Los Angeles in the early 1980s (as this play is), Richard Gere plays a male prostitute who ends up being accused of murdering one of his clients.
“There was something about the way that character navigated a world that usually is taken on by a woman,” she says.
For the story of Bianca and her suitors Lucentio (Reggie Gowland) and Hortensio (Eduardo Placer) Young turned to the “Brat Pack” films of John Hughes, such as “The Breakfast Club” and “St. Elmo’s Fire.”
“There was a resonant parallel with all of this at a time when that second-wave feminism of Betty Friedan and Gloria Steinem was nearing its end. That seemed an interesting convergence,” she says.
So, not to give anything away, but expect a few ’80s pop songs, and iconic characters along the way.
The fact that this late 16th century play fits neatly into the decade of Reaganomics and “Miami Vice” only punctuates why Shakespeare is so great.
“Ultimately the story is deeply about love and partnership and it wrestles with things we continue to wrestle with in our culture just as strongly,” Young says. “It can withstand a great deal of inquiry and still offer up more fruits to anyone who chooses to look.”
© 2011 Idaho Statesman
Click to read full article at Idaho Statesman
Dana Oland: 377-6442
ISF stuns audiences with scintillating show
by Deanna Darr
On rare, magical occasions in theater, an audience will be so captivated, invested and affected by what’s happening on stage that they will be stunned into a charged silence. It happened twice during Idaho Shakespeare Festival’s production of Cabaret. In fact, it routinely happens twice each performance.
It is testament to the power of a production that is at once engrossing, disturbing and moving–not words often used when describing a musical. But just because there is song and dance doesn’t mean a musical can’t carry an emotional and moral wallop. Those who are only familiar with the movie version of Cabaret may be a bit shocked to discover the more controversial themes that fill the stage production.
Set in Berlin, Germany, in the early 1930s as the Nazi party was rising to power, the play explores themes of sexuality, hatred, power and life on the fringe. But overall, Cabaret deals with truths, uncomfortable truths, truths that we hide from others and even ourselves and unpleasant truths that we sometimes try to ignore.
With openly gay and bisexual characters, prostitution, abortion, drugs, alcohol and Nazis, this is a very grown-up musical, but one that entertains as much as it forces audiences to think on a more profound level.
Jodi Dominick stars as Sally Bowles, the star of the Kit Kat Klub (no, not the Meridian institution) for whom life is one big party and consequences are not to be bothered with. Eduardo Placer plays the Master of Ceremonies, an effeminate force of nature whose high-energy approach leads the audience through silly highs before turning dark on a dime. Both Dominick and Placer have spent several seasons with ISF, but these roles are standout performances for both. Dominick’s powerful voice drives the production, while Placer commands the stage and holds the audience in the palm of his well-manicured hand.
Neil Brookshire provides needed grounding as Clifford Bradshaw, a bi-curious American who falls in love with Sally but who can’t ignore the shadows that the Nazis are beginning to cast across society.
Wonderful supporting performances are turned in by ISF newcomer John Woodson and veteran Laura Perrotta, as well as Sara M. Bruner, who is a little bit scary in this production. Musical director Matthew Webb and costume designer Charlotte Yetman create a rich tapestry for the ears and eyes.
Last season, ISF pushed audiences out of their comfort zones with the quirky Bat Boy: The Musical, and this season the company is making sure crowds don’t get too cozy again with a production that is well worth experiencing. Click to read at Boise Weekly.
Posted: Saturday, July 16, 2011 12:30 am
By DAN LEA firstname.lastname@example.org © 2011 Idaho Press-Tribune
BOISE – This is not your mother’s “Cabaret.” For one thing there’s no Liza Minnelli. This is a grittier, more salacious and real-life, riveting version of the book by Joe Masteroff, based on the play by John Van Druten and inspired by the stories of novelist Christopher Isherwood. It depicts a German society rift with cultural and sexual experimentation on the eve of the rise to power of the Nazi party.
It takes generous swipes at anti-Semitism, censorship (book burning) and the emerging Third Reich.
But, within the bigger picture lies the tragic struggle of human beings caught in the middle.
“Cabaret” boasts unforgettable Broadway songs that include “Don’t Tell Mamma”, “Money,” “Mein Herr,” “Willkommen,” and the title tune sung emotionally by the show’s co-star British cabaret singer Sally Bowles, played perfectly by the troupe’s Jodi Dominick.
Eduardo Placer thrills in his role as Victor, the Master-of-Ceremonies. Placer narrates the audience through the cloudy eyes of American writer Clifford Bradshaw, played solidly by Neil Brookshire.
“Perception can be a funny thing,” Director Victoria Bussert said of the Idaho Shakespeare Festival’s interpretation of “Cabaret.”
“We can literally decide what we actually want to see – and what we would prefer to ignore.” Click to read full article.
BY DANA OLAND – email@example.com
Copyright: © 2011 Idaho Statesman
When the lights came down on Idaho Shakespeare Festival’s production of “Cabaret” Saturday, the audience sat in stunned silence, as if trying to recover its breath after a punch to the stomach. Then the lights went up, and it erupted into applause as the cast returned for their well-deserved bows.
Director Victoria Bussert’s production of Sam Mendes’ gritty adaptation of “Cabaret” took the audience on an emotional ride from a giddy opening to a devastating end.
That’s the power of musical theater. It can distill complex themes — from anti-Semitism to economic devastation — dress them up in lacy costumes and communicate the social underpinnings that led to World War II, all through the song and dance of a talented cast.
Most people know “Cabaret” from Bob Fosse’s glossy film that starred Liza Minnelli and Joel Grey in career-defining roles as Sally Bowles and the Master of Ceremonies. The 1998 revival offers a seamier, more sinister take on the Kander and Ebb musical. This show has mature themes and is appropriate for kids 14 and older.
The tone is underscored by Jeff Herrmann’s perfectly dingy set that speaks to the seediness of the cabaret and deterioration of Fraulein Schneider’s boardinghouse. He puts three doors at the back that are ironically reminiscent of the screwball comedies of the 1930s. Charlotte Yetman’s costumes are equally multidimensional. Musical director Matthew Webb keeps the band lively.
Though Bussert and choreographer Gregory Daniels give a nod to Fosse, they stay true to Mendes’ stripped-down, edgy take. The show has a slick center but is appropriately rough around the edges.
Strong performances by Jodi Dominick as Sally Bowles and Eduardo Placer as the Master of Ceremonies propel the production. They’re aided by a tight supporting cast — Neil Brookshire ( Cliff Bradshaw), Laura Perrotta (Fraulein Schneider), John Woodson (Herr Schultz), Jim Lichtsheidl (Ernst Ludwig) and Sara M. Bruner (Fraulein Kost), who learned to play the accordion for the role — and the sassy, sexy chorus girls and boys.
“Cabaret” is set in the Weimar Republic Germany of 1933, where a decadent, creative culture flourished, and many turned a blind eye to the Nazis’ rise to power.
We’re dropped into the Kit Kat Klub, which becomes the central thread that ties the show together.
Cliff, an American writer eager to explore his bisexuality, and Sally, an English cabaret singer trying to sleep her way to the top, meet. They begin as roommates-with-benefits and end as doomed lovers.
The cabaret numbers offer biting commentary on the reality scenes.
Placer owns the show. He attacks the Master of Ceremonies role with aggressive sexuality and wit and is close to brilliant in his ad libs with the audience.
Like Placer, Dominick is a triple threat who sings, dances and creates a complete character. When it comes to the finale number “Cabaret,” she delivers it like a curse rather than an anthem.
Pale, fevered, barely able to stand, she spits out the words. The production allows her to be true to the character rather than offer an expected Minnelli-esque slickness.
As good as the individual performers are, the show is greater than its parts. This “Cabaret” is a grown-up musical for the company, meaning that as a company, ISF is coming into its own abilities to produce visceral, engaging and tightly wound musical theater.
Dana Oland: 377-6442
By Dana Oland – firstname.lastname@example.org
Copyright: © 2011 Idaho Statesman
Some actors have “it;” some don’t. “It” is that magical chemical bond one can create with an audience and fellow actors. It’s also the ability to get the laugh.
The moment Scooter Moose de Chumber walks onstage in Idaho Shakespeare Festival’s “The Two Gentlemen of Verona,” his “it” factor kicks in. The audience sighs with delight and watches with giddy excitement. When Chumber turns it on, one well-timed gaze, and they’re in his paws.
This is no average dog. His dead-on deadpan makes his acting partner — the festival’s broad-ranging and gregarious David Anthony Smith — into a straight man.
That’s no mean feat.
In “Two Gents,” the 3-year-old French bulldog plays Crab, one of the only dogs of name in a Shakespearean play, and the only actual canine character The Bard wrote. Crab is companion to Launce, played by Smith, who is the manservant to Proteus— one of the two gents.
“He’s a ham,” Smith says. “He’s a show dog, and he loves getting the attention and reward of the treat. People love him. On preview night, when I said ‘Yet did not this cruel-hearted cur shed one tear,’ he (Chumber) slowly turned and looked at the audience. His timing is impeccable.”
That’s in Launce’s first monologue, which recounts his hysterical farewell to his family because he must follow Proteus to Milan. In his second big moment, Chumber finished with best trick: a high-five.
The great W.C. Fields once said, “Never act with animals or small children.”
“I disagree,” Smith says. “With the right animal, it’s a joy. Chumber brings so much to the role. I love working with him. He’s my bud!” Smith finds Chumber’s happy spot and gives it a scratch, as the dog wags in ecstasy.
Shakespeare wrote Launce for Will Kempe, one of the original members of Shakespeare’s acting company, the Chamberlain’s Men.
Kempe had a dog that knew a lot of bits.
In “Shakespeare in Love,” Geoffrey Rush’s character Philip Henslowe says, “You see — comedy, Will. Love, and a bit with a dog. That’s what they want.”
Smith really is a dog person. He works (and plays) with Chumber.
“I stay with him all the time backstage. It would be a whole different thing if I just got him for our scenes,” Smith says. “I take him out; I play with him; we do our treats backstage; we rehearse. Then, me walking out with him onstage becomes an extension of our bond.”
Since Smith learned of Chumber’s love of lamb, he cooks up a batch of treats for every show. “He’s really all about the treats,” he says.
When ISF produced “Two Gents” in 2004, Crab was played by a dog statue — which now is known as Chumber’s stand-in. This time, assistant director Sara M. Bruner insisted on casting a real dog. It can be tricky to have a dog onstage, especially outdoors, where the audience and lights are just the tip of the distractions. There’s food, birds — including a peacock — cats that live under the stage and the occasional skunk.
Bruner held dog auditions in Boise and Cleveland, home of ISF’s sister company, the Great Lakes Theater Festival.
“I knew it would be a huge missed opportunity if we didn’t, especially in Boise. It’s kind of a dog city,” Bruner says.
In Cleveland, a 150-pound Newfoundland named Mojo played Crab. That was a very different portrayal.
“If he didn’t want to go on cue, it was difficult,” Smith says. “It’s a huge advantage that I can carry Chumber.”
Scooter Moose de Chumber belongs to Erin Gorringe, a vet-tech at Habitat Veterinary Health Center in Bown Crossing. She found him through a French bulldog rescue network. Chumber was supposed to be a breeding stud but had some undesirable traits, such as possession aggression.
“He just wasn’t acclimated to people. So, he had to learn that people aren’t just a source of food, but of affection, too,” she says. “We learned that, and we worked on his ability to share things, and he’s just a different dog.”
Chumber is now a neutered stud. He’s affectionate, playful and full of personality.
“He’s our baby, big time,” she says.
When Gorringe learned about the dog audition on the ISF Facebook page, she had a hunch that Chumber would be just right.
“He kind of looks like a gargoyle,” she wrote in an email to Bruner. The moment Gorringe and Chumber showed up at the site, Bruner knew she’d found her Boise Crab.
WHAT’S IN A NAME?
Not much, according to Gorringe. His A.K.C. name is Rocky’s Bullwinkle, and he was dubbed Moose when she got him.
“Then all these nicknames came up: Scooter, Schoochie, Schoochie McNugget, Chumby, Bumper, Chuch, Chechie … Dan, Dan-Dan — not sure where that came from,” she says. “He doesn’t really respond to any of them. You could call him Pot Pie. It’s all the same to him.”
Chumber landed in a good situation all the way around. Gorringe and her boyfriend, Sam Tibbs, give him tons of attention, which is something this breed requires — he often gets to go to work with Gorringe. She figured out some of his quirks and allergies that were making him miserable.
Now, he’s a happy dog, she says. Being in the play has given him a new purpose, Gorringe says.
“I think he really loves it. He likes the attention and that he has a purpose to come here. He knows the routine: going out onstage and doing his role. He might not do it the same every time. but he knows that’s what’s going on.”
Dana Oland: 377-6442