Todd Haynes wept: Ringwald’s Murder She Podcast … Baby One More Crime

Richard Payton as Jessica Fletcher

“Camp is the answer to the problem: how to be a dandy in the age of mass culture.”

“Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. It doesn’t argue that the good is bad, or the bad is good. What it does is to offer for art (and life) a different—a supplementary—set of standards.”

“The connoisseur of Camp [finds pleasure] in the coarsest, commonest pleasures, in the arts of the masses.”

Susan Sontag

Some of us old geezers might recall that auteur filmmaker Todd Haynes once directed a biographical film treatment of Karen Carpenter’s life – Superstar – using only Barbie dolls. Either Mattel or Karen’s creepy brother filed a cease and desist, and the film has only seen the light of day in bootleg copies on eBay.

Fortunately, Ringwald Theatre’s latest offering Murder She Podcast … Baby One More Crime has just arrived to fill that void.

Part of me doesn’t want to write a word as I don’t want to spoil any of the loopy fun for you. How do I net this out? Sublime Richard Payton channels Angela Lansbury‘s TV classic amateur sleuth/crime novelist Jessica Fletcher, now hosting an au courant pandemic “true crime” podcast. Pop singer Britney Spears, the recent subject of a tell-all documentary (#savebritney) appears to have been abducted and possibly murdered.

Spoiler alert, but as the cat is out of the bag via Ringwald‘s promotional materials, local legend Dave Davies is arguably the perfect thespian stand-in for Ms. Spears. He may be worth the price of admission alone. Never ridiculing his character, but fully in on the joke as to how absurd it is that he is playing the “Toxic” songstress, he is an absolute riot, both in TikTok style “found footage” and in podcast interview mode. I dearly hope there is a sequel.

Ringwald’s merry band of usual mischief makers is on hand in supporting roles. Joe Bailey is a gleeful Sherriff Amos Tupper, Fletcher’s dim bulb sidekick whose outsized adoration of Spears leads to a series of comedically nonsensical allegations. Suzan M. Jacokes is understated genius as harried producer Andrew Lark. Joel Mitchell nails Gene Smart, a store clerk whose great tragedy in life is being assigned his least favorite cash register. Nicole Pascaretta channels the sheltered charms of Britney’s baby sis Jamie Lynn. Dyan Bailey commands her moment as a Linda Ellerbee (remember her?) style newscaster. And Donny Riedel and Cory Shorter nicely round out the team as (respectively) hellzapoppin superfan Chris Crocker and louche hairdresser Jeffrey Bean.

The genius of the Ringwald is that they mine every aspect of pop-culture for mash-ups that are as unexpected as they are strangely logical. These are smart people using silly situations to comment on the real life comic tragedy of modern America. Susan Sontag meets Charles Busch meets Carol Burnett.

But back to the Barbie dolls. One of the great pleasures of seeing Ringwald’s evolution in pandemic is the way they are leveraging video production, one of the highlights of their prior stage work. Brandy Joe Plambeck deftly directs (with assistance from Dyan Bailey, Vince Kelley, and Katy Schoetzow) from a jam-packed script by Kelley and Matthew Arrington. Much like last winter’s Have Yourself a Misery Little Christmas, their filmed format has allowed the troupe to step up their production values exponentially. In that context, the lunacy has a beautifully heightened quality. The polish is in nice juxtaposition to the camp.

As for the dolls, when Sheriff Tupper devolves into his multiple theories surrounding Britney Spears’ disappearance, the reenactments are staged using Barbie dolls, playhouse furniture, and assorted other pink plastic accoutrements. It adds a layer of meta-commentary on American materialism and shallow celebrity obsession that is chiefly comic but more than a bit haunting. As another layer, the sequences employ the chilling orchestral version of Britney Spears’ “Toxic” from Promising Young Woman’s pitch perfect soundtrack. And if you have been wise enough to check out that essential film, the Barbie doll scenes take on an even more devastating quality.

Back to Payton for a minute. Ultimately, his Jessica Fletcher is the ringmaster of this circus. Payton’s anarchic intelligence is like a wildfire across every scene. He is both eye of the hurricane and instigator. And his impish genius elevates any and all material he touches. I can‘t see him perform enough. Utter brilliance.

And do yourself a favor and stick through the credits. The cast vamps through Britney’s seminal hit “Baby One More Time.” You haven’t lived until you’ve seen Joe Bailey shimmy in a door frame.

The Ringwald’s press release follows, including dates and ticket information.

The Ringwald Theatre is pleased to announce the release of their latest show, Murder, She Podcast: Baby One More Crime. Several Ringwald favorites have come together to (safely) film The Ringwald’s follow-up to their smash Yuletide release, Have Yourself a Misery Little Christmas. As with that show, Ringwald stalwarts Vince Kelley and Matthew Arrington return as writers.

In Murder, She Podcast: Baby One More Crime, bestselling author, amateur sleuth, and trenchoat aficionado Jessica Fletcher is recording her latest podcast with her trusty sidekick and co-host, former Sherrif Amos Tupper, at her side. Today’s topic is the mysterious disappearance of music sensation Britney Spears. Where has the Pop Princess gone? Is it just a disappearance, or is something more sinister at play? As the investigation deepens, you will be asking, “Where’s Britney, bitch?”

Murder, She Podcast: Baby One More Crime was developed prior to the release of the Framing Britney documentary. The Ringwald firmly stands in support of the pop icon, and shares this piece of art with love and affection.

Murder, She Podcast: Baby One More Crime stars Richard Payton as Jessica Fletcher, Joe Bailey as Sherriff Amos Tupper, Suzan M. Jacokes as Andrew Lark, Joel Mitchell as Gene Smart, Nicole Pascaretta as Jamie Lynn Spears, Donny Riedel as Chris Crocker, Cory Shorter as Jeffrey Bean, and a super special secret guest star as Britney. Brandy Joe Plambeck directed with assistance from Dyan Bailey, Vince Kelley, and Katy Schoetzow. All safety precautions were observed during filming.

Tickets for Murder, She Podcast: Baby One More Crime are available at www.theringwald.com at three different giving levels: $20, $50, and $100 and can be purchased Friday, April 16 through Sunday, May 2nd. The performance will be available to stream through May 10th. Once you purchase your ticket, an email will be sent to you which will include links for Murder, She Podcast: Baby One More Crime and a virtual program. The video is hosted on Vimeo. You can watch on your phone/computer/tablet or, if you have the capability, you can stream the production to your smart TV.

The Ringwald opened the doors to their Ferndale location 13 years ago on May 11, 2007 with Fatal Attraction: A Greek Tragedy. Quickly, The Ringwald became a mainstay of Detroit’s theatre community. Past highlights include: Head Over Heels, Clue, Company, Merrily We Roll Along, The Rocky Horror Show, Heathers The Musical, The Legend of Georgia McBride, Mr. Burns: a post-electric play, Angels in America, Into the Woods, A Streetcar Named Desire, August: Osage County, Mercury Fur, The Book of Liz, and Evil Dead: The Musical.

There won’t be … orphans: Theatre NOVA’s Play-of-the-Month “4 Genres” by Ron Riekki

If classic playwright Dario Fo wrote for Saturday Night Live in these technologically insular COVID days, I suspect he would have come up with something like Ron Riekki’s 4 Genres. That is a compliment BTW.

From Theatre NOVA’s press release: “Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a new play written specifically for the Zoom format each month (January through April) with their PLAY OF THE MONTH series. 4 Genres by Ron Riekki, the second offering in the series, will be performed live on Zoom on Wednesday, February 24th at 8pm and available ON DEMAND for Series Pass holders through May.

“In 4 Genres, four characters reveal what they’ve learned after being trapped within four respective film/theatre genres (musical theatre, documentary, slapstick, and horror). A hilarious comedy exploring the role of art in life and society, 4 Genres is directed by Theatre NOVA Founding Artistic Director, Carla Milarch and features Jennifer Felts (An Almost British Christmas), Nate John-Mark (A Hero of Our Time, 2020), Dan Johnson (Kill, Move, Paradise) and David Moan (I’m Streaming of an Alright Christmas).”

The show uses its “high concept” as a lens to address (lightly) the existential dread we have all been experiencing for one year now under COVID – this week being the anniversary of first going into lockdown, if I recall correctly. My mind feels as rattled as those of the characters in this piece.

4 Genres moves briskly. More than a few technological mishaps (I’m assuming unintentional) – dropped sound, internet wobbles – aid and abet the viewing experience. We ain’t looking for polish in quarantine.

The four performers are marvels of commitment. John-Mark has the showiest role, and he doesn’t miss a trick. He mines comedy gold from the anxiety of being trapped in a “summer camp/asylum/orphanage” populated by werewolves, witches, chainsaw killers, but NO orphans. The richest laughs come from his exasperated delivery of quips aplenty.

Moan has a ball leveraging his musical comedy chops. Ironically, singing seems to cause his character physical pain, even as his dulcet tones delight the viewer. Spoiler alert: you may never hear “You Will Be Found” from Dear Evan Hansen the same way again. And Moan’s “Rose’s Turn”-style nervous breakdown medley at the play’s conclusion is pretty damn brilliant. For that moment alone, this is one of the few Zoom shows I wouldn’t mind seeing staged IRL when and if this quarantine ever ends.

Felts and Johnson do reliably fine work in their respective roles. If Riekki were to make any revisions to the script, I might recommend taking another pass at these characters. These two roles don’t benefit from the same comically sharp definition as the others, so the piece suffers a slight imbalance. Again, that isn’t a result of Felts’ and Johnson’s performances. They both go all in, but they don’t have as rich of material to explore.

Director Carla Milarch knows how to position new works effectively. She has a marketer’s eye for pulling out a unique hook that will engage the audience. She leverages the immediacy of Zoom with its inherent isolating limitations – literally everyone is in a box – to provide a proper framework for the narrative. However, she also gives her actors *some* free reign, pulling the camera back a bit so that they each exist in three dimensional space, be it a charnel house, B&W soundstage, or velvet curtained cabaret. This offers the actors refreshing opportunity for physical business, in addition to the more typical “lines delivered directly at the camera” that we see so frequently in the ever-evolving pandemic-remote staging style.

I must admit that one of the things I find most appealing about this Zoom-based delivery mechanism for theater is that I can watch it on a Sunday afternoon, a week and a half after the premiere, knowing that my review can still benefit the overall experience, not only of this production but of the series. Will we ever go back to showing up collectively at one start time on one date and committing an evening to viewing theater? I hope so, but I don’t hate that this show is only 30 minutes and I could enjoy it while wearing my pajamas.

The show is a helluva lot of fun, as witty as it is thought-provoking, and serves as a nifty little showcase for four very talented local performers. Definitely check it out. If nothing else, it provides a lovely waiting room distraction as we all still figure out how in the heck to get vaccinated.

Tickets are $10 each month, or $30 for a Series Pass, which includes admission to four plays for the price of three and the opportunity to view all four plays ON DEMAND if any of the live performances are missed. Purchase tickets online at www.TheatreNova.org. For more information, pleaseemail a2theatrenova@gmail.com. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic. This activity is supported in part by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.

MEET THE CAST OF 4 GENRES:

Nate John-Mark (Horror) is originally from Grand Rapids, MI. He attended Western Michigan University where he pursued a degree in Organizational Communication. Nate has always had a passion for performance and poetry which he satiated by hosting events on campus to create platforms for artists like himself to be heard and seen. After undergrad Nate began an Audience Development Assistantship at the Oregon Shakespeare Festival where he was later introduced to performing Shakespeare with the OSF school tour. He has since joined Universes Theatre Ensemble, performed in Shakespeare tours around the country and is now living as an actor and playwright in Detroit, MI.

Dan Johnson (Doc) returns to Theatre NOVA after previously appearing in James Ijames’ KILL MOVE PARADISE (Winner, 2019 Council Cargle Wilde Award) and has been fortunate enough to work in SE Michigan theatre for the past decade, including recently winning 2020 Wilde Awards for Best Supporting Actor in a Play (MISS BENNET: CHRISTMAS AT PEMBERLEY) and in a Musical (MAN OF LA MANCHA). Along with his partner, Ashley M. Lyle (blaqn.org), Dan has also co-created “Toward An Anti-Racist Michigan Theatre,” a statement and workshop meant to help facilitate the work of positive, transformative change in 2021 and beyond. Many thanks to the cast and crew, to Mom, Dad and Angela for their love and support and (now more than ever) THANK YOU for supporting live Michigan theatre and theatre artists.  Enjoy!

David Moan (Musical) is honored to be back on the virtual NOVA stage as part of 4 GENRES. Originally from Pittsburgh, David was most recently seen as the Big Man in Red in the 2020 panto, I’M STREAMING OF AN ALRIGHT CHRISTMAS at Theatre NOVA. In the before times, David could be seen on real stages throughout southeast Michigan most notably as John Wilkes Booth in ASSASSINS and SWEENEY TODD at the Encore, God in AN ACT OF GOD at the Dio, and Martin in CANDIDE with the Michigan Opera Theater. Until Theatre is back in full, you can find David “performing” while playing video games at twitch.tv/davidmmoan. David would like to thank “everyone at Theatre NOVA for finding a way to make theatre happen,  Monica and Kim for keeping me sane in quarantine and all of you for supporting the arts in the time we need you most.”

Jennifer Felts (Slapstick) is currently a lecturer of Theatre at Eastern Michigan University and received her Master of Fine Arts from The London International School of Performing Arts. She directed TROJAN WOMEN and THE BIRTHDAY PARTY at Eastern Michigan University and VENUS IN FUR at the Performance Network Theatre. She has created movement, choreography and stage combat for many productions including SPRING AWAKENING, ONE MAN, TWO GUV’NORS, FIDDLER ON THE ROOF, URINETOWN, JULIUS CAESAR, ANGELS IN AMERICA, DEAD MAN’S CELL PHONE, BUD, NOT BUDDY and EQUUS (Wilde award for Best Movement Direction). As a performer, she has worked at the London Gate Theatre in the UK, Tipping Point, Andiamo Theatre, Theatre NOVA, and Performance Network. She also enjoys devising and collaborating on new work such as SIMONE: AN EVENING IN CHAPTER TITLES at Detroit’s Planet Ant Theatre or SHOULDER TO THE WHEEL at the Riverside Arts Center.

“Beauty as currency. Or a weapon.” Whatcha Doin? – part of Theatre NOVA’s new “Play of the Month” series

“Who’s zoomin’ who?” Detroit great Aretha Franklin once queried in song. Little did we know how prescient that sassy lyric would be some 30 years later. Here we all remain in our homes waiting for the cloud of pandemic to hopefully/eventually pass, anxious not only for our health and safety but for the chaotically mercurial state of a society that spins off its axis on a daily basis. How do we remain connected? Will human contact be forever limited to misleading social media messages and Zoom-enabled video jail cells? Only time will tell.

This existential dread hovers atop playwright Jacquelyn Priskorn’s incisive two-hander Whatcha Doin? The play is delivered via, yes, the ubiquitous Zoom, but makes effective use of the surreally detached intimacy that the platform provides.

From Theatre NOVA’s press release: “In Whatcha Doin?, a film student interviews a former child star turned voice over actor for a documentary project. Thrilled to witness Marnie’s work-from-home recording studio in action, Raven is surprised to learn about the difficulties Marnie had while portraying the goofy, unattractive kid on a TV series, but even more so, Raven is curious about why Marnie is now unable to leave her home. Whatcha Doin? is directed by Theatre NOVA Producing Artistic Director, Diane Hill and features Kate Stark and Megan Wesner.”

Stark and Wesner are compelling presences, defying the inherent limitations of webinar acting, with bright and engaging but wholly natural styles. Given Zoom’s challenges, the performer has to “pop” beyond a gauzy digital haze … but not *too* much. Not quite film, not quite stage, effective characterization has to break through the uncanny valley, remaining humanistic, yet not becoming flat. Stark and Wesner both excel, building a dynamic relationship in a brisk 20 minutes that is compelling, believable, poignant, and deeply affecting. To capture the ephemeral spark of unfolding friendship is tricky business on stage or screen, so it is a rare, almost voyeuristic thrill to watch Stark and Wesner’s nuanced work here.

With Hill’s expert direction, there is a beautiful embrace of the awkwardness inherent in online conversations. I haven’t really seen anybody capture as well the strange dance of smiles and pauses and sidelong glances that Zoom inspires. They nail it here. The script which is deceptively clever addresses the fluidity of identity in this modern age, supercharged as that can be across the bits and bytes of a computer screen.

Whether we realize it or not, we all are engaged in a minute-by-minute act of reclaiming, shaping, and reimagining who we are across digital platforms and IRL. This pas de deux of identity and belonging is deftly depicted in both script and production without hitting the viewer over the head. Highly recommend.

Tickets are $10 each month, or $30 for a Series Pass which admits ticket holders to a new play each month, January through April, 2021. Purchase tickets online at www.TheatreNova.org. For more information, please email a2theatrenova@gmail.com. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic.

Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents its new PLAY OF THE MONTH Zoom Play Series, featuring new plays written specifically for the Zoom format each month.

Due to the success of their Zoom Play Series Festival that ran in October, 2020, and in keeping with their mission to raise awareness of the value and excitement of new plays and playwrights, Theatre NOVA will present a new short play (20-40 minutes long) each month, January through April, 2021. The series opens with Whatcha Doin? by Jacquelyn Priskorn, performed live on Wednesday, January 27th at 8:00pm and available on video for the month of February.

Jacquelyn Priskorn (Playwright) has been writing plays since she took her first class with playwright Kitty Dubin in 1997. She has had several plays and screenplays produced since that first class, including the award-winning short film, “The Guest Room” (shown at the Strasbourg Film Festival in France), as well as a screenplay, “Love & Plutonium,” which is currently available on DVD. Her play “Love Shackles” was published in “Quick & Painless: Saturday Night Lites 2004-2005 Season” distributed by Original Works. “Glass Slipper, Size 8 ½,” “The Rot,” “The Reckless Romantic” and “Off Center” (Best Play at the Oakland University Actor Showcase) are currently available through Brooklyn Publishing. “Good Morning, Miriam” received the Jury’s Choice Award at the Detroit Fringe Forward Festival, along with Best New Play from New Plays from the Heartland, and The Chameleon Theatre Circle’s 17th annual one act play contest.

Diane Hill (Director) is a Producing Artistic Director at Theatre NOVA and was founder and Artistic/Executive Director of Two Muses Theatre, a nonprofit, professional theatre in West Bloomfield. Diane was a professor at University of Detroit Mercy and Oakland Community College, where she originated and designed the Theatre degree program. She has a Ph.D. in Theatre from Wayne State University and a Bachelor of Music and Master of Arts in Theatre from the University of Michigan. At Theatre NOVA, she directed “Clutter,” “Follies in Concert” and “Kill Move Paradise” (Council Cargle Award for Excellence in Diverse Storytelling).” Theatre NOVA audiences saw her play Olympe de Gouges in “The Revolutionists” (Wilde Award Best Production), Penelope Easter in “The Totalitarians,” Zelda in “The How and the Why” (Wilde Award Best Actress), and Sherri in “Admissions.”

Kate Stark (Marnie) is a dancer, actor, singer, choreographer, and voice over artist based out of Cincinnati, Ohio. She holds BAs in Biological Anthropology and Broadcast Journalism from Miami University and in a previous life was a TV news producer. Kate performs and teaches with companies like Cincinnati Ballet, Carnegie Center for the Performing Arts, Cincinnati Landmark Productions, Cincinnati Shakespeare Company, The Know Theatre, Dancing with Parkinson’s, InBocca Performance, and Pones Inc. Favorite roles: Judy Turner (“A Chorus Line”), Jean MacLaren (“Brigadoon”), Phyllis Dale (“42nd Street”), Nellie (“Nellie Bly: A Menace to Propriety”), and Texas (“Cabaret”).

Megan Wesner (Raven) is excited to be working with Theatre NOVA for the first time. They have previously worked as an actor, director, scenic painter, and stagehand for various Michigan theaters including the Wharton Center, Wild Swan Theatre Company, All-of-Us Express, the Purple Rose Theatre Company, and Hope Summer Repertory Theatre. Megan graduated from Michigan State University with a degree in Arts & Humanities and Theatre. They currently reside in Chelsea, Michigan.

Speaking of Zoom …

Enjoy this video of today’s “Epic CRM Fails” webinar panel with yours truly – https://m.youtube.com/watch?v=KUh4OsOopIQ&feature=youtu.be

“How are law firms using CRM and other marketing and business development software increasing the ROI on these technology investments? Christopher Raymond of Intapp, Chris Fritsch, JD of CLIENTSFirst Consulting, and Roy Sexton (ME!) of Clark Hill Law share real-life stories of how they overcame these obstacles.”

Thank you to Rob Kates of Kates Media: Video Production for the video support and to Martha Lord and Sarah Goldfuss for their assistance throughout.

“Incoming!” Open Book Theatre’s “Home Less”

Theatre in pandemic requires ingenuity, creativity, and miles and miles and miles of heart. Oh, and a good internet connection. Michigan’s Open Book Theatre Company is killing it.

Artistic Director Krista Schafer Ewbank has created an outlet for talented artists across the country and particularly here in Michigan to offer what could be best described as bespoke theatrical offerings. Whether it’s a musical staged at a drive-in, behind a picture window or in someone’s driveway or a ten minute, one person play delivered one-on-one (actor to audience), the company has kept theatre alive in these dark times with magnificent results. (I reviewed their production of iPoppy in October.)

Their latest offering is Emily Rosenbaum’s Home Less – as described on the Open Book website: “On her child’s eleventh birthday, a mom reflects on bravery, helping, and the Hogwarts sorting hat.” The conceit of the show is that the mother in question (local legend and, yes, my friend Carrie Jay Sayer) is recording on video a message that her son will read fourteen years hence on his twenty-fifth birthday.

The mother’s message is funny, heartfelt, often poignant, reflective of the unifying isolation of 2020 and the sense of helplessness throughout. The joy of celebrating her bright and adventurous child on his birthday is overshadowed by her guilt that she hasn’t been fully present for him, consumed as she is by the Sisyphean task of her day job: finding warm shelter for the ever growing numbers of homeless people.

The playwright offers in her notes on the piece: “But there’s no such thing as a homeless person. There are people who are experiencing homelessness, just as there are people experiencing food insecurity, domestic violence, and poverty. All of these traumas are human rights violations; none of them are characteristics of people. The systems that perpetuate these violences upon people are complex and deeply rooted. They are, in fact, our economic, educational, governmental, healthcare, and food systems. They serve some people well and are designed to keep others oppressed. … All sorts of circumstances can lead to homelessness, but there is only one remedy. A home.”

Sayer turns in a master class of nuanced understatement, with crisply drawn emotion and empathy, framing herself carefully in the Zoom-based “stage.” She is aided and abetted by Angie Kane’s steady, no frills direction, maintaining focus on words, message, and face. Sayer is a compelling presence, transcending the inherent limits of technology to connect with her singular audience member. We as viewer take the place of the birthday boy, with Sayer delivering her deepest thoughts and fears directly to us. The effect is as haunting as it is relatable. Sayer paces her delivery with varying rhythms and levels, taking us through the highs and lows of a mother grappling with widescreen societal issues and small screen personal ones. This is an exceptional performance, not to be missed. Instructive, cathartic, essential.

Remaining performances are available on January 18th, 21st, and 25th and can be scheduled here. Tickets are $20.

Carrie Jay Sayer

#EpicCRMFails Webinar Series

Part 2: Epic Fails – and How to Avoid Them

Join me for a panel discussion on January 27, 11:30 AM EST! Register here.

Almost every law firm currently using CRM and other marketing and business development software is looking for ways to increase the ROI on these technology investments. In the pursuit of success with technology, sometimes learning what NOT to do from people who have dealt with challenges can be more instructive than hypothetical discussions about what you could or should do. 

Join us January 27 at 11:30 AM EST for part two of this four-part series examining some the top issues that can lead to “Epic CRM Fails.” You will hear from experienced marketing and business development professionals who will share real-life stories of how they overcame these obstacles. You’ll also see never-before-released videos that capture the frustration of failure – and get actionable ideas and best practices to succeed.

Here are just a few of the #EpicCRMFails “potholes” you will learn to avoid on the road to CRM Success:

  • Problems First, Products Second – Identify your needs and requirements first before attempting to evaluate software.
  • Let Lawyers Be Lawyers – Perhaps professionals who bill hundreds (or more) of dollars an hour shouldn’t be tasked with data entry. Minimizing their efforts by automating processes can maximize value – and adoption.
  • No Dog and Pony Shows – Don’t get distracted by shiny bells and whistles. Instead choose the features and functionality that match your needs and requirements.
  • Defeat the Deluge of Data – Don’t drown in dated data. Instead focus on getting information you need to succeed, keep it clean and turn it into actionable insights.

We hope you’ll join us for this fun and interactive discussion. We will also be accepting “fails” from the audience and awarding prizes for submissions.

Register here!

About the speakers

Chris Fritsch, J.D., CLIENTSFirst Consulting

Chris Fritsch, CRM Success Consultant and founder of CLIENTSFirst Consulting, has helped hundreds of law firms select and implement the right Client Relationship Management and eMarketing solutions to support their marketing and business development efforts and maximize return on investment. Her team of almost 100 data quality professionals helps firms clean and enhance data and maintain ongoing quality. A recognized authority on marketing and business development technologies, Chris writes and speaks nationally on topics including CRM, eMarketing and data quality. She was named among the top 10 Marketing and Business Development thought leaders in the JD Supra Readers’ Choice Awards. She was also inducted as Fellow of the College of Law Practice Management for her consulting contributions to the profession. Chris received her law degree from Emory University School of Law in Atlanta, GA.

Christopher Raymond, Intapp

Chris Raymond, Practice Group Leader, Marketing and Business Development at Intapp, has spent nearly 15 years in the legal industry, working with Knowledge Management, Marketing and Business Development teams of AmLaw200 firms across the country. He is  Chair of the Legal Marketing Association (LMA) Northeast MarTech SIG. 

Chris joined the Intapp team as part of the OnePlace acquisition and previously worked at LexisNexis.

Roy Sexton, Clark Hill

As Director of Marketing, Roy Sexton helps lead Clark Hill’s marketing, branding and communications efforts. Sexton has nearly 20 years of experience in marketing, communications, business development and strategic planning. He has been heavily involved in the LMA as a regional and international leader and serves on numerous nonprofit boards and committees, including the Ronald McDonald House Charities of Ann Arbor, Royal Starr Film Festival, Mosaic Youth Theatre of Detroit and encoremichigan.com. Sexton earned his Bachelor’s degree from Wabash College, and holds Master’s degrees from The Ohio State University (M.A., Theatre) and the University of Michigan (MBA). He is a published author with two books, “Reel Roy Reviews,” Volumes 1 and 2, taken from his blog of the same name www.reelroyreviews.com.

Special thanks to Rob Kates, Kates Media

KM TV 2020

“We may be essential workers but we aren’t expendable.” Theatre Nova’s “I’m Streaming of an ALRIGHT Christmas” and The Ringwald’s “Have Yourself a MISERY Little Christmas”

2020. The artifacts of this momentous tire-fire of a year will be fascinating to view years from now. For all of the foolishness afoot in America these days, there has also been incredible ingenuity and anxiety-induced whimsy to spare.

Our Southeast Michigan theatre community rallied to find new ways to entertain, distract, and survive this year, employing ubiquitous Zoom technology to reinvent the much-needed art of storytelling.

Ann Arbor’s Theatre Nova has reimagined its annual holiday panto tradition for this new era with sublime results. I’m Streaming of an ALRIGHT Christmas is, intentionally or not, a delightful throwback to children’s variety shows of the 1980s like Pee Wee’s Playhouse or Pryor’s Place.

Written by Carla Milarch and and R MacKenzie Lewis (who serves double duty as music director), the free-wheeling hour (just the right length!) features multi-talented David Moan, Mike Sandusky, Monica Spencer, and Charles the Puppy, with a cameo performance by a famous mystery guest (clue: “fairy ex machina”).

The story, borrowing liberally from holiday classics like Rudolph the Red Nosed Reindeer, follows the footprint of so many tv-specials of yore, as Santa, Rudolph, Friendly the Elf, Mrs. Claus (Sandusky is a Madealike, culinarily-challenged scream here), Yukon Cornelius, the Abominable Snowman, and an adorable puppy, yes, try to “save Christmas,” this year from the “Rona Monster” (bearing an uncanny resemblance to Philly sports mascot “Gritty”). Spencer’s Friendly and Sandusky’s Rudolph exclaim early on, “We may be essential workers but we aren’t expendable!”

Sandusky

While the “Rona Monster” concept may seem a bit too on-the-nose given what we are all living through, it ends up being just the right parable for these tricky times. The script is loaded with zany references that both adults and children will enjoy, not shying away from a political pot shot or two. And the daffy and delightful musical numbers are plentiful, with nods to The Knack (lead singer of which was none other than Detroit native son and Geoffrey Fieger-sibling Doug Fieger), Les Miserables, Hamilton, and … Buck Owens (!) among others. Moan shines in a “Bring Him Home” moment that not only captures his soaring vocals and incredible musicality but also his deft comic timing.

The show is winsome and sweet and nicely avails itself of the interactivity that the Zoom platform provides. There are many moments for the kids to get involved, kind of a 21st-century version of clapping to bring Tinker Bell back to life. This show is well worth your time not to mention your investment in supporting one of our most creative local theater companies.

And speaking of fab local theater companies that exude cleverness and irreverence, The Ringwald brings us Have Yourself a MISERY Little Christmas in their inimitable style. Directed by Brandy Joe Plambeck with a smart, economical eye, the production showcases a dynamite Joe Bailey as a Santa whose “biggest fan” Annie Willis (Suzan M. Jacokes aiming for the rafters and nailing Kathy Bates in a brilliant parody performance) cares for him after a sleigh mishap.

Ringwald newcomer Aurora Boarealis Pigdon plays Annie’s pet pig and (arguably) steals the entire show

From The Ringwald’s website: “Written by Ringwald favorites Vince Kelley and Matthew Arrington … [the show] tells the story of Annie Willis, a lonely (slightly psychotic?) woman who lives in a remote cabin in Colorado. When she discovers a wrecked sleigh during a blizzard, she hauls the sole survivor back to her house to tend to him. When she discovers her patient is none other than St. Nick himself, Annie can’t believe her luck and she tries to persuade Santa to rewrite his Naughty and Nice lists to her liking. Will Santa’s Number One Fan succeed?”

Dyan Bailey is great boozy fun as Mrs. Claus, and Kelley vamps it up as Lauren Bacall. Production values are top notch, fully embracing The Ringwald’s unsung super powers around video design, editing, and execution. The cinematography and scenic design are polished and really add to the enjoyment. Unlike Theatre Nova’s offering, this one isn’t *quite* for kiddos, although teenagers of a certain satiric bent would adore it.

Bailey and Jacokes

The Ringwald is offering a bonus holiday cabaret, and, at a brisk and breezy 30 minutes, it is well worth a viewing. Again, from their website: “Also included with your ticket is the The Ringwald Holiday Cabaret, a new virtual cabaret with some of your favorite holiday melodies. The cabaret features Ringwald favorites: Kryssy Becker, Alisa Marie Chirco, Jordan Gagnon, Dante Hill, Christopher Kamm, Vince Kelley, Richard Payton, and Matthew Wallace. The cabaret is accompanied by Jeremy St. Martin.” Payton, Kamm, Gagnon, and Becker are particular standouts, with engaging delivery, articulating nicely the heartache and pathos underlying the “HAP-happiest time of the year.”

Both productions are streaming online. Theatre Nova’s performances are scheduled in order to maximize the interactivity, and The Ringwald’s show is video-on-demand. Ticket details follow…

I’M STREAMING OF AN ALRIGHT CHRISTMAS

Sun, Dec 20 5pm
Wed, Dec 23 7pm
Thurs, Dec 24 7pm
Sat, Dec 26 11am & 2pm
Sun, Dec 27 5pm

GET TICKETS HERE. Ticket holders will receive a link to click on to view and maybe even participate in the fun! Tickets are $10 (one viewer), $15 (two people), and $25 (family).

Have Yourself a MISERY Little Christmas

Tickets for Have Yourself a MISERY Little Christmas are available at three different giving levels: $20, $50, and $100. Performances stream December 4-31. Purchase here.

Once you purchase your ticket, an email will be sent to you which will include links for Have Yourself a MISERY Little Christmas, a virtual program, and a special bonus video, The Ringwald Holiday Cabaret. All of the videos are hosted on Vimeo. You can watch these on your phone/computer/tablet or, if you have the capability, you can stream them to your smart TV. (You can follow these steps to make it work).

The Sweetest Sounds” (click title for my rendition) from Richard Rodgers’ No Strings (later repurposed for the 1997 ABC/Disney television production of Rodgers & Hammerstein’s Cinderella with Brandy and Whitney Houston) … Want to join me in supporting a good cause? For my birthday this month (December 28 to be exact!), I’m raising money for Ronald McDonald House Charities Ann Arbor and your contribution will make an impact, whether you donate $5 or $500. Just click donate on this fundraising page: https://lnkd.in/eQ_NVZD

I’m a proud board member and have seen firsthand how every little bit helps. This little fundraiser is nearing the $3000 mark because of wonderful support from kind and generous friends like you! #keepingfamiliesclose

“The Sweetest Sounds” from No Strings
Charles the Puppy
Moan, Sandusky, Spencer

Open Book Theatre’s incisive, ingenious iPoppy + #LMA20 … it’s a wrap (yet so energizing!)

Thank you to Krista Schafer Ewbank and Open Book Theatre Company for continuing to find innovative, fun, and provocative ways to deliver theatre to our community in these dark days. iPoppy is by turns riotous, satirical, poignant, incisive, but always engaging. A one-woman ten minute show delivered 1:1 to each audience member via the quarantine-ubiquitous #Zoom, iPoppy is a frothy yet searing indictment of our present “culture,” one that wallpapers over socioeconomic inequities, familial trauma, rampant materialism, and the corrosive intersection of racism and sexism with a relentless and soul-crushing press of social media self-promotion and digital deception. iPoppy packs a wallop in its brisk and breezy ten minute run-time. Give it a go, and support local theatre.

“Check out some clips from iPoppy, along with some quotes from audience members. Sign up for your own 10 minute, live performance of this original piece! Written by M.X. Sotero. Directed by Topher Payne. Featuring Marcela Gazaro.”

Preview clip: https://www.facebook.com/699433083431924/posts/4543148755726985/?vh=e&extid=0&d=n

Tickets: http://openbooktheatrecompany.net/one-to-one-virtual-theatre/

This year’s Legal Marketing Association annual conference was a virtual affair, and it was just as vibrant and engaging (if not more so) than our in-person meetings. I’m happily energized AND utterly exhausted. I’m one proud international board member tonight! Below are some highlights …

Enjoy this #lma20 chat with the ever-charming Ashraf Lakhani, Matt Parfitt, and Rob Kates! We discuss their conference sessions (general counsel interviews and email marketing trends respectively), the finer points of long-distance chess, the importance of family, quarantine basketball, and outback policemen!

VIEW VIDEO HERE: https://www.facebook.com/KatesMedia/videos/929010134294388/?vh=e&extid=0&d=n

Yes, there is singing. Dave Matthews, in fact. And a shiny gold jacket. ⭐️ Rob Kates, Meghan Frank from Lexis Nexis, and yours truly with fab host Michelle Friends talk #lma20 🥰

VIEW VIDEO HERE: https://www.facebook.com/KatesMedia/videos/345659206511172/?vh=e&extid=0

Enjoy this final “coffee talk” of #lma20 with yours truly, Rob Kates, Joe Przybyla, Amy Payton Verhulst! We talk about the amazing discoveries of this year’s conference, the wonders of Introhive, what makes a great Legal Marketing Association leader, children’s art, online car shopping, and frosty treat rewards.

Yes, one more song – that I barely make it through without crying. One of my mom Susie Sexton’s favorites from “On the Town” and a fitting tribute to this incredible week. Kudos to conference chairs Kristen Bateman and Jon Mattson and the conference committee and support team (including Kristy Perkins, Malaika Palmer, Christina Abes) as well as rock star president Jill Mason Huse for their truly remarkable work.

Thanks to the SmithBucklin team, including Danielle Holland , Holly Amatangelo , JenaShay Russell , Ashley Stenger , Kimberly McBride , Kat Seiffert , Kristin Frankiewicz, Alexia Malamis for all of the ongoing support.

Thanks to all of the guest hosts and guests this week who made this show such a special addition! Shout outs during the show to Carman Janenne Akins, Jim Jarrell, Megan McKeon, Vanessa Vines Petrea, Jessica Jaramillo, Tahisha Fugate, Andrew Laver, Jessica Aries, Brenda Plowman, Stefanie Marrone, Jennifer Petrone Dezso, Tanya Riggan, Nikki Girard Sherrill, Michelle Friends, Kelly MacKinnon, Christine Mitchell Harris, Patrick Fuller, Gina Rubel, and more!

Lord, this was a neat week!

VIEW VIDEO HERE: https://www.facebook.com/LegalMarketingAssociation/videos/347783449831325/?vh=e&extid=0&d=n

LOVING these stats from now-legendary #lma20!

5 days of crucial content
1 excellent keynote speaker named Baratunde Thurston
1 new hashtag #LMACitizen inspired by #HowToCitizen
140+ speakers
40+ interactive live sessions
3+ hours of 1:1 attendee networking sessions
5 engaging virtual social events
17 countries and 43 states represented
45+ sponsoring organizations
1200+ legal marketing professionals
10 costume changes (MY contribution 🤣)
Too many “skills” to count

Read more: http://view.exacttarget.com/?qs=9be0d726adac2acc771141161d225ef964e0067928f9a4660847b8f66ff4b7921605091cc412d0fd7821fa4d731e442c2583b46ff6dd4b65a54d7607a01428d2eac6e4ae282ba9dc5ba1b9a0c148ac560c3592cae46130d6

LMA20 tribute to the ever-delightful Patrick Fuller … this will only mean something to the people who watched the comedy night event with Last Comic Standing winner and celebrity comedian John Heffron. To the rest of you, I’m sorry … not sorry. 🤣 I generally hate inside jokes. But I can’t resist this one. #skills!
Some final thoughts on #lma20
A closing song – “Some Other Time” from the musical “On The Town”
Smart sartorial choices of #lma20 … “The first but not the last.” Kamala Harris

Beyond the Ghostlight: Horror Movie Panel Discussion for The Ibis

View here: https://www.facebook.com/shadowoftheibis/videos/615911629083442/?vh=e&extid=0&d=

What a delightful hour to spend. I love talking about movies, but don’t get as many opportunities these days as I used to. I had a ball with Nick and Luna and Brandy Joe tonight chatting for The Ibis. We are even garbed in various stages of costumery!

We talk about what gives us chills in film and theater and literature and sometimes politics. It’s a free ranging conversation that touches on everything from #fairytales to #slasher films, #Hitchcock to #HumanCentipede, #RayBradbury to #SweeneyTodd, #Disney to #TheYellowWallpaper, #Joker to #BrianDePalma, #IdinaMenzel to #Watchmen.

Shout-outs to local artists abound, including Krista Schafer Ewbank, Open Book Theatre Company, Bailey Boudreau, Slipstream, The Ringwald Theatre, Susie Sexton, and more. We hope you enjoy our chat – recorded below for posterity and for our proud mothers (click the image to view video).

Thank you to Dave Durham for this photo!

That successful effort certainly shines forth as the highlight of my high school days. “Bye Bye Birdie” in Columbia City

So proud of my mom! “That successful effort certainly shines forth as the highlight of my high school days.” – Susie Sexton, who played Rose in “Bye Bye Birdie” in 1964, the first musical performed in Columbia City High School’s Newell Rice Auditorium. 55 years later, Columbia City High School brings “Bye Bye Birdie” back to the CCHS stage this November as the farewell musical for the current building. Opens tomorrow night! https://www.thepostandmail.com/content/musical-pays-tribute-first-performed-cchs-stage

https://www.thepostandmail.com/content/musical-pays-tribute-first-performed-cchs-stage

“With the combined efforts of musicians, dancers, drama enthusiasts, stage managers and light-ing technicians, the Senior Class of 1964 presented Columbia City’s first musical comedy, Bye Bye Birdie,” reads the article from the Columbian, the 1964 yearbook of Columbia City Joint High School.

Be prepared to put on a happy face as, 55 years later, Columbia City High School brings “Bye Bye Birdie” back to the CCHS stage this November as the farewell musical for the current building. A cast of more than 35 students will act, sing and dance their hearts out for audiences on Friday, Nov. 15 and Saturday, Nov. 16 at 7:30 p.m. in the Newell Rice Auditorium

With Director Shane Barkley

Set in the late 1950’s, “Bye Bye Birdie” is a romantic musical comedy revolving around the incredible popularity of Conrad Birdie (Ray Barrand), an Elvis-like rock & roll star who’s being drafted into the Army, which puts his publicity agent and songwriter Albert Peterson (Jack Claypool) into something of a pickle. Peterson’s sweetheart, Rosie (Sidney Basham), comes up with a last-ditch nationwide publicity scheme to get Conrad on to the Ed Sullivan Show and plant a lucky last kiss on a teenage fan before heading off overseas. When Kim MacAfee (Ella Kirchner) of Sweet Apple, Ohio wins the honor, all the telephones in her small town ring off the hook, and the entire town reels with anticipation. Kim’s boyfriend, Hugo (Daniel Booker), can’t take the humiliation of his lady love’s televised lip-lock. Rose can’t take another minute of Albert’s distracted ways. And Sweet Apple can’t take its teens’ riotous rebellion, inspired by the arrival of bad-boy Birdie. Will Sweet Apple ever be the same?

Pulp Ann Arbor reviews Theatre Nova’s Follies in Concert

Well, this is about the nicest review anyone (who isn’t my mother) has ever written about anything I’ve done on stage. “Roy Sexton is outstanding as Buddy. He has some of the most complex songs exploring the most complex emotions. His takes on ‘The Right Girl’ and ‘Buddy’s Blues’ are vocally strong and emotionally engaging as he conjures up a dialogue with his girlfriend while still yearning for the love of his wife.” Read more: https://pulp.aadl.org/node/399787. Theatre Nova’s Follies in Concert runs ONE more weekend, starting Thursday: http://www.theatrenova.org

Photo by Sean Carter

“Follies” continues Thursday-Saturday, Nov. 14-16, at 8 pm and Nov. 17 at 2 pm. Theatre Nova, 410 W. Huron St., Ann Arbor. For tickets, call 734-635-8450 or go to theatreNOVA.org.

Love this! Just discovered that my mom Susie Sexton’s Honors Thesis from her time at Ball State University is available to read from their library site. Check out #HenrikIbsen: “An Enemy of the People” here: http://cardinalscholar.bsu.edu/bitstream/handle/handle/190162/D86_1968DuncanSusanE.pdf?sequence=1&isAllowed=y

I sure do love these sweet kids – thank you, Nikki Bagdady Horn, Colleen McConnell Fowler, Blaine D. Fowler, and Lauren Crocker, for being such wonderful and supportive friends. Really grateful for you! Fun Friday at #Follies!

EncoreMichigan reviews Follies in Concert

Well, all right! Review from EncoreMichigan.com … excerpt:

Follies’ premise – aged alumni of the Weisman (think Ziegfeld) Follies reunite at their derelict theatre to relive their youth and ponder their life choices just before the place is leveled for a parking lot – is challenging to stage for any theater because of the intermingling of time, but Theatre Nova carries it off. …

Dramatic highlights of this show are “Losing My Mind,” a solo performed by Sue Booth, as Sally, and “Live, Laugh, Love” by Thomas Murphy, as Ben, and the ensemble.

Comic highlights are the rollicking “Buddy’s Blues” by Roy Sexton as the sad sack traveling salesman Buddy Plummer, and “I’m Still Here,” performed by Olive Hayden-Moore as Follies veteran Carlotta.

Diane Hill, who directs the play and co-stars as Phyllis Rogers Stone, also performs two of Follies’ funniest songs, “Could I Leave You” and “Lucy and Jessie” with spot-on comic timing.

Follies’ famous mirror number, “Who’s That Woman,” is given nice treatment by Carrie Jay Sayer, as showgirl Stella.

The most effective time-splicing number in the show is probably “Waiting for the Girls Upstairs.”

Eddie Rothermel, Kryssy Becker, Connor Thomas Rhoades, and Annie Kordas do a fine job of portraying Ben and Phyllis, Buddy and Sally in their younger years.

Read the full review here: https://www.encoremichigan.com/2019/11/theatre-nova-tees-up-follies-for-fund-raiser/