Little did they know theyd be continuing the tradition as they approached the big 5-0. In addition to jokes revolving around bridezilla behavior and ugly bridesmaid dresses, there are plenty about reading glasses, weight gain, and other age-related issues. Much of the joke fodder is also related to the stereotypes the friends represent the sweet, happily married homemaker, the ambitious career woman, the oft-married bombshell, and the independent free spirit. Glenda Thurmond returns for her first LWLT directorial role since the 2011 production of The Miracle Worker. And she has her work cut out for her. Lame witticisms fly between characters, at times making their friendship seem tiresome rather than cherished. But this is more a flaw in the script than of the individual performances. Each woman in the cast has fine moments that transcend the cliche-ridden script. Amber Acree is endearing as the optimistic, happily married domestic goddess, Libby Ruth Ames, a wizard with a spray bottle, Lysol wipes, and bolts of material. Dorinda Morrison-Garrard and Jeanette Hughes have some high points of their own as the free spirit Charlie Collins and judge Deedra Wingate, respectively. Following a scintillating performance in Spreading it Around earlier this season, Donna Geils once again proves her comedic talent as the oft-married lounge owner Monette Gentry. Her antics while dressed as one of the more notable women in history were among the highlights of the show. Teresa Turner transformed Sedalia Ellicott, the Virginia hostess running the Laurelton Oaks wedding venue, from what could have been a banal character into a boisterous, no-nonsense ax-wielding departure from the stereotypical wedding planner. And she accomplished this with only three days to prepare for opening night. But the most enjoyable moments come from Ashlyn Cobb Morton as the champagne swigging narrator and new bride Kari Ames Bissette, daughter of Libby Ruth. Although Karis soliloquies sometimes bend to Southern stereotypes, Morton is spellbinding as the bride amuses the audience with her own wedding memories and tales from the older womens’ friendship. The personalities of the characters were heightened by costumes, from their wedding gowns to bridesmaid dresses chosen for each other to the clothes and footwear they are wearing upon arrival to each wedding. The set, designed by Thurmond, is well designed to accommodate antics by women in platform heels and big dresses while showing the nuances of a brides room in a wedding venue from the white chandelier and white lights strung across the ceiling to a full-length mirror along with a tux and wedding gown on display. The script calls for scene transitions to be brisk and lively. They were neither during Saturdays performance, but at least the lengthy changes were accompanied by recordings of well-known love songs that at times inspired an audience sing-along. Lighting can often make or break the effect of a show, and it definitely adds atmosphere to this one. Designed by Terry Loyd and Mike Baccus, the lighting provides a visual for the storm taking place outside the wedding venue and a spotlight during Karis soliloquies adds drama to them. While Always a Bridesmaid isnt one of the more interesting plays penned by Jones, Hope, and Wooten, it does have its moments thanks to a cast that brings more out of the script than the words alone convey. Ashlyn Morton, left, plays Kari and Amber Acree is Libby Ruth in Lake Wales Little Theatre’s production of “Always a Bridesmaid.” TheLedger.com January 19, 2016 5:32 PM
If you want to make God laugh, tell him your plans, says the perky young Southern bride before taking a sip of champagne. Well, I found out that day if you really want to make him double over and howl, tell him your wedding plans.
Such begins Always a Bridesmaid, a comedy about the trials and triumphs of love both in friendship and romance currently showing at Lake Wales Little Theatre.
The play opens with young Kari Ames Bissette, played by Ashlyn Cobb Morton, recounting her wedding and imparting her own nuptial wisdom: Expect the unexpected.
But there are few unexpected moments in this Southern comedy from playwriting trio Jessie Jones, Nicholas Hope, and Jamie Wooten. Written in 2013, the play takes place over seven years as four 40-something women reunite to fulfill a youthful promise made in high school to be bridesmaids in each other’s weddings. Little did they know they’d be continuing the tradition as they approached the big 5-0.
In addition to jokes revolving around bridezilla behavior and ugly bridesmaid dresses, there are plenty about reading glasses, weight gain, and other age-related issues.
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Additional References about [primry]
- http://strive.lshtm.ac.uk/system/files/attachments/Ending Child Marriage.pdf