Christina Darling

There really isn't anything Topher Payne can't do. He writes. He directs. He acts. He sings. He juggles. He conducts orchestras.
I might be stretching a bit, but he is really multi-talented. And "Christina Darling" is no exception. Directed by DeWayne Morgan, produced by The Process Theatre Company and housed at Onstage Atlanta, this wonderfully funny drama was a delightful mix of multi-media, stage and history. Joan Crawford is and always will be an American icon. Many know very little about her, truly, and this story brings her, her mother and her daughter to light. Great performances all around: Barbara Cole Uterhardt as Christina, Betty Mitchell as the grandmother, Anna, Kristin Kalbli as Lucille, or as the audience knew her, "Joan Crawford" in her early years, and Topher Payne as Joan herself. Bob Smith was wonderful as a myriad of characters, both gay and straight, through-out the play. Bob has been seen at many theaters in town and it's good to see him getting out to different venues. Doug Graham was very "on-point" as Billy, the man who loved his "Cranberry" no matter what the circumstances. Scott Gannon, with all his style and wig changes, was very hysterical throughout the show. And Rose Bianco, most notably as Sister Mary Benigma, played her supporting roles well.
After sitting at the reading of this show years ago, it is now nice to see the changes and word that has been made on the script. Everything flowed story-wise: a bit confusing for the audience when Grandmom Anna interrupted in a part of the history a year early, but the words played well and included her into that time perfectly. The ending was perfect - leaving the future of the 2nd book and the life of Christina on a positive note. Props to Harley Gould for his lighting design: well-played shadows, on-time changes and nothing confusing at all with time, place and season. Jane B. Kroessig did a phenomenal job on costumes: outstanding in every time period! Nadia Morgan designed a very functional set for both blocking and multi-media use. And George Deavours, of course, with his magnificent touch and style on the wigs - beautiful! It's always good to see a technical team doing their research to a "T" and helping to bring a story to life. When the only concern in a show is the light reflecting off the iron used by Anna in the beginning of the show (would have liked to have see that turned towards the downstage-right wall every time she had to set it up instead of flashing the audience with light reflection), then ya know you have a great show!
Well done, Process Theatre!