Humboldt Light Opera Co.’s God Bless You, Mr. Rosewater
It’s a rotten state in America. Obscene wealth, unyielding poverty, war, alternative altruism, repressed freedom — this being post-World War II in a 1979 musical based on a 1965 novel by Kurt Vonnegut. God Bless You, Mr. Rosewater, presented by Humboldt Light Opera Co., may seem heavy handed with themes amplified by today’s world, but they are an undercurrent, coloring the story-rich musical. One can intellectually explore or just listen to the music and enjoy the show. I attended this performance solo, raw from endless processing of current events, and was thankful for the choice. It is a lovely production with exceptional performances, rooted absurdity, belly laughs and hard-hitting reality checks (but only if you want to go there).
Credit: Submitted
Director Carol Ryder exercises her kind nature in this show by simply and lovingly telling the story and allowing its deeper insights to percolate rather than whopping the audience with them. It is a perfect commentary for today and offers a great lesson: Sometimes the greatest insights come from a story well told, not force-fed morality. Eliot Rosewater (Casey Vaughn), son of a senator (Bill Ryder), is rich via the Rosewater Foundation. He is a drunk narcissist and a destiny-seeking-do-gooder who uses his fortunes to find … something — redemption, meaning, connection or just more. He leaves his loving wife, Sylvia (Samantha Williams), to frequent volunteer firehouses across the country while Norma Mushari (Tehya Tuttle) works at the foundation to devise a plan to transfer his wealth to a less fortunate Rosewater. He eventually lands in a town in “stupid and ugly” Indiana, and contrives plans to improve the residents’ lives. The colorful characters of the impoverished town, the journey of a wife struggling with her husband’s philanthropy, a disapproving and controlling father, and a sly and engaging attorney all take center, all feel important and are all entertaining in the best ways.
Vaughn is empowered, charismatic, engaging and confident in his portrayal. While at times he could draw more on the character’s past to more clearly define his objective in the moment, he still easily navigates the show surefootedly with star prowess. Likewise, Tuttle is stunning. While the script is ambiguous on the backstory of her relationship with Rosewater, she obviously has done the work to fill in the blanks, piecing out her subtitles in text-filled, tacit gazes between spoken lines. Being serenaded by her gorgeous voice and graceful movement is mesmerizing. I look forward to seeing her more. Bill Ryder conducts a master class in character and poise. He is simply magnificent and deserving of a best supporting actor award. Williams’ stage presence reminds me of bombshell superstar power actors in the vein of black and white talkies. Perhaps she can lose her composure more and make it ugly in scenes that have the grit of crushed cheese nips and padded walls. Still, an incredible Act 2 that has her surrender to circumstance is inspired and beautiful. Brandy Rose and Bryan Tari rise to excellence in the talent-rich company (Dave Stacey, Kate O’Faolain, Elaine Yslas, Alexander Hermstad, Tom Szanto, Becky Perry, Nieves Rathbun, Cindy Dower, Chuck Supple) particularly in the rousing Act 2 number. Nona Mineva’s depth in her small role makes you take note and paves the way for larger roles. I would like to see more distinction between Jim Bushchman’s multiple characters, but he is so incredibly good at simply being himself that all his roles are outstanding and believable. Needless to say, I am a fan of HLOC’s talent.
At times, the show’s tech feels like conflicting designs. The set, sprinkled with office desks, bookshelves, a lamp and moving platforms, is well constructed and differentiates the spaces, but without the needed contrast between the corporate wealth and under-privileged town. A screen projection that consumes a third of the stage helps with establishing the design but fights with the wobbly pieces — could some of them be built into the projection design to marry the worlds and reduce clunky set changes? Further, the issues of blinking (shorting?) lights and ill-programmed movers on opening night are not helped by an overall dull construct. Sci-fi sections are colored the same as any other scene and sometimes gray out actors’ makeup, making them appear to be wearing masks and overly saturated lipstick. Even still, a couple powerful duets meld all the designs with breathtaking results that make me long for more moments of synchronicity. The gaggle of costumers obviously held meetings for this. They are consistent and perfect in their palette with some outstanding pieces — the senators’ Act 2 costume, a stunning opera dress and a lovely nautical-inspired dress to name a few. The band itself deserves a standing ovation, and Ryder wisely places them on a platform to give them the focus they are due. However, they may want to remember their position, as sometimes their interactions pull focus from the world they are creating around them. I would still gladly pay to attend a sitzprobe and be treated to a concert by their expertise in this pre-Little Shop of Horrors soundtrack ofAlan Menkin and Howard Ashman.
I can see why solo ticket sales are skyrocketing on Broadway. Perhaps the depth and emotional commitment of theater in a time when many of us have a spring trigger make it wise to experience by yourself. Shows like this are the exception and offer a rare balance between pure entertainment and pure profundity. See it in a group or treat yourself. Either way, see it.
Humboldt Light Opera Co.’s production of God Bless You Mr. Rosewatercontinues with 7:30 p.m. shows Friday, March 20, and Saturday, March 21, and a 2 p.m. performance on Sunday, March 22. Visit hloc.org or call (707) 630-5013.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
COMING SOON
Dan Hoyle’s solo journalistic theater performance Takes All Kinds brings voices from across the country to the Arcata Playhouse on March 20 and 21. Call (707) 822-1575 or visit playhousearts.org.
5th & D Street Theater ponders the “not to be” part of Hamlet with the darkly comic existential spin-off Rosencrantz and Guildenstern Are Dead March 26 through April 18. Visit ncrt.net or call the box office at (707) 442-6278.
Cover your carotid as Bat Boy: The Musical swoops into the Van Duzer Theatre April 3-12. Visit tickets.humboldt.edu/dance-music-and-theatre.
This article appears in The Foilies 2026.