Vanishing Point
Book & Lyrics by Liv Cummins and Rob Hartmann
Music by Rob Hartmann
Original Concept and Additional Lyrics by Scott Keys
Directed by Mickey Handwerger
Music Direction by Mark Hildebrand
With Margaret Allman, Wendy Baird, Sherry Kuznicki, and Joe Gems on Piano
May 2-11, 2008

Author Agatha Christie vanished for 11 days in 1926. That same year, evangelist Aimee Semple McPherson vanished for three weeks. Amelia Earhart disappeared during her 1937 round-the-world flight. Agatha and Aimee never spoke of what happened during their disappearances, and Amelia was never seen again. This musical comedy-fantasy brings the three women together on a trip through time and space as they recall their past and explore their future.

Director's Notes

Nineteen years ago, I directed a short abstract scene written by author Liv Cummins entitled Banana Bread. Until now, it is the only piece of Liv’s I’ve ever collaborated on. Over the years, I’ve been witness to Liv’s incredible journey from young artist to exceptional author, having been included in the development of several of her pieces including The Bridge, The Big One, Three, and Vanishing Point. Each of these pieces centers on strong female characters, in no small part because Liv herself is a strong, goal-oriented, driven woman. As I went about selecting shows for, by, and about women for the 2008 season, I knew my chance had come to collaborate with Liv once again. It wasn’t hard to convince Liv and, in turn, composer and author Rob Hartmann to let me produce and direct this piece about three remarkable, adventurous women. I am humbled and honored to be working with these two incredibly talented people and can only hope that I do their work the justice it deserves.

I am equally humbled to have the opportunity to work with such talented actresses. From the day I first heard Vanishing Point performed, I could think of no one more suited to these roles than the three women performing here today. Never have I been so inspired by their overwhelming desire to engage in this collaborative process and their ability to understand the very nature of the characters they embody.

There have been many influential women in my life who, like Amelia, Aimee, and Agatha, set the standards by which I strive to live my life today. Women like my friends Liv, Karen, and Angela, who take nothing for granted, seeking out new adventures and living life to its fullest. Women like my mother, who is a living testament to the power of positive thinking and the way determination can see you through difficult times. And women like my grandmother, whose 92nd birthday would have been celebrated on May 2, 2008. and whose powerful family bond lives on today in her children, grandchildren, and great-grandchildren. To each of them, and to all the women in all our lives who influence us every day, I dedicate this show. It is in their honor that we celebrate the lives of Agatha Christie, Amelia Earhart, and Aimee Semple McPherson, all three of whom learned to face adversity head on, with purpose and pride, and became the role models and historical figures we know them as today.

REVIEWS
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Dignity Players' Vanishing Point
By Davina Grace Hill/Bay Times Weekly

We all love mystery, adventure and spectacle. Such is the premise of Vanishing Point, a musical that made its world premiere last week in Annapolis. Vanishing Point weaves together the historic vanishings of mystery writer Agatha Christie in 1926, spectale-creating evangelist Aimee Semple McPherson in 1926, and adventure-seeking aviator Amelia Earhart in 1937. It seems to want to make a point about women, their strength, and the social expectations they face.

The concept is intriguing (if not entirely successful), the music stellar and the production strong. Exemplary are the actors: Margaret Allman as Christie, Wendy Baird as McPherson, and Sheri Kuznicki as Earhart. The three women sing almost conitnuously, weaving through dospel, folk and ragtime-tinged melodies all scored and sung in high Sondheim style Their performances and vocal powers carry the show.

Allman sings her rapid-fire lyrics superbly. Her Christie is funnhy, flirty, wonded when she discovers her husband's indiscretions and creative when she plots her retribution.

Baird has a powerful voice and commands the stage, as McPherson is said to have done. She also skillfully conveys the confusing entrapment of her character's self-sought torture.

Kuznicki has one wonderful song, "Vanity and Gravity," but other show-stopping songs go to the other characters or the trio. Earhart's emotional journey is not well defined and her fate undiscovered, making a less distinct character.

Director Mickey Handwerger lightly guides the production, done with Diginty Players' typical minimalism, with actors and the script the sole focus.

A stronger hand might have reined in the show's length and intensity. With 14 songs, all sung with full-out fervor, and 75 minutes, the first act wants variety in pacing, quieter moments and less exposition.

The second act works far better. It's more metaphysical as the three characters interact and ponder how to explain their disappearances.

The strong show has uneven elements. Joe Gems on piano is wonderful - but the piano can overpower the singers. And there's surprisingly little focus on the femine values of these trailbalzing women.

The overall effect surmounts all, whetting our curiousity about three fascinating women and their missing days - and introducing us to three strong, powerful, full-voiced actresses who deserve to be seen before this production vanishes.