High Voltage - Holiday Celebration

Although I haven't seen any of their past holiday shows, I have seen several other performances of High Voltage (part of the El Dorado Musical Theatre organization). These young people are all-around entertainers, with professional standards, although no one in the group is over 20 years of age. I have no doubt that this will be another outstanding show. For more background, check my reviews in the Sacramento Choral Calendar at this link: www.sacchoralcalendar.com/Reviews.htm.

Let's Dance - Holiday Spectacular

I wish I could visit more performing arts events in our area, especially dance programs, including high school productions. Last night, I attended Woodcreek High School’s “Let’s Dance – Holiday Spectacular,” and it was indeed pretty spectacular, involving over 100 dance students (including 14 boys) in 30 dance numbers – most choreographed by students. It was a high-energy event with a lot of creativity and grace, and with some outstanding individual performances.

The highlight for me, though, was something completely unexpected. Four of the numbers were choreographed by Jacob Montoya who, I learned afterwards, is beginning to gain a professional reputation as a choreographer 10 years after graduating from Woodcreek High. Two of the dances he choreographed (“In This Shirt” and “Ave Maria”) had amazing power, complexity and creativity. It would have been worth attending just to see those two pieces, but there was much more to this show that made it enjoyable holiday fare.

There is one more thing worth noting. The success of this show rests on the professionalism of Lydia Ajay, the faculty member behind the dance program at Woodcreek High School. I bet that you, as I did, would find it fascinating to read her thoughts about the value of dance instruction in high school, and what it takes to make a program successful. She has put those thoughts into an article in the Oct-Nov-Dec 2012 issue of Perspectives, published by PlacerArts. Copies are available at art galleries and other locations throughout Placer County.

For more information about Woodcreek High School’s “Let’s Dance – Holiday Spectacular,” check their listing in the Placer Performance Calendar at this link: http://perfcal.com/orgs/WoodcreekHS.htm.

Seussical the Musical

Seussical the Musical opened on Broadway in 2000 and has become one of the most performed shows in America. It weaves over a dozen Dr. Seuss books into a single, fast-moving story, with a fun musical score. I had seen this show three times before watching a dress rehearsal of the El Dorado Musical Theatre production last night, and until then, I didn’t realize just how good the music was – or how good the show itself could be. In fact, I can’t imagine the Broadway production being as good as this one, because it was done with adult actors – and this present version, with young people aged 6 to 20, seems truer to the whole idea of the show.

More than that, this production by EDMT is nothing short of dazzling. There are 65 young actors in the show, and when they are all on stage for one of the large ensemble numbers, dancing and singing, it’s truly impressive. But there are so many stunning individual talents on display. The show is double-cast (I saw the Ham Cast), and the only part played by the same individual in both casts is that of Cat in the Hat. It’s a role in which Andrew Wilson is nothing short of brilliant. His acting captures the enigmatic quality of the character, but beyond the acting, his many other talents – singing, dancing, acrobatics, etc. – make him a delight to watch (and listen to). The other principal roles are also played beautifully, but I have to single out Carly Speno as Gertrude McFuzz. I’ve seen her in many roles, but the special energy she puts into this character demonstrates her extraordinary versatility.

And speaking of energy, the stage overflows with it – mostly in the extraordinary choreography. In fact, it seems that the dancing is almost continuous and always fresh. Maybe it’s my memory that is faulty, but I’d swear I saw dance moves that I’ve never seen before. Much of this is done by the small ensembles like the Bird Girls and the Wickersham Brothers, who are all an important part of the fun of this experience. And again the energy: if you have elderly friends, get them to see the show – it will add years to their lives.

Above all, this production is loaded with creativity: sets, costumes, lighting, sound effects, and ideas that I can’t even categorize. There is one surprise after another, each one a delight. The show itself is great fun, with good music and witty writing, but Director and Choreographer Debbie Wilson and her creative associates, along with these young actors, have electrified it. If you think you’ve seen Seussical the Musical before, let me assure you that you haven’t. So here’s my advice: don’t miss this production. It’s pure entertainment from beginning to end – for young and old.

(November 2012)

The Mousetrap

An Agatha Christie murder mystery provides great raw material for good theatre, and this production by the Drama Department at Sierra College crafts that raw material into not just good, but excellent theatre. The experience begins with ominous music playing as the audience enters. Waiting for the play to begin gives ample time to scan the well-designed, elaborate set – an English guest house in the 1950s. As with any Agatha Christie mystery, the question is, who is the murderer? And this well-written, sophisticated play makes nearly every character a plausible suspect. But what makes the suspicion work is the quality of the acting. Some of the players are students, some are clearly older non-students, but they all do a remarkable job of fashioning their character and displaying a wide emotional range. The dialog, complete with credible British accents, is crisp, and the timing of their interplay with each other is precise. Much of this can, no doubt, be traced to the skill of the veteran Director, Michael Hunter. His hand can also be seen in details like the continuous falling snow visible behind the French doors, the howling wind when the doors are opened, and so many other touches that are subtly and inextricably bound into the audience’s experience. At last night’s opening night, I found myself thinking “This is good drama.” I think that will be your conclusion, as well.

(Oct.-Nov., 2012)

Anne of Green Gables

Folsom High School’s Theatre Department has staged a theatrical version of Anne of Green Gables, the 1908 novel, since recast as a movie, a musical, and a TV series – among other formats. It’s the story of an orphan girl who goes to live with a middle-aged brother and sister on a farm on Prince Edward Island, and gradually becomes beloved by them and by the community. It’s a charming, heartening story, charmingly presented. I found it to be a breath of clean, fresh, country air in contrast to today's wide array of urbanized, sophisticated, jaded entertainment options. And Folsom High School has given Anne’s story life in this production, suffused with humanity and gentle humor. What particularly impressed me was the high quality of acting from this large cast. There was hardly a case of woodenly delivering one’s lines. Nearly every actor was “in the moment,”living their part, interacting naturally with each other, and preserving the magic of the unfolding story. Emily Parker’s portrayal of Anne was particularly brilliant, with a consistently high level of energy. At times she seemed almost possessed, and even her intentional overacting was effective. Sets and costumes helped to reinforce the sense of place and time, and the occasional contributions from the off-stage choir were a nice bonus. From beginning to end, this show is a delight, well worth catching one of the remaining performances, if you can.

Into the Woods

(from Roseville Theatre Arts Academy, October 2012)

I’ve seen Stephen Sondheim’s Into the Woods before, and I’ve felt I didn’t like it. The trouble is I hadn’t seen a really good production. And this is not a good production: it is a brilliant one. It is Roseville Theatre Arts Academy’s first show with adult actors, and it is bursting with pent-up creative energy. I was impressed first with the acting from this remarkable assemblage of talent. In particular I was delighted by the characterizations of Little Red Riding Hood by Elizabeth Poore, the Witch by Erin Gabrielle, the Wolf by Tristan Rumery, and the Princes by Rumery and Byron Roope. But the whole cast plays their parts with verve, and it is a special pleasure to watch (and listen to) Christi Axelson as the Baker’s Wife. The clever dialog is great fun, and last night one could tell it resonated with the audience from the frequent laughter.

That brings me to the music. I’ve seen musicals with a few good singers, and quite a few mediocre ones. Not here. These are all strong – sometimes even elegant – singers. I must say that I don’t believe there is a single hum-able tune in the whole show; yet the songs are engaging. Sondheim’s wordy and witty lyrics are delivered almost flawlessly, and I found myself in awe of how individual singers were able to carry out the interplay of the fast-paced snippets of lyrics that they exchange in so many of the songs. Even more impressive is the tight coordination with the pit musicians, led by Music Director Jennifer Vaughn on piano, and whose efforts make the music in this musical such a success.

I should add that the set itself is extraordinary – much more elaborate than I anticipated – and with some delightful, unexpected effects. Another pleasant surprise is the costumes. The quality of so many of the other elements of this show is matched by artistry of the costuming.

The presentation of this well-loved, frenetic, clever, cerebral show that I saw on opening night has to be viewed as a triumph for Director Michelle Raskey, the wonderfully talented cast, and the whole staff who gave their all for this first “Main Stage” production at Roseville Theatre Arts Academy.

- Dick Frantzreb

The Sly Fox

(Sutter Street Theatre)

The setting is 19th century San Francisco, and a wealthy man seems to be dying. At least that’s what his lawyer, accountant, and an old miser believe. And they believe that they can persuade him to name one of them as his sole heir – if they just give him enough gifts. But Foxwell J. Sly is a con man who is not remotely close to dying, and that’s the setting for a this delightful comedy. It was written by Larry Gelbart (of MASHfame), and based on the 1606 play, Volpone by Ben Jonson.

This production is wonderfully entertaining in the intimate environment of Sutter Street Theatre. The writing is witty throughout, but more than that, it is genuinely funny, and the opening night audience were laughing throughout the show. One would have to call this a farce because the characters were so exaggerated – like so many in Charles Dickens’ novels –but they were brought to life by some outstanding comic acting – truly among the best I’ve seen – with brilliant timing and clever touches from the director. Much of the humor is what might be called “adult,” so it’s not the kind of thing I’d take my grandchildren to see. But for myself, I wouldn’t have missed it: it was great fun.

- Dick Frantzreb

Seussical!

(Stand Out Talent, 8-24 to 9-9-12)

It starts with a cute story line that combines Dr. Seuss’most popular fables into a single plot, with clever dialog that incorporates a lot of his rhymes. Then there’s an engaging musical score that gets toes tapping. But what really creates the magic in this production is the energy of the cast: if you could harness it, it would light a city. Every character brims with personality, starting with Cat-in-a-Hat, played to zany perfection by Chelsea Fitzsimmons. But I’m not going to start enumerating these young actors, so many of whom gave over-the-top performances in their fanciful roles, delighting the opening night audience. And when the stage was filled with all 26 players in their bright and fanciful costumes, dancing and singing, it made quite a sensation. The singing itself was solid throughout, but I have to single out Sam Bank as Sour Kangaroo, whose big, stylized voice from that small body was one of the highlights of the evening. The choreography was also a big factor in making this show come alive: it seemed that the actors were always in motion in a diverse repertoire of dance moves. By my estimation the cast ranged in age from about 3 to the 30s (?), but the youngest members of the cast were cute enough to bring tears to the eyes of a sentimental adult. Throughout last night's performance, there were so many delightful touches in staging that demonstrated the creativity of the two professionals behind this production, Jennifer and Jason Bortz. They have put together a show that can’t help but delight the whole family.

The Producers

(From Sutter Street Theatre)

The Producers ran for 6 years on Broadway with 2,502 performances, so there’s no question it is a good show: the plot is engaging, the music makes for good listening, and the writing is witty. But this musical about two oddly matched Broadway producers trying to create a show that is sure to flop succeeds because of the extraordinary array of local talent it showcases. It is wildly funny, with over-the-top, outrageous humor. And chief among the on-stage lunatics is Kevin Caravalho as Max Bialystock, the jaded producer: radiating energy, singing powerfully, and acting with creative intensity every minute he’s on stage. And Caravalho is well paired with Aaron Boyer as Leo Bloom, the timid accountant who becomes Max’s partner, and who is convincing and delightful in this comic role. Then there is Ryan Adame who has performed brilliantly in so many local productions, and once again creates a memorable comic persona in Roger, the director. And let’s not overlook Jacob Goodyear as Roger’s preposterously flamboyant assistant, and Dennis Curry, as Franz, the Hitler-o-phile, whose imposing presence, big voice, and credible German accent make his improbable character believable. But it’s a pity to single out individual cast members because I could see each person in this show giving their all, and embracing with abandon their role (and they all played many roles) in this theatrical mayhem. I have to add, though, that one of Brady Tait’s many characters made me laugh harder than I have in years – and I mean years.

Beyond the individual acting talents, there is so much more that makes this offering of The Producers so entertaining. Connie Mockenhaupt outdoes herself as director and choreographer with wonderfully humorous and creative touches and dance routines. Chris Schlagel plays the piano accompaniment masterfully throughout, and no doubt is largely responsible for the fact that the singing – including the ensemble singing -- is so consistently good. And Eileen Beaver’s costuming is nothing short of amazing for a production on this scale. She puts together so many character-appropriate, quality costumes. And Roger’s entrance in drag is stunning: I’ve seen it, and I can attest that Roger does, indeed, look like the Chrysler Building – as he laments.

This hilariously funny production is intense entertainment from beginning to end. I consider it adult fare, so leave the little ones and early teens at home. But come yourself. It is a manic, tour de force that is likely to attract numerous Elly nominations and awards, and it is not to be missed.

- Dick Frantzreb

Measure for Measure

I have always felt that I needed to read a Shakespearean play before seeing it performed (or at least read a summary) in order to be able to follow the action.That was not necessary for this production from Free Fall Stage, because writer and director, Tana Aivaz Colburn, has taken Shakespeare’s meaning and converted it to a style of English more reminiscent of the writing of Jane Austen. And to make that work better, the play has been moved from 1500s Vienna to England of the early 1800s.And I must say that I was impressed with the quality of the adaptation.It preserved much of Shakespeare’s wit, elegance of expression (in similes and metaphors, for example), – as well as his philosophic observations on life and death, justice and mercy, and sin and righteousness.More importantly, the adaptation gives the actors the opportunity to act (rather than merely recite lines), and there was a lot of outstanding acting, some of the best I’ve seen lately.There was even an heroic attempt to maintain British accents, and though some faded as the play proceeded, several kept their accents consistent.But with or without accent, the words could be easily understood, giving clarity to the play’s action and emotions.

Although the set was static (probably an unavoidable limitation in this venue), the costumes were very well done and added a lot to the theatrical magic.But in the final analysis, the success of this enterprise rested on the writing.There’s no question that much of the enduring appeal of Shakespeare is in the quality of his language, but it can’t be fully appreciated without annotation of the archaic words and obscure references, so some of Shakespeare’s sharpest wit and most brilliant use of language is lost on the unprepared audience.But Ms. Colburn has saved us from this disappointment, and made it easy to follow what is an engaging plot, and appreciate the wisdom and passion that are an important part of what this most famous playwright has given us.This is indeed Shakespeare, and an entertaining introduction to one of his less familiar plays.

Twelfth Night

I’ve seen theatrical productions of “Shakespeare” that were hardly recognizable as his work. This was something different. Roseville Theatre Arts Academy has moved Twelfth Night from the fictional kingdom of Illyria to the old West. But in the process, they have maintained Shakespeare’s language. There were edits with references to San Francisco, and Olivia’s home becomes Olivia’s saloon: but this is Shakespeare – no question. And the most remarkable thing about the transition is that all the characters speak with a western (or southern) drawl, which they maintain remarkably well throughout the play. Adding the drawl to Shakespearean English, which is not easy to understand anyway, causes some of the dialogue to be lost to the typical listener, but unless you’re an insistent Shakespearean purist the effect is hilarious – and entertaining.

I’m not sure that this would be a good introduction to Shakespeare (or this play) for someone unfamiliar with the language or this plot, and I noticed that the children in the audience responded mostly to the frequent physical humor. But the acting (some of it excellent) really illustrates the meaning of the arcane language, and makes the plot reasonably easy to follow for those unfamiliar with it. And I don’t see how anyone (except the youngest) could come away without an appreciation for the elegance of Shakespeare’s language. Those most familiar with Twelfth Night will be most likely to find the delight in this drawl-delivered adaptation. If they don’t, then a pox on the churlish varmints.

9 to 5

There are so many things that are good about Placer Community Theater's production of "9 to 5," and first among them is the acting. Sure, I know it’s a musical, but that’s what made the acting stand out: so often, even in a good musical, the acting takes a back seat to the music. But not with this production of “9 to 5.” And how did they find 3 women who were so perfectly cast for the leads? Jeanette Albrecht played Doralee (Dolly Parton’s role in the movie) to perfection. Lyra Dominguez, with her big voice, was convincing in the role of Judy. And Allyson Finn was amazing in the role of Violet: if she doesn’t get an Elly Award – or at least a nomination – there’s something wrong with the process. And let’s not forget Phil Jacques, who was wonderfully funny as the hated boss, and Kathleen Brace, who was hilarious as his obsequious assistant, Roz.

 

But there was so much more that made this show a complete delight, a conclusion I heard from many other audience members last Saturday night. The music, for one, was engaging, and just about every number was listenable and fun. Although the ensemble songs were thin (not enough body mics to go around), the solo singing was solid, and there were a few numbers that were real show-stoppers. And the orchestration itself was great: jazzy piano, drums and guitar. It was so good, in fact, that I thought it was a recorded track until I spoke during intermission with music director Patricia Leftridge, who assured me that her piano playing was indeed live. (I spoke with her only after enjoying the complimentary dessert and drinks that this company somehow finds the means to provide.)

Another plus of the program was the dancing, a fair amount of which took place in the aisles. How many productions can claim as a choreographer, someone experienced and beloved enough to have a high school theater named after her? That’s Patti Baker, who retired from teaching dance at Roseville High School several years ago, and who enlisted 6 of her alumni to put on some great dancing (in which she joined) throughout this show.

Although the sets and set pieces were rather Spartan, as one might expect from a community theater production, they were more than made up for by the projections on the stage-wide screen above and behind the actors. When the action was taking place in an office, the screen showed a real office scene, and this background changed when the action moved to a different locale. But there was much more to what was projected, including images that reinforced the action (such as the imagination of the main characters), humorous commentaries, etc. Another person might think that getting creative with projections would detract from any realism in the play, even for a musical like this. But I thought the effect was terrific and added a lot to the pace of the action and the humor.

And this is a genuinely funny show, with witty dialog and excellent comic acting. Some of the humor is a bit risqué, and there are occasional words that would be bleeped out if you were watching on TV. So leave your small children at home. But don’t miss this show yourself. It has personality -- a quality that is projected by each person on stage – and that, along with all this production’s other strengths, makes this top-quality entertainment.

Honk! Jr.

There are many children’s theater companies in our area. I’ve seen some of their productions, and – with a few exceptions – they are of a quality that only family and friends would enjoy. This was something different. Unlike other El Dorado Musical Theatre productions that feature professional or near-professional quality performers up to age 20, this “Rising Star” show is limited to kids 6 to 13 years of age. But it is an absolutely delightful experience, so bring your kids or grandkids if you have them, but don't stay away if you have no young family to bring. Any grown-up will find a lot to like about Honk! Jr. The writing is witty and the music is engaging, but what EDMT has done with this raw material makes all the difference.

I counted 60 kids in the cast, and when they are all on stage, doing their choreographed moves and singing together, it’s impressive – and remarkable – considering how young many of them are. Of course, that tender age translates into child voices that can’t match the quality of older kids when singing solos – with several notable exceptions (Madison Sykes as Ida, for one). And the acting of some of these young people made me think of child stars in times past. Zach Wilson, for example, a veteran of years with the older EDMT players, was brilliant as Ugly (the ugly duckling who becomes a swan), in his acting, dancing and singing. Also impressive were Ireland Bonds as the cat (fascinating to watch!) and Russell Anderson as the militaristic head goose: British accent, soldierly bearing and all. But there were so many others among these young actors and singers who brimmed with on-stage personality and added to the fun of it all.

It was the hand of the adult Director and Choreographer, Kat Bahry, and her numerous assistants and the others responsible for set, costumes, etc. that really gave these young kids the opportunity to shine. And there were wonderfully creative staging ideas throughout that kept the audience engaged (and delighted). This show is loaded with cute, but that’s not the only reason for coming. It is quality entertainment for the whole family, and everyone should attend to see just how good children’s theater can be.

For more information, click here.

Thoroughly Modern Millie

This latest offering from Rocklin Community Theatre is a hands-down winner. The assemblage of local talent is amazing, starting with co-directors, Ryan Adame and Christi Axelson, who is also the choreographer. I don’t know whether they’re compensated for their efforts, but these people are experienced pros who have put together a production that sparkles with creativity.

This is described as a “Teen Theatre Workshop Production.” But forget “teen” and forget “workshop.” These kids are mature performers with outstanding acting, excellent singing, and brilliant dance routines. The story itself of a young woman trying to make it in New York City in the 1920s, hangs together well as an engaging romantic comedy, and the writing is excellent. A few of the songs are familiar, but that doesn’t matter: they all make for good listening, and some are wonderfully funny, like singing in Chinese with English subtitles.

But the writing and songs would fall flat without the talent that brought them out last night, because the stage brimmed over with personality on everyone’s part. This show is double-cast, and I saw the Kansas Cast perform, so I’m hesitant to single out individual performers, especially because so many were so good. That said, Caroline Mixon as Millie was an absolute knock-out, with acting and singing that, to me at least, was star-quality. And Casey Borghesi played Mrs. Meers, the Chinese landlady, with such flair that nearly everything she did made me laugh.

I’ve heard many of the principals in this production sing before, but somehow this seemed like their best work, and no doubt a lot of the credit should go to vocal director, Erin Gabriele. I just wish that they could have had more individual mics, because a couple of ensemble numbers could not be heard well – and I was sitting in the third row. But the principals and all the supporting actors could be easily heard.

One of the most impressive things about this production was the costuming. I began to be amazed at the brilliant array of 1920s-themed costumes and new, dazzling outfits for the women as the show progressed. Even the uniform outfits and hair of the typing pool were noticeably inspired touches by Denise McHugh and her costume team.

I found myself wondering how this small company could afford such quality costumes, but more than that, how could they manage a 13-piece live orchestra? I have to add that these musicians played beautifully, and their coordination with the singers on stage appeared to be seamless.

If this show doesn’t earn multiple Elly Awards, there is something wrong with that award system. I found the production so engaging that I’m going back to see how the New York Cast does. If I can see it twice, you should at least see it once. It’s an entertainment gem.

For more information, click here.

P.S. I just saw the New York Cast perform, and they pulled off another great show. Whichever cast you see, you won't be disappointed.

The Gin Game

Surely this offering by Sutter Street Theatre qualifies as a "great local show." It's serious drama, but still loaded with humor. The concept is simple: two residents of a "home for the aged" interact over games of Gin Rummy. But she always wins, and he can't handle it. With two award-winning actors, Hazel Johnson and Stephen Kauffman, and experienced director, Janelle Kauffman, behind this production, the quality of acting is high as tension builds. This Pulitzer Prize-winning play is substantial theater fare, with significant character development and food for thought in its insights into personal relations.

Leading Ladies

This is a genuinely funny show that had me and my fellow audience member laughing throughout. You would have to call this a farce, but it’s a darn well-written farce. But what makes it work are the comedic talents of the extraordinary cast and director. Ryan Adame and Michael Coleman have to be the funniest two men playing both men and women since Tony Curtis and Jack Lemmon in “Some Like It Hot.” But the comedic talents of the rest of the cast are excellent, as well, especially Lindsay Jones, whose acting skills helped make everything work. It’s a pleasant evening’s (or afternoon’s) entertainment with over-the-top hilarity. I’m still laughing.

Gift of the Heart - Homeland

I saw this uplifting and exhilarating show last year, and it promises to be another crowd-pleasing spectacular. The music is provided by the Placer Pops Chorale and the Gift of the Heart Orchestra and Chorus, both under the direction of Lorin Miller, whose high standards of musicianship always deliver a quality event. Presented in the informal setting of the Auburn Library Garden Amphitheater, attendees are encouraged to bring low-backed lawn chairs, blankets, and refreshments -- though vendors are at hand for food and drinks. The program will focus on Americana and patriotic music, and from the response of the crowd I was part of last year, there is little question that those people will make it a Fourth-of-July tradition, so arriving early would be a good idea. Acoustics were good last year, and even though sitting at the back of the amphitheater, I didn't miss anything. It's a great launch for anyone's celebration of the holiday.

High Voltage

I have seen this amazing group of young performers on two occasions in the past couple of years, and they have simply blown me away with the quality of their shows. The dance routines are creative and simply sensational. The acting is terrific, and the singing, whether individually or as a chorus, is professional-quality. My sceptical wife was a believer from the first number they performed. This one-time event promises to maintain their high standards, reflecting the coaching and directing they receive from top professionals. I wouldn't miss it: it's some of the best entertainment in the Sacramento region.

More details at this link.

The Placer Pops Chorale

First, a disclaimer. I sang with the Placer Pops Chorale (formerly the Sierra Community Chorus) for 15 years, and I've attended all their concerts since I left the group. If you haven't been to one of the Chorale's concerts, you're missing something special. Director Lorin Miller has a great knack for selecting music and putting on an entertaining show. He knows how to get the best from the 70 singers, who are typically accompanied by a live orchestra of 10 or more players.

The forthcoming show, "American Tapestry -- From Pops to Jazz" will present familiar music of Broadway and Hollywood in contemporary choral arrangements, and it will almost certainly carry on the Chorale's tradition of excellence.

They drew nearly 3000 people to their last Christmas show, so if you're thinking about attending this one, by all means, order your tickets now.

More information at www.placerpopschorale.org.

Anything Goes

(April-May, 2012)

If you haven’t seen it before, this is a good opportunity to experience one of the classics of the American musical theater in this production by Roseville's Stand Out Talent. There are so many familiar songs, with a stable of classic characters, and fast-paced action. The witty dialog and comic gags pass the test of time, and are a lot of fun. Certainly the audience I was part of was delighted by them. This show is double-cast, so it may not be helpful to comment on the individual players. Specifically, I saw the opening performance of the Cruise Cast. But I have to say that Jason Bortz (a principal of Stand Out Talent, and husband of Director, Jennifer Bortz) was absolutely amazing in the role of Moonface Martin – easily the best protrayal I’ve seen and about the best I could imagine. It was fascinating to watch his high-energy performance and impeccable comic timing. But there were many other highlights in this classic show, and the horseshoe-shaped seating of the Tower Theatre gives it an intimacy that you won’t find in other productions. “Anything Goes” has been put on numerous times in the Sacramento area in recent years, so it may be quite a while before it reappears. See it while you can.

Next to Normal

(January 2012)

It’s such a pity this show doesn’t have a longer run. Surely, if word got out about the quality of the production, it would be able to continue to draw audiences. Last night, my fellow audience members, even though they only half-filled the theater, jumped to their feet in applause at the end. And well they might because it was an excellent show.

First, there was the music. It’s accurate to describe Next to Normal as a rock opera, and the 6-piece band (which included a violin and cello) definitely rocked under the direction of David Blanchard. The highlight, though, was the professional-quality singing of the 6-member cast. The songs themselves were eminently listenable, and I found myself humming tunes during the intermission and as I left the theater. It’s worth noting that a lot of the singing was in duets or occasionally larger ensembles, and at these spots the blend of the voices gave a satisfying richness to whatever emotion was being conveyed. Besides this, some of the numbers were real show-stoppers that I’d love to see again and again.

Most importantly, the acting was top-notch. I’ve seen nearly all these people perform before, but this was easily among the best acting (and singing) that I’ve witnessed from each of them. The story requires a wide emotional range and a lot of nuance – and they gave it. The influence of the director can be seen in the acting, but the staging itself was inspired. Despite the sparseness of props and set, this production was a visual feast: the rich crafting of each scene drew us audience members into the action and added to the effectiveness of the acting and singing. Stand Out Talent was fortunate to have LA-based Danny Gurwin to direct this show.

With a warning that it wouldn’t be suitable for children under 13, and that it would deal with dark themes of mental illness, drug abuse, etc., I fear some potential audience members may have stayed away. What a mistake. Though it deals with some serious themes, there is a lot of joy and good feeling in this story, and it is so substantial that it’s easy to see why it was a Tony and Pulitzer Prize winner. Hats off to Stand Out Talent for tackling it and delivering such a high-quality show