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.
Monday, May 21, 2012
Monday, May 14, 2012
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.
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
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
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