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.