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