Better than the Macy’s parade, The Music Man at the Rocklin Community Theatre will have you rocking in your seat and raising your arm to lead the band. Composer, Meredith Willson’s score infects your bones and paints a smile on your face that lasts, thanks to the show’s live orchestra of ten musicians led by Peter Kagstrom. Theirs is a sound to keep you humming all the way home.
The casting, costumes, and choreography – are perfect. Take your seat and be transported back to Iowa, 1912, to see the townsfolk transformed into River City’s Marching Band. Star of the show, the handsome Ryan Adame, con-man and traveling salesman, sings in a rich baritone, dances with importance and confidence as any con-man should, and falls in love with the irresistible Marion, the librarian, so sincerely, you never doubt a word he’s singing. Marian, Madam Librarian, played by Alyssa Ray, radiates beauty, intelligence, kindness and grace, as she beautifully lifts her voice in “Goodnight, My Someone,” and “Till There Was You.” Alyssa Ray floats on the high notes! You’ve got to hear her to feel the chills running up your arms as she sings.
Everyone in this cast is outstanding. Marian’s Irish mother, Lori Thomson, and Marian’s little brother who lisps, Evan Teigland (for this show), will steal your heart.
Not only are the show’s stars, Ryan Adame and Alyssa Ray, terrific vocalists, but so are the men in the school board quartet, Georgio Selvaggio, Ken Duisenberg, Byron Roope, and Nick Lunetta. And the Pickalittle Ladies will delight and amuse.
There are too many talented teens and adults to name each one, but every singer and dancer in this Rocklin Community Theatre production of The Music Man is outstanding.
This show was brought to life by the very talented Gina Threshie, Costume Designer; Christian Savage, Sound & Lighting Designer; and Laura Gailey, Stage Manager. Other talent you don’t see on stage, but who make the whole production as thrilling as it is, who make this show grand, are—Choreographer, Cassie March; Musical Director, Peter Kagstrom, and Director, Jill Page. The Music Man’s merriment dazzles and captivates.
This independent review is by Letha Dawson, Roseville writer, playwright, and musician.
Tuesday, December 24, 2013
Monday, November 25, 2013
Peter Pan
Peter Pan has arrived. And El Dorado Musical Theatre’s version is not Peter Pan like you’ve ever seen it before. I’m one of those whose memory of Peter Pan goes back to the Disney movie (first run, mind you!) and Mary Martin playing the title role on TV. So when I attended opening night of this production, a lot of the musical numbers were new to me. And the way those musical numbers were staged makes me believe that you could not possibly have seen Peter Pan done like this. Director and choreographer Debbie Wilson works from a script, but I bet it doesn’t tell her how to choreograph the dance numbers – or maybe even whether certain songs should be choreographed. And it is the choreography that puts this show over the top. In every EDMT show I have seen choreography and dance moves that I’ve never seen before – that I couldn’t even have imagined. And this show was no exception. It felt like there was one highly choreographed, high-energy scene after another. It was stunning.
Compared to what was to come, the opening scenes of the show were pretty tame. What stood out to me in the early going was the consistency of the accent in the dialog, pretty much across all the characters. Even Professor Henry Higgins might not have been able to pinpoint what part of England the speakers came from, but they sure didn’t sound like they were from around here and that helped craft the wonderful illusion unfolding on the stage. The illusion was helped by EDMT’s typically elaborate sets, beginning with that of the Darling’s nursery. But the effect of the sets paled in comparison with that of the flying, starting with Peter Pan’s entrance, soaring through an opened window. I think everyone in the theater knew in advance that the actors would be flying, but it’s still impressive when you see it, and there were some delightful surprises that involved actors suspended above the stage.
The first few scenes also helped focus attention on the character of Peter Pan. There is a fascinating back story on the casting and preparations for this show in the online magazine, Stage Pass (click here to open it in a new window). I had read the article before the show, and so I knew something about Kiersten Hunter and what she went through to get ready for this role. Knowing all that, as I watched her perform, I became convinced that it was not a high school girl up there. She didn't speak, sing, act, look, or move like a girl (or even any boy I’ve known). That was Peter Pan. The transformation was perfect.
Of course, Peter Pan is not really a comic character, but so many of the others are: Andrew Wilson was a deliciously evil Captain Hook, and his pirate crew (especially his cousin, Zach Wilson as Mr. Smee) were hilarious, as were the lost boys and the Indians. I think the comedy was enhanced because the audience, many of them enthused EDMT fans, were really charged up. How charged up? Hook enters the stage for the first time, and they boo him. His reaction? “But I haven’t done anything yet!” Surely that wasn’t in the script, but it was one of so many fun moments in this show.
As is always the case with EDMT, the singing was strong, due no doubt in great measure to the efforts of vocal director, Jennifer Wittmayer. I spoke with Kiersten Hunter’s voice teacher at intermission, and I’m sure a lot of special work went into crafting that character singing voice that came through so strongly. But what surprised me most was the ensemble sound when the stage was full, including the youngest performers. It was a pleasing, unified, articulated sound that really delivered in some important numbers.
And speaking of the youngest performers, what impressed me (and the people sitting next to me) even more was their mastery of so much complex choreography. Sixty-plus kids of all ages executing the same sharp moves in almost perfect unison, for minutes on end – while singing – was simply amazing.
Once again, the costuming for an EDMT production was nothing short of inspired. For the pirates and lost boys especially, it looked like Christine Martorana and her associates just let their imagination run wild – except for Captain Hook. His costume seemed to me like a wonderful combination of how Hook appeared in the original Disney movie and the character Dustin Hoffman played in the movie, Hook. And the way they did the crocodile was especially fun, drawing laughs every time he appeared.
I have to end by emphasizing the dancing. The big dance numbers (and there seemed to be more of them in this show than in other recent EDMT shows) were fascinating, engaging and simply stunning. Between the dance numbers and the staging, it sometimes felt like the activity was nonstop: Indians then Lost Boys then pirates then Indians, etc. To me, this was a constant, high-energy visual feast.
There are a lot of shows and concerts I want to see in the coming weeks, but having seen the Neverland Cast, I'm terribly curious to see what the Tinkerbell Cast can do. If I can see this show twice, and you're still not sure about seeing this show once, please keep this in mind. This is not a holiday kiddie show. This is a major production. And I don’t think there is a jaded adult or a TV-numbed child who would not find it wildly entertaining.
UPDATE: I saw the Tinkerbell Cast last night and (no surprise) it was the same outstanding show – except that all the actors were different, an amazing feat in itself, considering how complex the action was. Bethany Wheat's Peter Pan was the same energetic, androgynous, self-confident, character I saw last week, with her own strong singing voice, and with enough differences to be interesting and fun to watch. Alex Levy was a somewhat taller Captain Hook but with the same swagger and buffoonery I saw before, and Dylan Gray's Mr. Smee was full of his own style of physical comedy. As he entered for the first time, Hook met the audience's booing with the same "But I haven't done anything yet," so maybe the line was scripted – or maybe it was a clever ad lib from opening night that was worth repeating. Oh sure, I have my favorites (in both casts), so I'm glad I saw them both. And the consistent quality of the two casts is yet another tribute to the excellent planning, training, coaching, and directing that characterize every production of the El Dorado Musical Theatre.
Compared to what was to come, the opening scenes of the show were pretty tame. What stood out to me in the early going was the consistency of the accent in the dialog, pretty much across all the characters. Even Professor Henry Higgins might not have been able to pinpoint what part of England the speakers came from, but they sure didn’t sound like they were from around here and that helped craft the wonderful illusion unfolding on the stage. The illusion was helped by EDMT’s typically elaborate sets, beginning with that of the Darling’s nursery. But the effect of the sets paled in comparison with that of the flying, starting with Peter Pan’s entrance, soaring through an opened window. I think everyone in the theater knew in advance that the actors would be flying, but it’s still impressive when you see it, and there were some delightful surprises that involved actors suspended above the stage.
The first few scenes also helped focus attention on the character of Peter Pan. There is a fascinating back story on the casting and preparations for this show in the online magazine, Stage Pass (click here to open it in a new window). I had read the article before the show, and so I knew something about Kiersten Hunter and what she went through to get ready for this role. Knowing all that, as I watched her perform, I became convinced that it was not a high school girl up there. She didn't speak, sing, act, look, or move like a girl (or even any boy I’ve known). That was Peter Pan. The transformation was perfect.
Of course, Peter Pan is not really a comic character, but so many of the others are: Andrew Wilson was a deliciously evil Captain Hook, and his pirate crew (especially his cousin, Zach Wilson as Mr. Smee) were hilarious, as were the lost boys and the Indians. I think the comedy was enhanced because the audience, many of them enthused EDMT fans, were really charged up. How charged up? Hook enters the stage for the first time, and they boo him. His reaction? “But I haven’t done anything yet!” Surely that wasn’t in the script, but it was one of so many fun moments in this show.
As is always the case with EDMT, the singing was strong, due no doubt in great measure to the efforts of vocal director, Jennifer Wittmayer. I spoke with Kiersten Hunter’s voice teacher at intermission, and I’m sure a lot of special work went into crafting that character singing voice that came through so strongly. But what surprised me most was the ensemble sound when the stage was full, including the youngest performers. It was a pleasing, unified, articulated sound that really delivered in some important numbers.
And speaking of the youngest performers, what impressed me (and the people sitting next to me) even more was their mastery of so much complex choreography. Sixty-plus kids of all ages executing the same sharp moves in almost perfect unison, for minutes on end – while singing – was simply amazing.
Once again, the costuming for an EDMT production was nothing short of inspired. For the pirates and lost boys especially, it looked like Christine Martorana and her associates just let their imagination run wild – except for Captain Hook. His costume seemed to me like a wonderful combination of how Hook appeared in the original Disney movie and the character Dustin Hoffman played in the movie, Hook. And the way they did the crocodile was especially fun, drawing laughs every time he appeared.
I have to end by emphasizing the dancing. The big dance numbers (and there seemed to be more of them in this show than in other recent EDMT shows) were fascinating, engaging and simply stunning. Between the dance numbers and the staging, it sometimes felt like the activity was nonstop: Indians then Lost Boys then pirates then Indians, etc. To me, this was a constant, high-energy visual feast.
There are a lot of shows and concerts I want to see in the coming weeks, but having seen the Neverland Cast, I'm terribly curious to see what the Tinkerbell Cast can do. If I can see this show twice, and you're still not sure about seeing this show once, please keep this in mind. This is not a holiday kiddie show. This is a major production. And I don’t think there is a jaded adult or a TV-numbed child who would not find it wildly entertaining.
UPDATE: I saw the Tinkerbell Cast last night and (no surprise) it was the same outstanding show – except that all the actors were different, an amazing feat in itself, considering how complex the action was. Bethany Wheat's Peter Pan was the same energetic, androgynous, self-confident, character I saw last week, with her own strong singing voice, and with enough differences to be interesting and fun to watch. Alex Levy was a somewhat taller Captain Hook but with the same swagger and buffoonery I saw before, and Dylan Gray's Mr. Smee was full of his own style of physical comedy. As he entered for the first time, Hook met the audience's booing with the same "But I haven't done anything yet," so maybe the line was scripted – or maybe it was a clever ad lib from opening night that was worth repeating. Oh sure, I have my favorites (in both casts), so I'm glad I saw them both. And the consistent quality of the two casts is yet another tribute to the excellent planning, training, coaching, and directing that characterize every production of the El Dorado Musical Theatre.
Monday, November 11, 2013
The Crucible
For most experienced theater-goers – or even those who were simply paying attention in high school English class – The Crucible is familiar material. Accordingly, a new production is a bit risky because it has to stand comparison with one’s previous experiences of the play. I have been impressed with the quality of acting and creativity in every Falcon’s Eye Theatre production I’ve attended, and I was not disappointed in this one. In fact, it felt like the best version of The Crucible that I’ve seen, an engaging evening of quality drama.
My first impression was of the set, simple but not spare. It and the set pieces that came along strengthened the sense of time and place. The same should be said of the costumes. And there were subtle enhancements via sound and lighting. I’ve seen offerings of The Crucible that came up short in these areas and left too much to the imagination. By contrast, this was a rich production.
The great excellence of this show, though, was in the acting. The players' voices were clear and strong, and they handled the archaic language naturally and fluidly. I thought their pacing and interactions with each other were near perfect and transparent, and they opened up the tremendous dramatic potential in this Tony Award-winning play.
What’s the best thing you can say about a performance like this? It makes you feel the passion, understand the conflicts on a gut level, and somehow believe that what’s unfolding in front of you is real. That was my experience. It was yet another high-quality production from Folsom Lake College’s Falcon’s Eye Theatre.
My first impression was of the set, simple but not spare. It and the set pieces that came along strengthened the sense of time and place. The same should be said of the costumes. And there were subtle enhancements via sound and lighting. I’ve seen offerings of The Crucible that came up short in these areas and left too much to the imagination. By contrast, this was a rich production.
The great excellence of this show, though, was in the acting. The players' voices were clear and strong, and they handled the archaic language naturally and fluidly. I thought their pacing and interactions with each other were near perfect and transparent, and they opened up the tremendous dramatic potential in this Tony Award-winning play.
What’s the best thing you can say about a performance like this? It makes you feel the passion, understand the conflicts on a gut level, and somehow believe that what’s unfolding in front of you is real. That was my experience. It was yet another high-quality production from Folsom Lake College’s Falcon’s Eye Theatre.
Saturday, November 9, 2013
The 25th Annual Putnam County Spelling Bee
As I write this, there are only 3 more performances of Sierra College’s production of The 25th Annual Putnam County Spelling Bee, and believe me, it would be a shame if you missed this show. In case you haven’t seen it before, the plot simply revolves around 6 quirky 12-year-old kids participating in a spelling bee. But within that loose framework there is a lot of room for talented actors and singers to create something truly entertaining.
This is a musical, with an excellent 5-piece band (plus conductor) in the pit, and there are 23 or 24 songs in the show. Although none of them have memorable melodies (to me, at least), they were certainly entertaining, and many included creative, fun choreography. In the number called “Pandemonium,” for example, there was literal pandemonium on the stage, and it was nothing short of hilarious. There were also numbers that gave each of the 9 principal actors solo parts, and at those times, I heard many big, listenable voices.
But the acting is what makes this show work, and last night it worked beautifully. The characterizations were each very different, and these young people (far from 12-year-olds, of course) were simply possessed by their characters, ad libbing throughout and keeping the audience laughing throughout the show. Then there was the constant stream of one-liners from the hostess of the spelling bee (giving background on each contestant), and the judge (giving definitions of words and using them in sentences). This show is loaded with comedy potential, and the Sierra College Drama Dept. (and Director and Department Chair, Debra Hammond) exploited that potential to the utmost. So use your DVR to record that TV show that’s so important to you, and come see live theater that is truly outstanding.
This is a musical, with an excellent 5-piece band (plus conductor) in the pit, and there are 23 or 24 songs in the show. Although none of them have memorable melodies (to me, at least), they were certainly entertaining, and many included creative, fun choreography. In the number called “Pandemonium,” for example, there was literal pandemonium on the stage, and it was nothing short of hilarious. There were also numbers that gave each of the 9 principal actors solo parts, and at those times, I heard many big, listenable voices.
But the acting is what makes this show work, and last night it worked beautifully. The characterizations were each very different, and these young people (far from 12-year-olds, of course) were simply possessed by their characters, ad libbing throughout and keeping the audience laughing throughout the show. Then there was the constant stream of one-liners from the hostess of the spelling bee (giving background on each contestant), and the judge (giving definitions of words and using them in sentences). This show is loaded with comedy potential, and the Sierra College Drama Dept. (and Director and Department Chair, Debra Hammond) exploited that potential to the utmost. So use your DVR to record that TV show that’s so important to you, and come see live theater that is truly outstanding.
Monday, October 28, 2013
Young Frankenstein (Stand Out Talent)
People love this show. Why? First, Mel Brooks’ 1974 movie of the same name has become a cult classic, the kind of movie you want to own and watch again every few years. And this musical version captures so much of what its fans like about the movie. Then it turns the best comic moments of the film into wonderful, witty songs, and brings those movie memories to life in front of you on the stage.
Predictably, there was so much to like about Stand Out Talent’s send-up of “Young Frankenstein” at last night's opening. Steve Campbell was solid in the role of Frederick Frankenstein, with believable acting, a good comic sense, and quality singing that came through even when his body mic failed for much of the second half of the show. And Jennifer Bortz played to the hilt the role of his self-absorbed fiancée, Elizabeth Benning – with her typical strong singing. Then there was Mary Young as Frau Blucher who put enormous energy into her big number, “He Vas My Boyfriend.”
Indeed, there was strong characterization in many of the parts, but Spencer Peterson’s Igor was truly inspired. To me, he rivaled Marty Feldman’s portrayal of Igor in the movie. Apart from solid acting and singing, the way he moved was brilliant. His antics delighted the audience whenever he was the focus of attention.
This show was all about brains, and no doubt it was the fertile brain of director, Jason Bortz, that helped the actors make the most of the comic potential of the script, adding creative touches that could not have been in the original stage directions. (I’m thinking of the interminable door-locking sounds when Frederick is locked in with the Monster.) There were more wonderful staging ideas that I don’t want to disclose because they will shock you (in a good way) when you see the show. Suffice it to say that one involved brains (again!). Another had to do with what the Monster was capable of. (It was amazing!)
Speaking of the Monster, Joe Calavita – at 6 feet, 10 inches tall – was just about perfectly cast in the part, and he obviously had a lot of fun with it. Furthermore, his costume and make-up were so impressive that, after the show, people were clamoring to have their picture taken with him.
The music was prerecorded, and as she usually does, Jennifer Bortz came through with some exhilarating and creative choreography for numbers like “Transylvania Mania” and “Please Don’t Touch Me” and “Puttin’ On the Ritz.” Predictably, there were some opening night glitches: a scene had to be restarted, and there were often times when the volume of the sound track was such that one couldn’t make out the words being sung. Actually, I was kind of glad of that because it seemed that the lyrics were sometimes too bawdy for the few children in the audience. (Think twice before bringing small children or maybe even early teenagers to the show.)
But none of that takes away from the fun to be had with “Young Frankenstein.” This is now the third time I’ve seen this show in just the past six months, and I’d go again. Each production I’ve seen had something special and unique about it. This one certainly did, and the audience must have agreed, as evidenced by their quick standing ovation when the final bows began.
Predictably, there was so much to like about Stand Out Talent’s send-up of “Young Frankenstein” at last night's opening. Steve Campbell was solid in the role of Frederick Frankenstein, with believable acting, a good comic sense, and quality singing that came through even when his body mic failed for much of the second half of the show. And Jennifer Bortz played to the hilt the role of his self-absorbed fiancée, Elizabeth Benning – with her typical strong singing. Then there was Mary Young as Frau Blucher who put enormous energy into her big number, “He Vas My Boyfriend.”
Indeed, there was strong characterization in many of the parts, but Spencer Peterson’s Igor was truly inspired. To me, he rivaled Marty Feldman’s portrayal of Igor in the movie. Apart from solid acting and singing, the way he moved was brilliant. His antics delighted the audience whenever he was the focus of attention.
This show was all about brains, and no doubt it was the fertile brain of director, Jason Bortz, that helped the actors make the most of the comic potential of the script, adding creative touches that could not have been in the original stage directions. (I’m thinking of the interminable door-locking sounds when Frederick is locked in with the Monster.) There were more wonderful staging ideas that I don’t want to disclose because they will shock you (in a good way) when you see the show. Suffice it to say that one involved brains (again!). Another had to do with what the Monster was capable of. (It was amazing!)
Speaking of the Monster, Joe Calavita – at 6 feet, 10 inches tall – was just about perfectly cast in the part, and he obviously had a lot of fun with it. Furthermore, his costume and make-up were so impressive that, after the show, people were clamoring to have their picture taken with him.
The music was prerecorded, and as she usually does, Jennifer Bortz came through with some exhilarating and creative choreography for numbers like “Transylvania Mania” and “Please Don’t Touch Me” and “Puttin’ On the Ritz.” Predictably, there were some opening night glitches: a scene had to be restarted, and there were often times when the volume of the sound track was such that one couldn’t make out the words being sung. Actually, I was kind of glad of that because it seemed that the lyrics were sometimes too bawdy for the few children in the audience. (Think twice before bringing small children or maybe even early teenagers to the show.)
But none of that takes away from the fun to be had with “Young Frankenstein.” This is now the third time I’ve seen this show in just the past six months, and I’d go again. Each production I’ve seen had something special and unique about it. This one certainly did, and the audience must have agreed, as evidenced by their quick standing ovation when the final bows began.
Sunday, October 13, 2013
Fiddler on the Roof
Having been very impressed with last year’s production of “Into the Woods” by the Roseville Theatre Arts Academy, I was expecting a good show when I attended opening night of “Fiddler on the Roof.” I was prepared for another good show, not a great show – but that’s what I got. It was an eyeful and an earful. The large cast, of all ages, often spilled over the stage, and the 6-piece pit orchestra sounded like a much larger group, and completely professional. Even the set and props – and especially the costumes – were so well done that it was easy to believe I was peeking in on the real town of Anatevka. And starting the show with a real fiddler on a real roof underlined the attention to detail that characterized this production.
The acting was excellent throughout. There were some excellent characterizations – the pushy, talkative Yente the Matchmaker was one of my many favorites. The dialog of this show, especially, is so clever, and these actors really made it work to great comic effect. But the key to any production of “Fiddler” is the character of Tevye, and Mike Mechanick played it to perfection. He had a bit of an accent and a speaking and singing voice that had great range. He even had dance moves that delighted the audience. But his performance was more than the sum of these elements. He just lived the part. And though I’ve seen Zero Mostel and Topol in this role, from now on when I think of the real Tevye, in my mind I’ll be seeing Mike Mechanick.
I have to mention the sisters (Tzeitel, Hodel and Chava), too. They were simply dazzling in their singing, dancing and acting; just a delight to watch every time they were the focus of the action. And speaking of dancing, the choreography of this show was of prize-worthy calibre. “Fiddler” is full of dancing, but what I saw in scene after scene was movement that was fresh, engaging – and highly entertaining. I had not seen Gino Platina’s work before, but from now on I will certainly be alert to any production he has a hand in.
The show was full of subtle touches – gestures, sotto voce comments, facial expressions – most of them presumably director’s touches, and they made this an inspired production that really communicated. Director Michelle Raskey deserves enormous credit for so many creative staging ideas. In particular, the scene of Tevye’s dream was over-the-top brilliant, with wonderfully chaotic choreography and singing and playing from the orchestra. And what can I say about the appearance of Fruma-Sarah, Lazar Wolf’s deceased wife? It was shocking, stunning – I’m still amazed that they pulled it off so well.
OK, I’m sitting the audience, completely familiar with the show, following the action in the story, and I’m asking myself, What is it that is bringing me to tears? Somehow, I think it was the authenticity of this production of a show that I have loved for many decades. So many parts of it were so perfect – not an imitation, but an inspired, accurate reproduction of what was so great about earlier stagings of this masterpiece of musical theatre. But most of all it was full of heart. I felt that the players loved this show as much as I have and put their love into each aspect of the production. It was more than a night at the theater; it was an experience, and a very satisfying one.
The acting was excellent throughout. There were some excellent characterizations – the pushy, talkative Yente the Matchmaker was one of my many favorites. The dialog of this show, especially, is so clever, and these actors really made it work to great comic effect. But the key to any production of “Fiddler” is the character of Tevye, and Mike Mechanick played it to perfection. He had a bit of an accent and a speaking and singing voice that had great range. He even had dance moves that delighted the audience. But his performance was more than the sum of these elements. He just lived the part. And though I’ve seen Zero Mostel and Topol in this role, from now on when I think of the real Tevye, in my mind I’ll be seeing Mike Mechanick.
I have to mention the sisters (Tzeitel, Hodel and Chava), too. They were simply dazzling in their singing, dancing and acting; just a delight to watch every time they were the focus of the action. And speaking of dancing, the choreography of this show was of prize-worthy calibre. “Fiddler” is full of dancing, but what I saw in scene after scene was movement that was fresh, engaging – and highly entertaining. I had not seen Gino Platina’s work before, but from now on I will certainly be alert to any production he has a hand in.
The show was full of subtle touches – gestures, sotto voce comments, facial expressions – most of them presumably director’s touches, and they made this an inspired production that really communicated. Director Michelle Raskey deserves enormous credit for so many creative staging ideas. In particular, the scene of Tevye’s dream was over-the-top brilliant, with wonderfully chaotic choreography and singing and playing from the orchestra. And what can I say about the appearance of Fruma-Sarah, Lazar Wolf’s deceased wife? It was shocking, stunning – I’m still amazed that they pulled it off so well.
OK, I’m sitting the audience, completely familiar with the show, following the action in the story, and I’m asking myself, What is it that is bringing me to tears? Somehow, I think it was the authenticity of this production of a show that I have loved for many decades. So many parts of it were so perfect – not an imitation, but an inspired, accurate reproduction of what was so great about earlier stagings of this masterpiece of musical theatre. But most of all it was full of heart. I felt that the players loved this show as much as I have and put their love into each aspect of the production. It was more than a night at the theater; it was an experience, and a very satisfying one.
Tuesday, October 8, 2013
13 the Musical
This was the sixth time I’ve seen a production of “13, the Musical” in recent years, and I have some great memories of past shows. But I was really looking forward to Rocklin Community Theatre’s version because it’s fundamentally a great show. I’ll confess, though, that I was a little nervous, sitting in the dark and waiting for it to begin. I was nervous because, to me, the show depends on the main character of 13-year-old Evan, and I’ve seen some Evans who weren’t quite credible in the role. But when the lights went up, this Evan (Brett Young) seized control of the stage and went into his first song with such confidence and style that my anxieties were put to rest.
Brett is really13 (and most of the kids in the cast could at least pass for 13), and from that first number, I was impressed with his strong voice. Actually, I have to add that I heard many remarkably good solo voices last night. I’ve seen productions that suffered from the vocal limitations of good young actor, but there was none of that here. Not all the singers were equally strong, but hey, they’re supposed to be 13 years old, so a slightly immature voice is realistic. That said, I heard half a dozen kids who had really outstanding voices. And when they put that song across in character, it was real musical theater.
The musical score of this show is one of its great strengths. It’s mostly rock music, and, to me, it was toe-tapping fun from beginning to end. And the 6-piece band really rocked. But so did the kids. There was a lot of cute choreography, and the kids really got into it. The dance moves weren’t always in perfect synchronization, but it seemed to me that each young performer was inspired – sometimes even possessed.
Speaking of choreography, it’s obvious that every director has many opportunities for putting their own creative stamp on a production – sometimes a brilliant one. For example, I’ll never forget the dancing rabbis in Placer High School’s production of “13” a few years ago. In this show, a similar highlight was “Being a Geek.” Actually, this number wasn’t even included in some of the recent productions of “13” that I’ve seen. But last night, I was artfully staged and screamingly funny. Years from now, I’ll remember this number. If they had it on YouTube, I’d watch it again and again.
Last night I was aware that there was hardly any set or set pieces, and the scene was mostly created by a projected image on a screen to the right of the main stage. But in the final analysis, it didn’t matter. The main thing, apart from the music, was the wonderful comedy, and it seemed to me that these young actors (guided by their directors, of course) capitalized on the potential of each comic opportunity. It may have been the sixth time I’d seen the show, but I laughed all the way through.
To me, the casting was very nearly perfect. I was about to mention the kids individually, but I stopped when I recalled that this show is mostly double-cast. I saw the New York Cast, but I bet the Indiana Cast is as fun to watch as the players I saw last night. Not only was the acting strong, but there were various points in the show where an ensemble member or minor character had the opportunity to dance or sing out front, and I could see that the talent in this production ran deep.
Eventually the action drew to a close, and all the players took their bows. Those of us in the audience applauded enthusiastically, thinking it was all over. But they gave us one more big encore so full of energy and joy that we were all on our feet before it was completely over. This last number – like the whole show – was dazzling. And of the six productions I’ve seen, I think it will rank as my favorite.
Brett is really13 (and most of the kids in the cast could at least pass for 13), and from that first number, I was impressed with his strong voice. Actually, I have to add that I heard many remarkably good solo voices last night. I’ve seen productions that suffered from the vocal limitations of good young actor, but there was none of that here. Not all the singers were equally strong, but hey, they’re supposed to be 13 years old, so a slightly immature voice is realistic. That said, I heard half a dozen kids who had really outstanding voices. And when they put that song across in character, it was real musical theater.
The musical score of this show is one of its great strengths. It’s mostly rock music, and, to me, it was toe-tapping fun from beginning to end. And the 6-piece band really rocked. But so did the kids. There was a lot of cute choreography, and the kids really got into it. The dance moves weren’t always in perfect synchronization, but it seemed to me that each young performer was inspired – sometimes even possessed.
Speaking of choreography, it’s obvious that every director has many opportunities for putting their own creative stamp on a production – sometimes a brilliant one. For example, I’ll never forget the dancing rabbis in Placer High School’s production of “13” a few years ago. In this show, a similar highlight was “Being a Geek.” Actually, this number wasn’t even included in some of the recent productions of “13” that I’ve seen. But last night, I was artfully staged and screamingly funny. Years from now, I’ll remember this number. If they had it on YouTube, I’d watch it again and again.
Last night I was aware that there was hardly any set or set pieces, and the scene was mostly created by a projected image on a screen to the right of the main stage. But in the final analysis, it didn’t matter. The main thing, apart from the music, was the wonderful comedy, and it seemed to me that these young actors (guided by their directors, of course) capitalized on the potential of each comic opportunity. It may have been the sixth time I’d seen the show, but I laughed all the way through.
To me, the casting was very nearly perfect. I was about to mention the kids individually, but I stopped when I recalled that this show is mostly double-cast. I saw the New York Cast, but I bet the Indiana Cast is as fun to watch as the players I saw last night. Not only was the acting strong, but there were various points in the show where an ensemble member or minor character had the opportunity to dance or sing out front, and I could see that the talent in this production ran deep.
Eventually the action drew to a close, and all the players took their bows. Those of us in the audience applauded enthusiastically, thinking it was all over. But they gave us one more big encore so full of energy and joy that we were all on our feet before it was completely over. This last number – like the whole show – was dazzling. And of the six productions I’ve seen, I think it will rank as my favorite.
Monday, August 26, 2013
The Wiz
If you think that The Wiz needs an all-black cast to be really entertaining, think again. Jennifer Bortz of Stand Out Talent has once again worked her magic with a cast ranging from very young children to adults (including at least one entire family) to put on a high-energy show that should please everyone. And that “everyone” includes children. The night I saw the show, I’d say that one-third of the audience were under 18, with lots of very small children. I couldn’t help thinking, “These kids are going to grow up loving live theater.” Giving that gift to the children in the cast and in the audience is one of the reasons why Stand Out Talent is a community treasure.
The children in the audience might not have gotten the clever dialog and contemporary humor in this retelling of The Wizard of Oz, but they had to have been dazzled by the over-the-top costumes and make-up, especially those of the witches and Dorothy’s three “friends.” Speaking of Dorothy, it's her character that is critical to making this show work, and Madyson Mazzola delivered, with consistently good acting and the biggest singing voice you ever heard from a 13-year-old. And how about those "friends"? The characterizations of the Scarecrow, Tin Man and Lion – played by Ryan Knox, Craig Perra and Eddie Nason – were a delight. And I was amazed to learn that it was the first time for each of them to play a leading role. Nason, in particular, made me laugh to the point of tears. There was humor, too, in the disembodied voice of The Wiz, performed by Jason Bortz. It showed that you don't have to have someone to look at to experience great acting.
The ensemble numbers were a high point of this show, with its large cast. I’m not sure who was the very young man who led the singing in “Ease on Down the Road,” but his voice and charged-up personality really put that song over. Another show-stopper for me was “Don’t Nobody Bring Me No Bad News,” in which Sidney Raey was a wonderfully evil (and talented) Wicked Witch of the West.
The ensemble numbers, of course, highlighted the outstanding choreography (and some excellent individual dancing) of this show. Throughout the evening, I saw so many evidences of Jennifer Bortz’ creativity, but the innovative choreographic ideas were among the most interesting. (Wait till you see how the tornado was choreographed!) It’s because of all those creative touches that I’m confident in saying that you could never see The Wiz produced like this again. Check it out before this short run closes. And bring the kids: you’ll all have fun.
The children in the audience might not have gotten the clever dialog and contemporary humor in this retelling of The Wizard of Oz, but they had to have been dazzled by the over-the-top costumes and make-up, especially those of the witches and Dorothy’s three “friends.” Speaking of Dorothy, it's her character that is critical to making this show work, and Madyson Mazzola delivered, with consistently good acting and the biggest singing voice you ever heard from a 13-year-old. And how about those "friends"? The characterizations of the Scarecrow, Tin Man and Lion – played by Ryan Knox, Craig Perra and Eddie Nason – were a delight. And I was amazed to learn that it was the first time for each of them to play a leading role. Nason, in particular, made me laugh to the point of tears. There was humor, too, in the disembodied voice of The Wiz, performed by Jason Bortz. It showed that you don't have to have someone to look at to experience great acting.
The ensemble numbers were a high point of this show, with its large cast. I’m not sure who was the very young man who led the singing in “Ease on Down the Road,” but his voice and charged-up personality really put that song over. Another show-stopper for me was “Don’t Nobody Bring Me No Bad News,” in which Sidney Raey was a wonderfully evil (and talented) Wicked Witch of the West.
The ensemble numbers, of course, highlighted the outstanding choreography (and some excellent individual dancing) of this show. Throughout the evening, I saw so many evidences of Jennifer Bortz’ creativity, but the innovative choreographic ideas were among the most interesting. (Wait till you see how the tornado was choreographed!) It’s because of all those creative touches that I’m confident in saying that you could never see The Wiz produced like this again. Check it out before this short run closes. And bring the kids: you’ll all have fun.
Wednesday, August 21, 2013
Harold and Maude
Harold and Maude is currently playing at the Sutter Street Theatre, and everything about this show is quirky – delightfully so. It’s the story of a young, directionless, 19-year-old man, whose half-hearted attempts at suicide are a product of his fascination with death and his desire to provoke a reaction from his wealthy, single-parent mother. The fascination with death takes him to funerals of people he doesn’t know, and that’s where he meets 80-year-old Maude. She also treats funerals as entertainment, but not from a morbid sense. Rather, she sees them as a celebration of the “circle of life.” From this encounter grows a friendship that blossoms into love.
It’s the general quality of the acting in this show that makes all this plausible. Hazel Johnson, an octogenarian who defies the implications of that title, plays her wonderfully eccentric, Pollyanna-ish character to perfection. And along the way she plays the ukulele, sings beautifully, throws in some hula moves, dances, and draws gasps from the audience when she demonstrates her flexibility by bending at the waist and touching the floor with the palms of her hands.
Chris Celestin initially plays a sardonic character, and a lot of the comedy in the show comes from his comic instincts and subtle gestures. But over the course of the play, this versatile young actor demonstrates a lot of emotional range. And complementing the work of Johnson and Celestin, I saw especially good acting from several of the other players.
There are many comic moments in this production, and one could see them exploited by the attention to detail of director, Warren Harrison. In fact, there was at least one situation I recall that evoked explosions of laughter from the small, Sunday-afternoon audience I was part of. But there is much more to this play than comedy. It’s well-written, and within all the clever writing is food for thought on a range of subjects. Ultimately, it’s the humanity of the play that draws you in and makes you care about what is going on up there on the stage. And the chemistry between Johnson and Celestin makes it believable. It’s an unusual theatrical experience that is playing only through August 18. My advice? Don’t miss it.
It’s the general quality of the acting in this show that makes all this plausible. Hazel Johnson, an octogenarian who defies the implications of that title, plays her wonderfully eccentric, Pollyanna-ish character to perfection. And along the way she plays the ukulele, sings beautifully, throws in some hula moves, dances, and draws gasps from the audience when she demonstrates her flexibility by bending at the waist and touching the floor with the palms of her hands.
Chris Celestin initially plays a sardonic character, and a lot of the comedy in the show comes from his comic instincts and subtle gestures. But over the course of the play, this versatile young actor demonstrates a lot of emotional range. And complementing the work of Johnson and Celestin, I saw especially good acting from several of the other players.
There are many comic moments in this production, and one could see them exploited by the attention to detail of director, Warren Harrison. In fact, there was at least one situation I recall that evoked explosions of laughter from the small, Sunday-afternoon audience I was part of. But there is much more to this play than comedy. It’s well-written, and within all the clever writing is food for thought on a range of subjects. Ultimately, it’s the humanity of the play that draws you in and makes you care about what is going on up there on the stage. And the chemistry between Johnson and Celestin makes it believable. It’s an unusual theatrical experience that is playing only through August 18. My advice? Don’t miss it.
Tuesday, July 30, 2013
How to Succeed in Business Without Really Trying
How to Succeed in Business Without Really Trying is the musical comedy story of the ambitious young J. Pierrepont Finch, who rises to the top of World Wide Wickets through scheming and with the advice of a book with the same title as the show. I saw the Park Avenue Cast (all high school and college-age) in Rocklin Community Theatre’s production at Finn Hall in Rocklin in the middle of the show’s run.
One special feature of Rocklin Community Theatre programs is the presence of a live orchestra – in this case with 9 pieces – and their sound filled Finn Hall. In the overture, it seemed to me that there was a problem with intonation with at least one of the instruments, but after that, I never noticed a problem. And besides the good music that accompanied the show, it was handy to have the players ready to provide occasional comic sound effects.
One of my first impressions of the show itself was of the strong, mature voices of the singers, even those with relatively minor parts. No one seemed to be singing out of their range, and along with the good acting that accompanied each number, I felt I could relax and simply enjoy the music.
And good as the singing was, to me, the most salient feature of this show was the outstanding acting. I’m always reluctant to single out performers in a show that is double cast, but I can’t resist mentioning the excellent singing and acting of both leads: Warren Cain as Finch and Caroline Mixon as Rosemary Pilkington. Then there is Bud Frump, played by Jake Romero. This sniveling, mincing villain was portrayed to almost farcical lengths, and was simply hilarious. The young people in this show can’t appreciate the comparison, but Jake constantly reminded me of Paul Lynde. But the over-the-top comic acting didn’t stop with Bud Frump. I’ve seen Alex Crossland in many roles in recent years, but his inspired portrayal of the big boss, J.B. Biggley, will be my favorite memory of him as he leaves the local theater scene for college. Then there was Marlise Dizon, wonderfully ditzy as Hedy LaRue. And Casey Borghesi overflowed with personality as Smitty every time she was on stage. It’s hard to stop there because each of these young people in this cast of 25 or more lived their parts – and then some. I’ve seen a lot of Director Ryan Adame’s work, and his wonderful comic sense seemed transferred to these young actors – both in the broad comic acting and in the wonderfully funny subtle touches that had me laughing for most of two hours.
Another strong feature of this show was Christi Axelson’s choreography. Finn Hall has a very small stage compared to other local theaters, so a dance number with a substantial portion of the cast presents significant challenges. But that’s where creativity comes in, and creativity was apparent in the delightful “Coffee Break” number, with gyrations, jumping, and zombie-like jerking. In that and the other choreographed numbers, such as “A Secretary Is Not a Toy,” I saw comic dance moves that I just don’t think I’ve seen before. But it was the “Brotherhood of Man” number that was a show-stopper for me and the rest of the audience: 12 young men and one young woman in an elaborately choreographed routine. For a moment, I was reminded of the dancing hippos in Disney’s Fantasia. But that impression was erased by the energetic dancing that nearly brought us to our feet by the end of the number.
How to Succeed in Business Without Really Trying opened on Broadway in 1961, and it is a humorous reflection of the society of the 1950s. (And by the way, Denise McHugh’s costuming and wigs gave a faithful representation of that era.) As I watched this performance, it struck me that none of the good writing of this award-winning show was wasted. The quality of the performance that I saw rested on good casting and good directing. But beyond that, I felt that these young people “got it” – they understood all the comic subtleties and played them to the hilt. Bottom line? This show was fun from beginning to end.
One special feature of Rocklin Community Theatre programs is the presence of a live orchestra – in this case with 9 pieces – and their sound filled Finn Hall. In the overture, it seemed to me that there was a problem with intonation with at least one of the instruments, but after that, I never noticed a problem. And besides the good music that accompanied the show, it was handy to have the players ready to provide occasional comic sound effects.
One of my first impressions of the show itself was of the strong, mature voices of the singers, even those with relatively minor parts. No one seemed to be singing out of their range, and along with the good acting that accompanied each number, I felt I could relax and simply enjoy the music.
And good as the singing was, to me, the most salient feature of this show was the outstanding acting. I’m always reluctant to single out performers in a show that is double cast, but I can’t resist mentioning the excellent singing and acting of both leads: Warren Cain as Finch and Caroline Mixon as Rosemary Pilkington. Then there is Bud Frump, played by Jake Romero. This sniveling, mincing villain was portrayed to almost farcical lengths, and was simply hilarious. The young people in this show can’t appreciate the comparison, but Jake constantly reminded me of Paul Lynde. But the over-the-top comic acting didn’t stop with Bud Frump. I’ve seen Alex Crossland in many roles in recent years, but his inspired portrayal of the big boss, J.B. Biggley, will be my favorite memory of him as he leaves the local theater scene for college. Then there was Marlise Dizon, wonderfully ditzy as Hedy LaRue. And Casey Borghesi overflowed with personality as Smitty every time she was on stage. It’s hard to stop there because each of these young people in this cast of 25 or more lived their parts – and then some. I’ve seen a lot of Director Ryan Adame’s work, and his wonderful comic sense seemed transferred to these young actors – both in the broad comic acting and in the wonderfully funny subtle touches that had me laughing for most of two hours.
Another strong feature of this show was Christi Axelson’s choreography. Finn Hall has a very small stage compared to other local theaters, so a dance number with a substantial portion of the cast presents significant challenges. But that’s where creativity comes in, and creativity was apparent in the delightful “Coffee Break” number, with gyrations, jumping, and zombie-like jerking. In that and the other choreographed numbers, such as “A Secretary Is Not a Toy,” I saw comic dance moves that I just don’t think I’ve seen before. But it was the “Brotherhood of Man” number that was a show-stopper for me and the rest of the audience: 12 young men and one young woman in an elaborately choreographed routine. For a moment, I was reminded of the dancing hippos in Disney’s Fantasia. But that impression was erased by the energetic dancing that nearly brought us to our feet by the end of the number.
How to Succeed in Business Without Really Trying opened on Broadway in 1961, and it is a humorous reflection of the society of the 1950s. (And by the way, Denise McHugh’s costuming and wigs gave a faithful representation of that era.) As I watched this performance, it struck me that none of the good writing of this award-winning show was wasted. The quality of the performance that I saw rested on good casting and good directing. But beyond that, I felt that these young people “got it” – they understood all the comic subtleties and played them to the hilt. Bottom line? This show was fun from beginning to end.
Sunday, July 21, 2013
Bye Bye Birdie
Last night was opening night for El Dorado Musical Theatre’s latest show, Bye Bye Birdie. This is the musical inspired by Elvis Presley’s 1957 drafting into the Army, and his famous “last kiss” before going off to serve his country. EDMT bills this as a “Rising Stars” production because the performers are all ages 6-14 (and that’s only 14-year-olds who haven’t started high school yet). But don’t call this “children’s theatre.” And don’t think of this as “Bye Bye Birdie Jr.” This is a full production, professionally done in every way. And so many of those kids on stage really are “rising stars” – full of personality and talent, and a delight to watch.
You may have seen Bye Bye Birdie before, but you’ve never seen it like this. When it debuted on Broadway in 1960, a 35-year-old Dick Van Dyke starred as Albert and a 27-year-old Chita Rivera was Rosie. And I’m sure the show, which is fundamentally about teenagers, has been staged realistically in hundreds or thousands of high schools over the years. But you’ve never seen it with the whole cast under high-school age. Frankly, I didn’t see how it could work, but I should have learned by now never to underestimate what kids can do under the tutelage of the pros at EDMT.
There are two casts for shows like this, and I saw the New York Cast. However, some roles are played by the same person in both casts. That is true of Zach Wilson, who will play Albert Peterson for every show. Zach is a complete performer, a veteran of 31 EDMT shows at the tender age of 13. He sings, dances and acts with a relaxed confidence that reflects all that experience. And as if that weren’t enough, this young man, who professes an interest in theoretical physics (?!), has been producing increasingly impressive scene-setting graphics (lately with animation) for the big screen at the back of the stage.
Another young performer who will play Mr. MacAfee for each show is Asten Fallavollita. His comic sense and timing had me laughing almost every time he was on stage. And as for the roles that are double-cast, I hesitate to single out individuals whose role will be played by someone different in the other cast, because I’m sure that other person must be just as outstanding a performer. But I can’t help giving a couple more names.
I’ve heard it said that a woman’s singing voice isn’t completely mature until she’s about 35. By that criterion, Kelly Maur, who plays Rose Alvarez, would be in her early 30s, instead of 14 as it says in the program. Her acting was equally mature, natural and yet inspired, right down to the grace with which she moved around the stage. Another standout in this show, and only in the New York Cast, was Emily Ziegler as Mae Peterson. This role is the archetypical Jewish mother, and Emily played it perfectly, with a flawless Long Island accent and a costume (fur coat, wig, hat, etc.) to match. There were so many other roles where a young performer had an opportunity (sometimes very brief) to really shine. They left me amazed – and wanting more – but these are “rising stars,” and I have every expectation of seeing them again. And I’m sure I’d be equally charmed by their counterparts in the Sweet Apple Cast.
One characteristic of these “Rising Stars” shows is that they try to give as many of the youngest ones as possible the opportunity to experience performing. And so, there are several numbers where the stage seems packed with the whole cast of nearly 80. And these scenes are pretty impressive: partly because all these kids are singing and moving together, and partly because some of them are so darned cute. And it’s hard to imagine that the intensity often generated by these enthusiastic kids could have been matched by the older casts that have performed this show in the past.
Considering the ages of the performers, you don’t get the quality of singing that is standard for other EDMT shows, but there are so many other features of this production that are outstanding – right down to the set pieces and costumes. (Where did they get all those saddle shoes? Surely, they haven’t been made since the 60s!)
The man sitting next to me had never seen an EDMT show before, let alone one of these “Rising Stars” productions. He couldn’t believe some of the kids were that young: they must have brought in professionals for the key roles, he thought. For all I know, he and his wife may have thought they were coming to see a show with adult actors. But they weren’t the least bit disappointed. They had a great time, as did I. And as I thought about the show on my drive home, there was a smile on my face the whole way.
You may have seen Bye Bye Birdie before, but you’ve never seen it like this. When it debuted on Broadway in 1960, a 35-year-old Dick Van Dyke starred as Albert and a 27-year-old Chita Rivera was Rosie. And I’m sure the show, which is fundamentally about teenagers, has been staged realistically in hundreds or thousands of high schools over the years. But you’ve never seen it with the whole cast under high-school age. Frankly, I didn’t see how it could work, but I should have learned by now never to underestimate what kids can do under the tutelage of the pros at EDMT.
There are two casts for shows like this, and I saw the New York Cast. However, some roles are played by the same person in both casts. That is true of Zach Wilson, who will play Albert Peterson for every show. Zach is a complete performer, a veteran of 31 EDMT shows at the tender age of 13. He sings, dances and acts with a relaxed confidence that reflects all that experience. And as if that weren’t enough, this young man, who professes an interest in theoretical physics (?!), has been producing increasingly impressive scene-setting graphics (lately with animation) for the big screen at the back of the stage.
Another young performer who will play Mr. MacAfee for each show is Asten Fallavollita. His comic sense and timing had me laughing almost every time he was on stage. And as for the roles that are double-cast, I hesitate to single out individuals whose role will be played by someone different in the other cast, because I’m sure that other person must be just as outstanding a performer. But I can’t help giving a couple more names.
I’ve heard it said that a woman’s singing voice isn’t completely mature until she’s about 35. By that criterion, Kelly Maur, who plays Rose Alvarez, would be in her early 30s, instead of 14 as it says in the program. Her acting was equally mature, natural and yet inspired, right down to the grace with which she moved around the stage. Another standout in this show, and only in the New York Cast, was Emily Ziegler as Mae Peterson. This role is the archetypical Jewish mother, and Emily played it perfectly, with a flawless Long Island accent and a costume (fur coat, wig, hat, etc.) to match. There were so many other roles where a young performer had an opportunity (sometimes very brief) to really shine. They left me amazed – and wanting more – but these are “rising stars,” and I have every expectation of seeing them again. And I’m sure I’d be equally charmed by their counterparts in the Sweet Apple Cast.
One characteristic of these “Rising Stars” shows is that they try to give as many of the youngest ones as possible the opportunity to experience performing. And so, there are several numbers where the stage seems packed with the whole cast of nearly 80. And these scenes are pretty impressive: partly because all these kids are singing and moving together, and partly because some of them are so darned cute. And it’s hard to imagine that the intensity often generated by these enthusiastic kids could have been matched by the older casts that have performed this show in the past.
Considering the ages of the performers, you don’t get the quality of singing that is standard for other EDMT shows, but there are so many other features of this production that are outstanding – right down to the set pieces and costumes. (Where did they get all those saddle shoes? Surely, they haven’t been made since the 60s!)
The man sitting next to me had never seen an EDMT show before, let alone one of these “Rising Stars” productions. He couldn’t believe some of the kids were that young: they must have brought in professionals for the key roles, he thought. For all I know, he and his wife may have thought they were coming to see a show with adult actors. But they weren’t the least bit disappointed. They had a great time, as did I. And as I thought about the show on my drive home, there was a smile on my face the whole way.
Monday, July 1, 2013
Unbeatable
(Stand Out Talent - June 14-30, 2013)
What happens when talented people put their heart and soul into a production they profoundly believe in? Magic is what happens. And I witnessed this magic at the opening night of Stand Out Talent’s West Coast premiere of Unbeatable at the Tower Theatre in Roseville last night. It’s the story of Tracy Boyd, a hard-charging, Type A executive whose life is turned upside-down by breast cancer. But on a fundamental level, the show is not so much about disease – its treatment and consequences – as it is about “the human spirit,” as its promotion proclaims.
This fast-paced production sparkles with excellent acting from a cast headed by Jennifer and Jason Bortz as protagonist Tracy Boyd and her husband, Brad. So much of Unbeatable is about relationships, and it is in the drawing of relationships, especially those between husband and wife, that one can see the authenticity of this show. The interaction between Tracy and Brad has all the ups and downs of a real marital relationship subject to a great stress – all expertly nuanced. In the intimate setting of the small Tower Theatre, with the audience on three sides, you’re close enough to see facial expressions that would be lost in a big theater. You’re right there, and the realism of what you’re seeing in the faces of the actors can be very engaging, even arresting. The genuineness of the feelings represented is simply overwhelming at times. Certainly it was for me, and I dare say it was for the rest of the audience, as well.
But it wasn’t just the Jennifer and Jason Bortz who impressed me. It occurred to me more than once that it would be a short step for any of these performers to be in the “big time.” Maybe that’s not surprising because the director is Todd Schroeder, who has reached the “big time” as a composer and performer with a national reputation. In fact, he wrote the lyrics and co-wrote the music for this show, and I believe I could see his inspired touch in many of the staging details that lift this production to the professional level.
Predictably, there was plenty of drama during the evening, but there was even more comedy. This is a musical, after all, and so, as you would expect, the serious moments alternate with comedy. Really, there are a lot of laughs in this show – enough for any comedy billed as such – and the humor is helped by the excellent comic timing of the players. But it is the witty writing that gives the players so much to work with. That is another advantage of the small theater: I felt that I didn’t miss a word of either dialog or lyric.
And speaking of lyrics, despite many beautifully played dramatic moments, the musical numbers were the highlight of this show for me. The lyrics are wonderfully clever and carry the action, rather than interrupting it. The songs themselves are accompanied by a three-piece combo, anchored by beautifully sensitive keyboard playing by Music Director Kay Hight. It seems that each number represents a different style of music, and it is all professionally presented. Interestingly, most of the actors have their own big solo number, and I (the life-long singer) was impressed with the quality of the singing. But what I heard was more than eminently listenable voices. These people are fundamentally actors who can sing, and it is their acting that delivers the real emotion behind a song.
Indeed, many of the songs are full of emotion, and “Hold on to Love” is just one of many high points. But I think there are more songs that are full of humor. I laughed through “Pricked, Poked and Prodded (that’s the lab rat’s reality),” “Super Shake” (in which Tracy and her best friend make a “healthy” shake on stage and try to drink it), and “The Pharmacy Song” in which Tracy’s doctor offers drugs, one after another, for her numerous complaints during treatment, only to add that the “possible” side-effects are the same as the original complaints. Overall, the music is good enough that I’d think about buying the sound track if it were available.
Last night was clearly a special occasion, and the opening-night crowd was full of breast cancer survivors and representatives of the charities that are benefitting from this production. So many of the audience members were intimately familiar with what was being portrayed – particularly the hassles of treatment – and they obviously loved the humorous handling of what are fundamentally serious issues. So it was no surprise that the standing ovation at the end of the performance was quick and prolonged. But I think that what the audience was responding to even more was the fundamental message of this show: value life and especially the family and friends that give it richness and meaning.
This was the first night of a three-week run, and I expect that tickets for the coming performances will be harder to get as word spreads. My suggestion? See it here, so that when it reaches Broadway in a year or two, you can brag that you saw it before it hit the “big time.”
What happens when talented people put their heart and soul into a production they profoundly believe in? Magic is what happens. And I witnessed this magic at the opening night of Stand Out Talent’s West Coast premiere of Unbeatable at the Tower Theatre in Roseville last night. It’s the story of Tracy Boyd, a hard-charging, Type A executive whose life is turned upside-down by breast cancer. But on a fundamental level, the show is not so much about disease – its treatment and consequences – as it is about “the human spirit,” as its promotion proclaims.
This fast-paced production sparkles with excellent acting from a cast headed by Jennifer and Jason Bortz as protagonist Tracy Boyd and her husband, Brad. So much of Unbeatable is about relationships, and it is in the drawing of relationships, especially those between husband and wife, that one can see the authenticity of this show. The interaction between Tracy and Brad has all the ups and downs of a real marital relationship subject to a great stress – all expertly nuanced. In the intimate setting of the small Tower Theatre, with the audience on three sides, you’re close enough to see facial expressions that would be lost in a big theater. You’re right there, and the realism of what you’re seeing in the faces of the actors can be very engaging, even arresting. The genuineness of the feelings represented is simply overwhelming at times. Certainly it was for me, and I dare say it was for the rest of the audience, as well.
But it wasn’t just the Jennifer and Jason Bortz who impressed me. It occurred to me more than once that it would be a short step for any of these performers to be in the “big time.” Maybe that’s not surprising because the director is Todd Schroeder, who has reached the “big time” as a composer and performer with a national reputation. In fact, he wrote the lyrics and co-wrote the music for this show, and I believe I could see his inspired touch in many of the staging details that lift this production to the professional level.
Predictably, there was plenty of drama during the evening, but there was even more comedy. This is a musical, after all, and so, as you would expect, the serious moments alternate with comedy. Really, there are a lot of laughs in this show – enough for any comedy billed as such – and the humor is helped by the excellent comic timing of the players. But it is the witty writing that gives the players so much to work with. That is another advantage of the small theater: I felt that I didn’t miss a word of either dialog or lyric.
And speaking of lyrics, despite many beautifully played dramatic moments, the musical numbers were the highlight of this show for me. The lyrics are wonderfully clever and carry the action, rather than interrupting it. The songs themselves are accompanied by a three-piece combo, anchored by beautifully sensitive keyboard playing by Music Director Kay Hight. It seems that each number represents a different style of music, and it is all professionally presented. Interestingly, most of the actors have their own big solo number, and I (the life-long singer) was impressed with the quality of the singing. But what I heard was more than eminently listenable voices. These people are fundamentally actors who can sing, and it is their acting that delivers the real emotion behind a song.
Indeed, many of the songs are full of emotion, and “Hold on to Love” is just one of many high points. But I think there are more songs that are full of humor. I laughed through “Pricked, Poked and Prodded (that’s the lab rat’s reality),” “Super Shake” (in which Tracy and her best friend make a “healthy” shake on stage and try to drink it), and “The Pharmacy Song” in which Tracy’s doctor offers drugs, one after another, for her numerous complaints during treatment, only to add that the “possible” side-effects are the same as the original complaints. Overall, the music is good enough that I’d think about buying the sound track if it were available.
Last night was clearly a special occasion, and the opening-night crowd was full of breast cancer survivors and representatives of the charities that are benefitting from this production. So many of the audience members were intimately familiar with what was being portrayed – particularly the hassles of treatment – and they obviously loved the humorous handling of what are fundamentally serious issues. So it was no surprise that the standing ovation at the end of the performance was quick and prolonged. But I think that what the audience was responding to even more was the fundamental message of this show: value life and especially the family and friends that give it richness and meaning.
This was the first night of a three-week run, and I expect that tickets for the coming performances will be harder to get as word spreads. My suggestion? See it here, so that when it reaches Broadway in a year or two, you can brag that you saw it before it hit the “big time.”
Sunday, May 19, 2013
The Commedia Princess and the Pea
I looked around the theater, and I was the only adult not accompanied by a child. I slumped down in my seat, and waited for the theater to darken. I was waiting for the start of The Commedia Princess and the Pea, an improvised update of the fairytale, roughly in the form of Commedia dell’Arte (broad, improvised humor with stock characters – in this case, minus the masks). The show was performed by The Treehouse Players, four adult actors who perform plays primarily intended for audiences of children.
The show started with the players, not yet in costume, storming out onto the stage like cheerleaders at a football game. They shouted and cavorted to get and hold the attention of the children, and it appeared that they succeeded. After a reminder of the theater’s prime directive, “You must have fun,” they proceeded through a succession of costume changes, arguments, dancing, singing, and humorous patter – all very loud and raucous. Although the show was improvised, there was a structure and sequence to it that included a large measure of audience interaction, which most of the children around me seemed to embrace with enthusiasm: answering questions posed from the stage, standing up and dancing in place with the performers, and even enjoying a misting by actors who ran up and down the aisles with water bottles.
As is so often the case with children’s productions carried out by adults, there was a lot of humor that went over the kids’ heads, and I found myself laughing throughout the show. For example, there was the best imitation of the Muppets’ Swedish Chef that I’ve heard in a long time – something which I don’t think the children could have appreciated. But I felt that all but the very youngest were very involved throughout, to the point that it seemed that a large proportion of the audience followed the actors out to get their autographs when it was all over. If you have children – preteen and younger I would say – take them to see the show: you’ll all have a good time.
The show started with the players, not yet in costume, storming out onto the stage like cheerleaders at a football game. They shouted and cavorted to get and hold the attention of the children, and it appeared that they succeeded. After a reminder of the theater’s prime directive, “You must have fun,” they proceeded through a succession of costume changes, arguments, dancing, singing, and humorous patter – all very loud and raucous. Although the show was improvised, there was a structure and sequence to it that included a large measure of audience interaction, which most of the children around me seemed to embrace with enthusiasm: answering questions posed from the stage, standing up and dancing in place with the performers, and even enjoying a misting by actors who ran up and down the aisles with water bottles.
As is so often the case with children’s productions carried out by adults, there was a lot of humor that went over the kids’ heads, and I found myself laughing throughout the show. For example, there was the best imitation of the Muppets’ Swedish Chef that I’ve heard in a long time – something which I don’t think the children could have appreciated. But I felt that all but the very youngest were very involved throughout, to the point that it seemed that a large proportion of the audience followed the actors out to get their autographs when it was all over. If you have children – preteen and younger I would say – take them to see the show: you’ll all have a good time.
Monday, May 6, 2013
How to Succeed in Business Without Really Trying
After almost four years of not missing a single production of the El Dorado Musical Theatre, I’ve gotten to where I feel like these shows are giving me Christmas four times a year – that's how much I look forward to them. I think I’ve found my happy place.
The current offering, How to Succeed in Business Without Really Trying, is a wonderfully cute show. After all, it practically swept the 1962 Tony awards, and won a Pulitzer Prize that year. Feminists have to remember it’s supposed to take place in 1963, but apart from that, its appeal is timeless.
But this production builds on that timeless appeal to create a complete entertainment experience. It starts with the set, a high-ceilinged lobby of an office building, but with bright lights that are used for dramatic effect in a variety of ways. Also, there is a large screen in the back that isn’t obviously a screen, but that helps give the feeling of different rooms as the images on it are changed. I was also impressed by creative set pieces, like the elevator that is reversed on-stage to reveal what’s happening inside.
Then there’s the choreography. It feels like every dance number is different from anything else you’ve ever seen. And there are so many clever, creative choreographic and staging ideas. It seems like there is always something fresh on stage to engage your attention.
Of course, this is a musical, so how about the music? The music itself isn’t live, but the singers sure are, performing beautifully in the ensemble numbers. And I was impressed, as always, with the quality of the solo voices, especially from Julia Adams and Andrew Wilson in their lead roles. They were so poised, and each of their songs was more than a song – it was a complete performance.
That brings up the acting which, as usual, was top-notch. One might call this show a farce for all the exaggerated characters, and I thought these were handled beautifully, especially by Kaileen Teter as Hedy LaRue, Dylan Gray as Bud Frump, and Alex Levy as J.B. Biggley. I have to keep reminding myself that this is a cast of young people. Kaileen Teter is 21, but everyone else is younger than 20, with a lot of 10 and 11-year-olds. And I must admit that seeing little kids in 3-piece suits and adult wigs is just a little freaky. But then you realize that they have to be there: they’re in training to move into the lead roles in a few years. They need this on-stage experience – and everything that led up to it. And these young ones are used in creative ways that maximize their on-stage experience without detracting from the realism of the production.
I don’t have the space to comment on all the outstanding musical numbers, but one special highlight was the “Brotherhood of Man.” It was truly amazing to see 20 or so young men – many just boys, really – perform complicated (and masculine) choreography while singing their way through that number. The audience seemed to go crazy with spontaneous cheers during the performance. Sure, it was good, even great – but cheers during the number? Then I looked over across the audience and saw the dozens of young women and girls, who couldn’t restrain their enthusiasm. Driven by adolescent hormones or not, the effect of this number was electric for all of us.
I should mention here that, like all EDMT shows, this one has two casts that perform alternately. I saw the Wickets Cast, but I’m sure that the Ivy Cast is just as strong. I’m especially confident about that because I recognize members of the Ivy Cast as excellent performers from past shows.
I’ve seen community theater productions that have been total delights. I love community theater. But don’t call this community theater. If you think that you have to go to the Sacramento Community Center Theater or the Wells Fargo Pavilion for a professional theater experience, you’re sadly mistaken. Everything about EDMT productions is professional-quality. Sure they’re kids, but they’re extraordinarily talented kids who have been trained, coached and directed by professionals. And these professionals – directors, choreographers, voice coaches, costumers, etc. – together with scores of experienced volunteers helping with every aspect of stagecraft, produce a product that is immensely entertaining, time after time. EDMT shows are fun from beginning to end, and I can’t wait until the next one, which in my case will be Christmas in July.
The current offering, How to Succeed in Business Without Really Trying, is a wonderfully cute show. After all, it practically swept the 1962 Tony awards, and won a Pulitzer Prize that year. Feminists have to remember it’s supposed to take place in 1963, but apart from that, its appeal is timeless.
But this production builds on that timeless appeal to create a complete entertainment experience. It starts with the set, a high-ceilinged lobby of an office building, but with bright lights that are used for dramatic effect in a variety of ways. Also, there is a large screen in the back that isn’t obviously a screen, but that helps give the feeling of different rooms as the images on it are changed. I was also impressed by creative set pieces, like the elevator that is reversed on-stage to reveal what’s happening inside.
Then there’s the choreography. It feels like every dance number is different from anything else you’ve ever seen. And there are so many clever, creative choreographic and staging ideas. It seems like there is always something fresh on stage to engage your attention.
Of course, this is a musical, so how about the music? The music itself isn’t live, but the singers sure are, performing beautifully in the ensemble numbers. And I was impressed, as always, with the quality of the solo voices, especially from Julia Adams and Andrew Wilson in their lead roles. They were so poised, and each of their songs was more than a song – it was a complete performance.
That brings up the acting which, as usual, was top-notch. One might call this show a farce for all the exaggerated characters, and I thought these were handled beautifully, especially by Kaileen Teter as Hedy LaRue, Dylan Gray as Bud Frump, and Alex Levy as J.B. Biggley. I have to keep reminding myself that this is a cast of young people. Kaileen Teter is 21, but everyone else is younger than 20, with a lot of 10 and 11-year-olds. And I must admit that seeing little kids in 3-piece suits and adult wigs is just a little freaky. But then you realize that they have to be there: they’re in training to move into the lead roles in a few years. They need this on-stage experience – and everything that led up to it. And these young ones are used in creative ways that maximize their on-stage experience without detracting from the realism of the production.
I don’t have the space to comment on all the outstanding musical numbers, but one special highlight was the “Brotherhood of Man.” It was truly amazing to see 20 or so young men – many just boys, really – perform complicated (and masculine) choreography while singing their way through that number. The audience seemed to go crazy with spontaneous cheers during the performance. Sure, it was good, even great – but cheers during the number? Then I looked over across the audience and saw the dozens of young women and girls, who couldn’t restrain their enthusiasm. Driven by adolescent hormones or not, the effect of this number was electric for all of us.
I should mention here that, like all EDMT shows, this one has two casts that perform alternately. I saw the Wickets Cast, but I’m sure that the Ivy Cast is just as strong. I’m especially confident about that because I recognize members of the Ivy Cast as excellent performers from past shows.
I’ve seen community theater productions that have been total delights. I love community theater. But don’t call this community theater. If you think that you have to go to the Sacramento Community Center Theater or the Wells Fargo Pavilion for a professional theater experience, you’re sadly mistaken. Everything about EDMT productions is professional-quality. Sure they’re kids, but they’re extraordinarily talented kids who have been trained, coached and directed by professionals. And these professionals – directors, choreographers, voice coaches, costumers, etc. – together with scores of experienced volunteers helping with every aspect of stagecraft, produce a product that is immensely entertaining, time after time. EDMT shows are fun from beginning to end, and I can’t wait until the next one, which in my case will be Christmas in July.
13, The Musical
I have seen this show 4 times in the past few years. So why would I go to Stand Out Talent’s production of 13, The Musical? Because Director/Choreographer Jennifer Bortz works a special magic with young performers, and true to my expectations, this was the best of all the productions I have seen. For a start, it’s a wonderfully fun show with lots of toe-tapping musical numbers, as well as those which are touching in their humanity – all supported by an excellent 4-piece instrumental ensemble. And within the context of the genuine angst that so often accompanies the transition into adolescence, the show is full of humor that kept me and my fellow audience members laughing throughout. But it’s the special touches that set a production like this apart, starting with the energetic, creative, and even funny choreography, but including the many subtle touches that are part of the director’s art and that delight the audience in surprising ways.
The cast is a large one – 21 kids altogether – and most of them, including especially the leads, looked like they really could be about 13 years old. Predictably, most of the voices were not fully developed, but there were some excellent solos, and the ensemble singing was outstanding. It was the acting, though, that really put this show over the top, and I thought Jake Young was just about perfect in the lead role of Evan Goldman. But the other young leads did well, too, and made all the uncomfortable – and typically funny – situations quite believable. But I think my dominant lasting impression is the tremendous energy of these young performers, which was so evident in their group numbers. That’s the special virtue of the Tower Theatre: you have the option of being very close to the performers, and the good time they were obviously having, singing and dancing for us, was simply infectious. There’s not much time to catch this show, but if you’re reading this early enough that you have the opportunity, I’d urge you not to miss it. Old or young, I guarantee you’ll have fun.
The cast is a large one – 21 kids altogether – and most of them, including especially the leads, looked like they really could be about 13 years old. Predictably, most of the voices were not fully developed, but there were some excellent solos, and the ensemble singing was outstanding. It was the acting, though, that really put this show over the top, and I thought Jake Young was just about perfect in the lead role of Evan Goldman. But the other young leads did well, too, and made all the uncomfortable – and typically funny – situations quite believable. But I think my dominant lasting impression is the tremendous energy of these young performers, which was so evident in their group numbers. That’s the special virtue of the Tower Theatre: you have the option of being very close to the performers, and the good time they were obviously having, singing and dancing for us, was simply infectious. There’s not much time to catch this show, but if you’re reading this early enough that you have the opportunity, I’d urge you not to miss it. Old or young, I guarantee you’ll have fun.
Treasure Island
Falcon's Eye Theatre at Folsom Lake College has created a realistic pirate adventure. You enter the small theater to the sound of gently lapping waves of water, and a waterfront scene projected on a sheet. Then you see the deck of a ship. It's a tilted, square wooded platform that sits on a large turntable – And before you know it, there is a big fight among eight or so people on the "deck" of the ship, complete with sword-play. From there, the performance pretty closely follows Robert Louis Stevenson’s novel, Treasure Island.
I found the whole experience very engaging, as did (so I believe) the other adults and fairly young children in the audience. The costumes seemed authentic, as did the accents and language. Although some of the dialogue was a little hard to pick up, it was easy to follow the plot, and there was a lot of action – and good acting. Projected images on a large sheet (some of them animated) helped create a sense of place. Live music and a variety of sound effects set the different moods. And interestingly, these were provided by performers just off the center of the stage on either side, but for me, at least, being able to see them didn’t detract from the realism of the experience. Nor did the presence of the stage hands who rotated the stage for scene changes.
The actors, nearly all men, did a lot of shouting and brought their best pirate voices to the occasion. It was a strain for me to accept a woman (slight of built, at that) as the ship’s captain, though her acting was good. For all the rest, I thought the characterizations were quite strong.
For this, as for every production I’ve seen from the Falcon’s Eye Theatre, I was impressed by the creative use of sound effects, music, costumes, and set – and excellent acting – to construct a rich experience for the audience.
I found the whole experience very engaging, as did (so I believe) the other adults and fairly young children in the audience. The costumes seemed authentic, as did the accents and language. Although some of the dialogue was a little hard to pick up, it was easy to follow the plot, and there was a lot of action – and good acting. Projected images on a large sheet (some of them animated) helped create a sense of place. Live music and a variety of sound effects set the different moods. And interestingly, these were provided by performers just off the center of the stage on either side, but for me, at least, being able to see them didn’t detract from the realism of the experience. Nor did the presence of the stage hands who rotated the stage for scene changes.
The actors, nearly all men, did a lot of shouting and brought their best pirate voices to the occasion. It was a strain for me to accept a woman (slight of built, at that) as the ship’s captain, though her acting was good. For all the rest, I thought the characterizations were quite strong.
For this, as for every production I’ve seen from the Falcon’s Eye Theatre, I was impressed by the creative use of sound effects, music, costumes, and set – and excellent acting – to construct a rich experience for the audience.
Young Frankenstein
After the first show-stopping number (the first of many), I found myself thinking, “This show is too big for this little theater; too big for Rocklin. It should be on a big stage and draw hundreds and hundreds of people.” Anyone who liked Mel Brooks’ movie by the same name is almost sure to like Rocklin Community Theatre's send-up of the musical, "Young Frankenstein." The musical numbers are memorable, even if their tunes are not, and productions like “There Is Nothing Like the Brain” or “Join the Family Business” or “Transylvania Mania” are just some of the big, flashy numbers. The lyrics and dialog borrow a lot from the movie (like the song, “He Vas My Boyfriend”), but there is so much additional wit, I found myself straining so that I wouldn’t miss a line. That’s not to say the there was anything wrong with the audio. The actors/singers were well miked, and besides that, nearly all had big, listenable voices. And then there was the dancing. The whole show seemed tightly choreographed, and the dancing was creative and added greatly to the show’s energy. And much of the dancing (including a bit of tap dancing) was carried off by the “chorus” of 8 women and two men, who, like all those in the key roles were complete entertainers. (They even sang pretty good 4-part harmony at one point.) And all the music was supported by a 12-piece live orchestra that played brilliantly throughout. How could they afford that?
Well, one way is that there was not much of a set to speak of. But that was OK. There were some very effective set pieces, good costumes, and wonderfully creative staging ideas. But what transported the show to professional quality was the comic acting that delivered strongly drawn characters, starting with Martin Lehman as Dr. Frederick Frankenstein, right down the cast list. I was especially impressed with Mike Mechanick as Igor, Jenna Cook as Inga, and Jessica Larrick as Elizabeth -- and Rob Hayes was perfect as The Monster. I thought they all played their parts to perfection – not too silly – just manic enough. And so much of the credit for the quality of this show lies with Director, Ryan Adame. I’ve seen him as an actor 8 or 10 times in the last few years, and this is the third time I’ve seen him direct – and his inspired work is delivering one great show after another.
Parents need to be warned that this is a rather bawdy show, with a strong dose of adult humor – definitely PG-13 – and I would be uncomfortable seeing it with even older teenagers. But the fact remains that this is high-quality entertainment from talented, experienced people. Chalk up another winner for Rocklin Community Theatre.
Well, one way is that there was not much of a set to speak of. But that was OK. There were some very effective set pieces, good costumes, and wonderfully creative staging ideas. But what transported the show to professional quality was the comic acting that delivered strongly drawn characters, starting with Martin Lehman as Dr. Frederick Frankenstein, right down the cast list. I was especially impressed with Mike Mechanick as Igor, Jenna Cook as Inga, and Jessica Larrick as Elizabeth -- and Rob Hayes was perfect as The Monster. I thought they all played their parts to perfection – not too silly – just manic enough. And so much of the credit for the quality of this show lies with Director, Ryan Adame. I’ve seen him as an actor 8 or 10 times in the last few years, and this is the third time I’ve seen him direct – and his inspired work is delivering one great show after another.
Parents need to be warned that this is a rather bawdy show, with a strong dose of adult humor – definitely PG-13 – and I would be uncomfortable seeing it with even older teenagers. But the fact remains that this is high-quality entertainment from talented, experienced people. Chalk up another winner for Rocklin Community Theatre.
Monday, April 15, 2013
Cotton Patch Gospel
What a delight! Cotton Patch Gospel, subtitled “The Greatest Story Ever Retold” has been offered at various venues in the Sacramento area in recent years, as an offshoot of David MacDonald’s “Best of Broadway” operation. This was my first occasion to see it, and for me it was fun, energizing, and even inspiring from beginning to end.
The Cotton Patch Version of Matthew and John, published in 1968, was written by Clarence Jordan as a retelling of the life of Jesus, as if it had taken place in modern, rural Georgia. The book was put to music by Harry Chapin in 1981 with 17 original songs mostly in a blue grass or country style.
This presentation in the intimacy of Sutter Street Theatre was almost overwhelming. There were two dozen cast members, and they were often on that tiny stage together, singing and dancing. And John Wilder’s live accompaniment on a synthesizer sounded at times like a multi-instrument combo.
I was very impressed by the quality of the singing. There were many numbers with large and small ensembles, singing in harmony and producing a big, excellent sound. And nearly all of the soloists made for equally pleasant listening. Along with the listenable music, there was engaging, lively choreography throughout, and although the set was practically bare, costumes and props helped reinforce the illusion of taking place in modern-day, rural Georgia.
The lyrics and dialog were much of the fun of this show. Biblical details were translated in creative ways: Jerusalem became Atlanta, Bethlehem became Gainesville, “verily, verily” became “sho’ nuf,” Matthew the publican became an IRS agent, and the bread and wine of the Sacrament became a biscuit and jug passed among the disciples. All of this was delivered with such innocence and humor, that I can’t imagine any but the most narrow-minded being offended by it.
Like the music, the quality of the acting was high, and overall, the cast delivered consistent, credible southern accents. (Credible to this northerner, anyway.) The role of Matthew, as the narrator, was carried out beautifully by Sam Williams. For decades in the Sacramento region, Sam has proved himself a complete entertainer, and his personality sparkled in this lead role. And though his acting and singing were outstanding, he had his taps on, and the little bit of tap dancing that he ad libbed was a perfect complement to his part.
Dave MacDonald directed this show, and from his introduction before the first number, I could see that it has been a special project for him. There were 3 MacDonalds in the cast list, but it was clear to me that the “family” feeling went beyond those who shared their name with the director. This production was full of heart and humor, and that’s what connected most with me. Beyond that, I found myself measuring what was being presented against my knowledge of the New Testament, and I often found food for thought, although the story took considerable liberties with the details and sequences of Matthew’s gospel. But the fundamental excellence of this show lies, not so much in any religious message, as in the quality of the writing and music – all brilliantly performed in this production. It’s high-quality entertainment, the kind I would like to see again and again.
The Cotton Patch Version of Matthew and John, published in 1968, was written by Clarence Jordan as a retelling of the life of Jesus, as if it had taken place in modern, rural Georgia. The book was put to music by Harry Chapin in 1981 with 17 original songs mostly in a blue grass or country style.
This presentation in the intimacy of Sutter Street Theatre was almost overwhelming. There were two dozen cast members, and they were often on that tiny stage together, singing and dancing. And John Wilder’s live accompaniment on a synthesizer sounded at times like a multi-instrument combo.
I was very impressed by the quality of the singing. There were many numbers with large and small ensembles, singing in harmony and producing a big, excellent sound. And nearly all of the soloists made for equally pleasant listening. Along with the listenable music, there was engaging, lively choreography throughout, and although the set was practically bare, costumes and props helped reinforce the illusion of taking place in modern-day, rural Georgia.
The lyrics and dialog were much of the fun of this show. Biblical details were translated in creative ways: Jerusalem became Atlanta, Bethlehem became Gainesville, “verily, verily” became “sho’ nuf,” Matthew the publican became an IRS agent, and the bread and wine of the Sacrament became a biscuit and jug passed among the disciples. All of this was delivered with such innocence and humor, that I can’t imagine any but the most narrow-minded being offended by it.
Like the music, the quality of the acting was high, and overall, the cast delivered consistent, credible southern accents. (Credible to this northerner, anyway.) The role of Matthew, as the narrator, was carried out beautifully by Sam Williams. For decades in the Sacramento region, Sam has proved himself a complete entertainer, and his personality sparkled in this lead role. And though his acting and singing were outstanding, he had his taps on, and the little bit of tap dancing that he ad libbed was a perfect complement to his part.
Dave MacDonald directed this show, and from his introduction before the first number, I could see that it has been a special project for him. There were 3 MacDonalds in the cast list, but it was clear to me that the “family” feeling went beyond those who shared their name with the director. This production was full of heart and humor, and that’s what connected most with me. Beyond that, I found myself measuring what was being presented against my knowledge of the New Testament, and I often found food for thought, although the story took considerable liberties with the details and sequences of Matthew’s gospel. But the fundamental excellence of this show lies, not so much in any religious message, as in the quality of the writing and music – all brilliantly performed in this production. It’s high-quality entertainment, the kind I would like to see again and again.
The Beams Are Creaking
A drama can be educational, and FreeFall Stage’s production of “The Beams Are Creaking” was an education for me. In all my years, I have only been vaguely aware of Dietrich Bonhoeffer, the German theologian who openly stood up to the Nazis. This production brought his story to life for me, illustrating his thought and dramatizing the conflicting pressures under which he lived, eventually to die in a concentration camp just days before the end of the Second World War. The writing, by Douglas Anderson, is clever and compelling, and first-time director, Alicia McNeill, has beautifully orchestrated the rising tension. Although the acting is uneven, there are several standouts in the cast, and Colin Coate is nothing short of brilliant in the lead role. For me, it was fascinating to watch his skill in portraying his character so naturally, with subtleties that are lost when someone is consciously trying to “act.” A bonus in this production is the frequent use of music throughout, and though most of it is recorded, there is some very competent singing, a lot of it from Coate, who has an excellent voice and who was a pleasure to listen to. This production offers a compelling story, told poetically and with a strong dose of philosophy, drawing to a conclusion that is nothing short of inspiring.
Saturday, March 30, 2013
Moon Over Buffalo
George and Charlotte Hay, fading stage actors, are doing repertory theater in Buffalo, New York in 1955, and are struggling to keep their acting company together. Out of nowhere comes an opportunity to star in a Hollywood film, and they’re desperate to prepare a good show for the director who is coming to evaluate them in one of their performances. But everything goes wrong – hilariously. This production from Sutter Street Theatre has all the elements that made this farce a success on Broadway: constant bickering that builds tension, frantic efforts that lead to comic situations – and a good dose of physical comedy. This well-experienced cast and director bring this show to life, and if you go, you can expect an evening (or afternoon) full of laughs.
Les Misérables (School Edition)
This is my favorite musical. I’ve seen it performed on the stage, seen the movie, and viewed the DVDs of the 10th anniversary “Dream Cast” performance at Royal Albert Hall, and the 25th anniversary performance in 2010. I’ve sung the medley in a chorus and Javert’s “Stars” in front of large audiences. I’ve listened to the soundtrack many, many times. I even have (expensive) tickets for the performance by the touring company coming to Sacramento in June. What might I expect from the School Edition put on by Roseville Theatre Arts Academy?
I expected to be moved again – and I was. For a start, I was not conscious of significant cuts from the original version. Certainly, the bawdy scenes were not cut, and Mme. Thénardier’s language in “Master of the House” wasn’t bowdlerized. The whole show was presented in a fast pace, and with live accompaniment from 7 excellent pit musicians.
The solos were of uneven quality, even for school-age kids, though some were quite good, and performing as Jean Valjean, Alex Crossland’s occasional venturing into falsetto was one of many solo moments on his part and on the part of others that worked beautifully. The same is true of the acting. I saw under-acting and overacting, but there were many times when an actor really nailed the character and the situation. In school-age productions, I love spotting performers with genuine talent and watching them throughout the show, even when they’re not in the spotlight. And it’s especially rewarding to notice – as I often did last night – people in minor parts who, with the stage filled with action far away from them, are still giving their all in presenting their character.
The comic relief in a serious production has an edge in the competition to steal the show. And last night Spencer Peterson and Madi Crossland as the Thénardiers exploited that advantage with over-the-top performances that were pure delight, enhanced by their costumes, make-up and physical humor.
Another major highlight of the show for me was the performance of the ensemble, and the stage was often filled with all 67 of the cast members. The complex action of their crowd scenes was an eyeful. And time and again, their choral sound did justice to the wonderful music they were singing.
And lest I seem to slight the key players, I was genuinely moved – once again – by the Bishop’s kindness, by Fantine’s death, by the Parisian students’ idealism, by the pathos of Éponine’s futile love, by Jean Valjean’s generous impulses – and of course, by the final trio which ends “to love another person is to see the face of God.”
This is an ambitious production, not only for the logistical, casting and staging challenges, but also because it’s a great risk to put on something so familiar to so many. And I have special respect for the effort behind it because this show was also educational. After all, this is the Roseville Theatre Arts Academy, and they were exposing their young charges – many no doubt for the first time – to what many consider the greatest musical of all time. But last night’s large, enthusiastic audience wasn’t thinking about the educational value of the show when they rose to their feet in applause: they had been genuinely entertained, as had I.
I expected to be moved again – and I was. For a start, I was not conscious of significant cuts from the original version. Certainly, the bawdy scenes were not cut, and Mme. Thénardier’s language in “Master of the House” wasn’t bowdlerized. The whole show was presented in a fast pace, and with live accompaniment from 7 excellent pit musicians.
The solos were of uneven quality, even for school-age kids, though some were quite good, and performing as Jean Valjean, Alex Crossland’s occasional venturing into falsetto was one of many solo moments on his part and on the part of others that worked beautifully. The same is true of the acting. I saw under-acting and overacting, but there were many times when an actor really nailed the character and the situation. In school-age productions, I love spotting performers with genuine talent and watching them throughout the show, even when they’re not in the spotlight. And it’s especially rewarding to notice – as I often did last night – people in minor parts who, with the stage filled with action far away from them, are still giving their all in presenting their character.
The comic relief in a serious production has an edge in the competition to steal the show. And last night Spencer Peterson and Madi Crossland as the Thénardiers exploited that advantage with over-the-top performances that were pure delight, enhanced by their costumes, make-up and physical humor.
Another major highlight of the show for me was the performance of the ensemble, and the stage was often filled with all 67 of the cast members. The complex action of their crowd scenes was an eyeful. And time and again, their choral sound did justice to the wonderful music they were singing.
And lest I seem to slight the key players, I was genuinely moved – once again – by the Bishop’s kindness, by Fantine’s death, by the Parisian students’ idealism, by the pathos of Éponine’s futile love, by Jean Valjean’s generous impulses – and of course, by the final trio which ends “to love another person is to see the face of God.”
This is an ambitious production, not only for the logistical, casting and staging challenges, but also because it’s a great risk to put on something so familiar to so many. And I have special respect for the effort behind it because this show was also educational. After all, this is the Roseville Theatre Arts Academy, and they were exposing their young charges – many no doubt for the first time – to what many consider the greatest musical of all time. But last night’s large, enthusiastic audience wasn’t thinking about the educational value of the show when they rose to their feet in applause: they had been genuinely entertained, as had I.
Saturday, March 16, 2013
Legally Blonde
What is beyond brilliant? What exceeds excellent? I find myself running out of words to describe the productions of the El Dorado Musical Theatre. After having seen the past 10 EDMT shows, I had been looking forward to Legally Blonde, and with all the anticipation, it exceeded my expectations. What makes these productions outstanding time after time is the vision of the creative team, led by Debbie Wilson. It’s a vision that, on the relatively blank canvas of the music and dialog of a pre-packaged show, sees opportunities for creativity in choreography, blocking, sets and set pieces, costumes, props and all the tools of stagecraft – and produces something that is unique, engaging and completely entertaining – every time. One look at the list of the production staff, and you can see that there are dozens of people giving their best to this effort – not to mention the small army of parents and other volunteers. Besides the wonderful cast on stage, there are scores of people who can take pride in this extraordinary production.
This was my first time to see Legally Blonde – in fact, I hadn’t even seen the movie. So the show itself was a delight. I can’t say the tunes were memorable, but with the imaginative staging and professional -quality delivery, I can look back on almost every song (as I review the program) and recall it vividly – with a smile. The lyrics themselves and the dialog were wonderfully witty.
But it is the way EDMT mounts a show like this that makes all the difference. The sets were practically works of art, and there were so many of them, creating realistic backdrops for the action, scene after scene. There were also pleasant surprises throughout: some in the original script (like the cute dogs), and some probably not (the impressive reveal of the girls in the sorority house windows, a recurring golf cart, a marching band, onstage costume changes – no, let’s keep the rest of them surprises). And the pace of the action, especially before intermission, was intense. In fact, it seemed like the choreography was continuous. You couldn’t risk looking away, even during a solo, because something was always happening. And as I’ve said before, the energy generated by those young actors and dancers could light a city.
I can’t say enough about the individual actors. Heather Clark was just amazing as Elle Woods, but I don’t want to enumerate the rest of the cast. To me, they all have star power, and looking down the cast list, and remembering the first dozen or so of the key roles, I can picture each of the actors. And what I remember is strong singing, transparent acting, and exciting dance moves from each of them. Every one drew a strong character that brought the audience into the action. Yes, all these young people have talent, and for it, they deserve a lot of credit. But it's also true that they’ve been thoroughly trained – some for the majority of their young lives – to professional standards. And that’s the bottom line for this and every EDMT production: Legally Blonde is a professional effort in every detail.
This was my first time to see Legally Blonde – in fact, I hadn’t even seen the movie. So the show itself was a delight. I can’t say the tunes were memorable, but with the imaginative staging and professional -quality delivery, I can look back on almost every song (as I review the program) and recall it vividly – with a smile. The lyrics themselves and the dialog were wonderfully witty.
But it is the way EDMT mounts a show like this that makes all the difference. The sets were practically works of art, and there were so many of them, creating realistic backdrops for the action, scene after scene. There were also pleasant surprises throughout: some in the original script (like the cute dogs), and some probably not (the impressive reveal of the girls in the sorority house windows, a recurring golf cart, a marching band, onstage costume changes – no, let’s keep the rest of them surprises). And the pace of the action, especially before intermission, was intense. In fact, it seemed like the choreography was continuous. You couldn’t risk looking away, even during a solo, because something was always happening. And as I’ve said before, the energy generated by those young actors and dancers could light a city.
I can’t say enough about the individual actors. Heather Clark was just amazing as Elle Woods, but I don’t want to enumerate the rest of the cast. To me, they all have star power, and looking down the cast list, and remembering the first dozen or so of the key roles, I can picture each of the actors. And what I remember is strong singing, transparent acting, and exciting dance moves from each of them. Every one drew a strong character that brought the audience into the action. Yes, all these young people have talent, and for it, they deserve a lot of credit. But it's also true that they’ve been thoroughly trained – some for the majority of their young lives – to professional standards. And that’s the bottom line for this and every EDMT production: Legally Blonde is a professional effort in every detail.
Sunday, March 3, 2013
Ordinary People
I don’t know what I expected to see in this student-directed production of Ordinary People at
Oakmont High School. I can say, though, that I was surprised – pleasantly. I was
unfamiliar with this dark drama, and suicide and dysfunctional family relations
are not what one might ordinarily expect from a high school production. But what
I saw was a tribute to the emerging skill of student director, Leana Coulter and
a strong cast. In fact, I don’t remember seeing this degree of emotional
intensity at the high school level. Much of that intensity was in the standout
performance of Anthony Villanueva at Conrad Jarret, though his fellow actors
played well, and I saw some outstanding acting and realistic character
development among many of them. Oakmont used this occasion to make a statement
about suicide, which was a main theme of the drama, with information about
suicide prevention in the printed program and supplementary materials available
afterwards. For me, this play was a sobering, well-crafted experience.
Monday, February 25, 2013
I Love You, You're Perfect, Now Change
This is the third time in recent years that I’ve seen I Love You, You’re Perfect, Now Change, and I enjoyed this wonderful cabaret show from Rocklin Community Theatre even more than the first time I saw it years ago. In fact, this may be the perfect cast. And that’s important because there are only four performers, and a lot is riding on their talents. No problem here: each of these very experienced people is an outstanding singer and actor. They have great comic instincts and demonstrate remarkable versatility in the many roles they are called on to play.
The directing, too, shows many flashes of brilliance, and I have to mention one. There is a number where Christi Axelson delivers a monologue as a middle-aged, divorced woman making an Internet dating video. Although her bright humor lights up the rest of the show, the humor in this scene is dark. But the remarkable thing is that they set up a video camera on stage, and project her, full-face, on a screen off to the side. In every stage production, the audience is sitting at a considerable distance from the actors, and we settle for low-definition images in this age of high-definition TV. But with Christi’s face filling the screen, every nuance of her expression is visible. It is great acting, and for me on opening night, it was mesmerizing.
But all these remarkable actor-singers have their moments of brilliance, as does the live combo (piano, bass, and violin) which sounds more like a full band. They are so good, in fact, that I had to ask at intermission if any of the music was prerecorded: their coordination with those on stage is seamless. And to give just one more highlight of this show, between vignettes they use that screen to display witty observations on love and marriage from famous people.
I’d have to rate the show as PG-13, and even at that, I don’t think I’d bring my 14-year-old granddaughter to see it. Still, for those of us with experience of love and marriage, it’s a pure delight, full of both gentle and raucous humor – and a lot of heart.
The directing, too, shows many flashes of brilliance, and I have to mention one. There is a number where Christi Axelson delivers a monologue as a middle-aged, divorced woman making an Internet dating video. Although her bright humor lights up the rest of the show, the humor in this scene is dark. But the remarkable thing is that they set up a video camera on stage, and project her, full-face, on a screen off to the side. In every stage production, the audience is sitting at a considerable distance from the actors, and we settle for low-definition images in this age of high-definition TV. But with Christi’s face filling the screen, every nuance of her expression is visible. It is great acting, and for me on opening night, it was mesmerizing.
But all these remarkable actor-singers have their moments of brilliance, as does the live combo (piano, bass, and violin) which sounds more like a full band. They are so good, in fact, that I had to ask at intermission if any of the music was prerecorded: their coordination with those on stage is seamless. And to give just one more highlight of this show, between vignettes they use that screen to display witty observations on love and marriage from famous people.
I’d have to rate the show as PG-13, and even at that, I don’t think I’d bring my 14-year-old granddaughter to see it. Still, for those of us with experience of love and marriage, it’s a pure delight, full of both gentle and raucous humor – and a lot of heart.
An Ideal Husband
In his short life (1854-1900) Oscar Wilde established himself as a literary giant of the Victorian era, and he wrote and produced 9 plays. Of these, the most famous is “The Importance of Being Earnest.” Arguably the second most famous is “An Ideal Husband.” Produced in 1895, it is a contemporary portrayal of British society: its mores and the conflicts that emanate from them. It is fundamentally serious drama, but laden with wit. And the audience member who listens carefully to FreeFall Stage's presentation of this play will be rewarded with some brilliant writing. And excellent acting. All the players have brought their best British accents to the stage, and some of the characterizations are truly inspired. The cast are all experienced adult actors who skillfully bring to life Wilde’s insights into human nature, social norms, moral dilemmas, ethics, honor, the relations between men and women – and love. The production values are high, with a well-designed set and gorgeous costumes. Misunderstandings, deception, and naked villainy add spice to the plot, and make for an engaging evening (or afternoon) of cerebral entertainment.
Monday, February 18, 2013
Children's Letters to God
On the way to the lobby at intermission, someone behind me said, “This is the cutest show I’ve ever seen.” I’ve seen a lot of cute shows, and ranking them is like choosing which of your children you like best. But this is a cute show. Threaded throughout this latest production from Stand Out Talent are the ingenuous questions children have written to God – no doubt taken from the book of the same title that inspired this show. But this show isn’t about religion: it’s a gentle, sympathetic look at childhood – its challenges, frustrations, confusions, disappointments – and joys. It is essentially a children’s cabaret show with vignettes loosely connected by a plot. What lights it up are the 7 young performers, most of them apparently pre-teens or very young teens. They have children’s voices, but they act convincingly. Most of the music is up-tempo, fun, and engaging, and the show is full of good laughs – and quite a few touching moments. Indeed, the whole thing is heartwarming. And it’s a special kind of heartwarming. You can go to a movie or sit at home watching TV and perhaps be moved by images on a screen. But these are real young people, acting and singing their hearts out in front of you. And when your heart has been warmed that way, it feels a lot more like the real thing.
Five Course Love
Five Course Love at Sutter Street Theatre takes the prize for the most creative, entertaining set-up of announcements before a show begins. If you’re tired of reminders to turn your cell phone off, etc. – and who isn’t – you’ll find this a refreshing way for a performance to begin. And a very creative performance it is. For a start, there are only 3 actors. They create loose plot lines in five restaurants with different themes: Western, Italian, German, Spanish, and a diner. This production is a cross between a cabaret show and a farce, and among its strengths are the clever lyrics of the various, very listenable songs, some of which almost seem to have a Tom Lehrer character about them. Another strength is the talent of the performers, including the pianist. The actors have strong voices, and manage to present very different characters (with appropriate accents) in the five scenes. In all it’s a clever, entertaining show, though parents should think of it as rated PG-13
Sunday, February 17, 2013
Urinetown
OK, this is an off-putting title for a musical, and when I was first aware of it a number of years ago, I resolved that I would pass on this show whenever it came around. But this past Thursday, I decided to honor the risk that Folsom High School took in staging it. After all, it was nominated for 10 Tony Awards and won 3 in 2002 so, I reasoned, the show must clearly have merit. And now, having seen it, I recognize this musical as a valid social satire, with a lot of excellent comic moments. Sure, there is a fair bit of toilet humor (such as the song, “It’s a Privilege to Pee”). But the music is good (and some of it is truly outstanding), and there’s a quality live band for this show. As for the overall production, it is far beyond what you might expect from a high school – even Folsom High School. The large, energetic cast is topped by two genuinely talented performers in the key roles of Bobby Strong and Hope Caldwell, and Tristan Bonds and Melissa Brausch deliver excellent acting and vocals that, for me, are the highlights of the show. I still smile when I think of Tristan and “The Poor” singing “Run, Freedom, Run”: it was a show-stopper. But the whole cast was strong, and Brianna Asmus as Pennywise and Julia Hoshino as Little Sally were two more standouts. The set itself was impressive, and the several brief choreographic interludes were very entertaining.
I noticed some problems with lighting on opening night, and it seemed that there were audio problems, as well, though maybe it was just me. I had trouble picking up key words in the dialog and in the song lyrics, so it was hard for me to get into the show because I missed a lot of the plot set-up. If you haven’t seen this show, I’d advise reading a plot synopsis, such as the one in the Placer Performance Calendar (see the link below) so you’ll go in knowing what to expect. But do go. It’s a quality show in both the book and the score, and all those people rising in a standing ovation at the end of the performance I saw are testament to the fact that Folsom High School did this show justice.
I noticed some problems with lighting on opening night, and it seemed that there were audio problems, as well, though maybe it was just me. I had trouble picking up key words in the dialog and in the song lyrics, so it was hard for me to get into the show because I missed a lot of the plot set-up. If you haven’t seen this show, I’d advise reading a plot synopsis, such as the one in the Placer Performance Calendar (see the link below) so you’ll go in knowing what to expect. But do go. It’s a quality show in both the book and the score, and all those people rising in a standing ovation at the end of the performance I saw are testament to the fact that Folsom High School did this show justice.
Sunday, February 10, 2013
Suite Surrender
I was tired and in a sour mood when I entered the State Theatre for opening night of the Placer Community Theater’s “Suite Surrender.” I’ve seen this company put on some outstanding shows in the past, but I had a bad feeling about this one. I guess I didn’t like the way it started or I questioned some of the casting – whatever. And I decided quickly that it wouldn’t be worth writing a review. But they began to win me over, and soon I found myself laughing along with the rest of the audience. The bottom line is that this is a truly funny show – with escalating conflicts, confusion, and surprises. Guided by director Ely Wilbur, the whole cast played the comic situations beautifully. But the highlight for me was the brilliant acting of veteran performer, Fred Burks, as the hotel manager. I left the theater refreshed and energized from a good dose of laughter therapy.
Schoolhouse Rock Live!
If you were a child watching TV on Saturday morning between 1973 and 1985 – or looking over your children’s shoulders – you remember those wonderful educational songs with cute animation called “Schoolhouse Rock.” They’ve been revived and expanded in many ways since then, and one of the best send-ups is the stage show, “Schoolhouse Rock Live!” which has now come to Roseville courtesy of the Roseville Theatre Arts Academy. It’s a high-energy, hour-long show that features 13 of the iconic songs, in a loosely woven plot – and it’s a total delight.
The 6 performers sing and dance and clown through the numbers, with constant movement that goes beyond the organized choreography. The songs are accompanied by piano and drum, and the singing – even with some harmony – is quite good. And to spice things up even further, there is a constant flow of props and sight gags. Hearing the very young children in the audience laughing at the broad comedy, I could tell that they were engaged throughout, even though a lot of what was presented could appeal only to adults and older children. But appeal it did: I don’t think I stopped smiling –or tapping my foot – throughout the whole hour-long performance. Clearly this wonderfully creative show works with all age groups, and I understand that 4,000 schoolchildren have been booked to see it during its 3-week run. The weekend matinees present a special opportunity, not to be missed. In fact, with all the other shows I want to take in, I’m thinking about seeing this again – just because it is so much fun.
Saturday, February 2, 2013
One Flew Over the Cuckoo's Nest
After their great success with an adult-oriented, PG-13 musical last January, “Next to Normal,” Stand Out Talent is presenting another outstanding effort with an adult-oriented, PG-13 drama in “One Flew Over the Cuckoo’s Nest.” This 50-year-old adaptation of Ken Kesey’s 1962 book by the same title is not as well known as the 1975 movie with Jack Nicholson and Louise Fletcher. But if you’ve seen the movie and you think you’ve seen the best dramatization of this story – think again. Nothing matches the intensity that can be generated by live theater, and this production is certainly loaded with delicious dramatic intensity.
Each of the players has created – and maintains – a credible character, each off-balance in some way. Scott Divine drives most of the action as Randall P. McMurphy, and he delivers an over-the-top, high-energy, award-worthy performance that is fascinating to watch. Then there is the placid intimidation of Tressa Ohler as Nurse Ratched that is perfect in heightening the tension of each scene in which she appears. And the pervasive conflict makes each bit of humor that funnier.
The set is highlighted by an elevated nurse’s station that really contributes to the realism of the production, as do the sound and lighting effects. But it is the consistent quality of the acting that makes this show eminently worth seeing. The intimacy of the Tower Theatre brings one very close to the actors. On opening night, I carefully watched the actors’ faces and body language when they were away from the action, and I saw them living their parts. And it must be said that this production reflects not only the talents of the actors but the professionalism of director, Jason Bortz, who inspired and guided all this well-organized madness. Watching the performance, I found myself thinking the best praise one can offer a dramatic production: “This feels real.”
Each of the players has created – and maintains – a credible character, each off-balance in some way. Scott Divine drives most of the action as Randall P. McMurphy, and he delivers an over-the-top, high-energy, award-worthy performance that is fascinating to watch. Then there is the placid intimidation of Tressa Ohler as Nurse Ratched that is perfect in heightening the tension of each scene in which she appears. And the pervasive conflict makes each bit of humor that funnier.
The set is highlighted by an elevated nurse’s station that really contributes to the realism of the production, as do the sound and lighting effects. But it is the consistent quality of the acting that makes this show eminently worth seeing. The intimacy of the Tower Theatre brings one very close to the actors. On opening night, I carefully watched the actors’ faces and body language when they were away from the action, and I saw them living their parts. And it must be said that this production reflects not only the talents of the actors but the professionalism of director, Jason Bortz, who inspired and guided all this well-organized madness. Watching the performance, I found myself thinking the best praise one can offer a dramatic production: “This feels real.”
Friday, January 25, 2013
Disney's The Little Mermaid, Jr.
This is a reprise of a show that Rocklin Community Theatre ran last spring to sold-out audiences, and I know why. It’s a delightful send-up of one of Disney’s best, with a lot of good music and an engaging fairy-tale plot. My first thought was that the amazing costumes must have been rented, but I see from the program that an army of people are devoted to costuming, so they must be original and if that’s the case, their efforts should garner awards: the costumes were just stunning. That’s not to demean the skills of the young performers. I saw the Seashell cast, and I was struck with the strong, clear voices of all the principals. The acting was uneven, but Marlize Dizon sparkled as Ariel, Jake Young had leading-man charisma as Prince Eric, Angie Reed was wickedly good as Ursula the Sea Witch, and Emily Masnica played Sebastian brilliantly, especially in his two big numbers, “Under the Sea” and “Kiss the Girl.” It was also great fun to watch the Mersisters have fun in their appearances: they rocked every time they were on stage. And not only theirs, but all the choreography was entertaining. I took special note of the audio, which made the songs and dialog crystal clear, something you can’t say for many local productions. This whole ensemble performed beautifully in a show that any family should love.
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