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.

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.

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

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.

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.

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.”