To give easier access to past "Great Local Shows" reviews, they have been moved to the Placer Performance Calendar. To find them, go to www.placerperformancecalendar.com, and click on the "Reviews" button on the left side of the home page.
Reviews will be left here (but none added) until October 2014, after which they will all be removed.
Sunday, July 20, 2014
Saturday, July 12, 2014
She Has a Name
As I write this, human trafficking is at the top of the news: (1) "FBI
rescues 168 children in sex trafficking crackdown," (2) "In growing US
sex-trafficking business, majority of victims are American-born," and
(3) "FBI's Sacramento office finds 9 child sex-trafficking victims in
region." All this after seeing FreeFall Stage's production of She Has a Name
– the first U.S. community theatre production of Andrew Kooman's play.
I saw this show on the last weekend of its 8-week run, and now FreeFall
Stage is trying to raise the money to take it on tour throughout
Northern California. Deservedly so. In introducing the show to the
audience, FreeFall Stage President, Deanne Eldridge described it as "the
most important" project she's been associated with in a lifetime in the
theatre.
The plot is simple. A Cambodian girl of 15 is working in a brothel in Bangkok, Thailand. She is visited by an American investigator posing as a john, but who is secretly trying to build a case to put the brothel out of business and rescue this girl, identified only as "Number 18" (and presumably the other girls). He has to win her trust and persuade her to testify against her captors.
Although the audience may not have known the details of the plot at the beginning, everyone knew what this play was about, and the warnings of "viewer discretion advised" and "not recommended for those under 15" were sobering. One came to this production, not to be entertained, but to understand and feel the human dimensions of this social scourge.
And that feeling comes through a variety of dramatic devices. First, there are the three women playing "The Voices" – a Greek chorus that comments on the action and serves as the tortured conscience of Number 18. Then there are the interactions between the American investigator and his wife (via Skype) and his local female boss. These interactions are full of angst and passion, and they reveal many unexpected consequences of human trafficking: no one is unscarred by it.
But the success of this show hangs on the quality of the acting, which is superb. Number 18 is played by Supatchaya Sunpanich, originally from Thailand and now a student at American River College. She played the many moods of her role convincingly, and the memory of her screams still makes my skin crawl. She demonstrated both the torment and the ambivalence of the victim when offered a way out of that torment. Chris Quandt, as the American investigator, had the most time on stage, and he had me with him all the way as he navigated his way through compassion, frustration, determination, self-doubt, despair, and many more emotions. One can't help but spot occasional weak acting in a community theatre production. Not so this one. Surely the actors' native talent was a factor, helped no doubt by their commitment to the seriousness of the subject matter. And surely the effectiveness of the whole presentation was due in no small part to the skill of young director, Emma Eldridge.
There was no release from the discomfort inherent in this production. Heeding a warning by Deanna Eldridge at the beginning that we may not feel like applauding at the end, only a few of us did. And I hope actors and director took it as a symbol of respect for their work. Instead, most audience members interacted with the actors one-on-one and viewed the exhibits of the five anti-trafficking organizations that were "partners" in this production.
This show has closed, but you can track FreeFall Stage's plans for its tour on the company's website: www.freefallstage.com. And you can contribute to their Kickstarter campaign at this link: https://www.kickstarter.com/projects/758931939/she-has-a-name-on-tour.
The plot is simple. A Cambodian girl of 15 is working in a brothel in Bangkok, Thailand. She is visited by an American investigator posing as a john, but who is secretly trying to build a case to put the brothel out of business and rescue this girl, identified only as "Number 18" (and presumably the other girls). He has to win her trust and persuade her to testify against her captors.
Although the audience may not have known the details of the plot at the beginning, everyone knew what this play was about, and the warnings of "viewer discretion advised" and "not recommended for those under 15" were sobering. One came to this production, not to be entertained, but to understand and feel the human dimensions of this social scourge.
And that feeling comes through a variety of dramatic devices. First, there are the three women playing "The Voices" – a Greek chorus that comments on the action and serves as the tortured conscience of Number 18. Then there are the interactions between the American investigator and his wife (via Skype) and his local female boss. These interactions are full of angst and passion, and they reveal many unexpected consequences of human trafficking: no one is unscarred by it.
But the success of this show hangs on the quality of the acting, which is superb. Number 18 is played by Supatchaya Sunpanich, originally from Thailand and now a student at American River College. She played the many moods of her role convincingly, and the memory of her screams still makes my skin crawl. She demonstrated both the torment and the ambivalence of the victim when offered a way out of that torment. Chris Quandt, as the American investigator, had the most time on stage, and he had me with him all the way as he navigated his way through compassion, frustration, determination, self-doubt, despair, and many more emotions. One can't help but spot occasional weak acting in a community theatre production. Not so this one. Surely the actors' native talent was a factor, helped no doubt by their commitment to the seriousness of the subject matter. And surely the effectiveness of the whole presentation was due in no small part to the skill of young director, Emma Eldridge.
There was no release from the discomfort inherent in this production. Heeding a warning by Deanna Eldridge at the beginning that we may not feel like applauding at the end, only a few of us did. And I hope actors and director took it as a symbol of respect for their work. Instead, most audience members interacted with the actors one-on-one and viewed the exhibits of the five anti-trafficking organizations that were "partners" in this production.
This show has closed, but you can track FreeFall Stage's plans for its tour on the company's website: www.freefallstage.com. And you can contribute to their Kickstarter campaign at this link: https://www.kickstarter.com/projects/758931939/she-has-a-name-on-tour.
Thursday, June 26, 2014
Structure of the Symphony - Placer County Youth Orchestra
by Letha Dawson
How proud all of us who live in Placer County can be of the Placer County Youth Orchestra. Standing applause must go to each and every member for your dedication and your achievement. You are a talented group of musicians. The Intermediate Orchestra, the Theatre Orchestra which played Les Misérables at Del Oro High school earlier this month, and the Symphony Orchestra, all performed Monday night, May 19, 2014, to a high standard and transported the audience with wave upon wave of musical panoramas of passion, color, and beauty. Marjorie Hartung, artistic director, invited other organizations to collaborate with PCYO, as Del Oro High School did, to create additional performance opportunities for these excellent young musicians.
Two young boys early in the program with sky-scraper-high confidence entertained the hundreds of proud parents and friends listening. Ethan Freedman sang “Little People,” from Les Miserables with the same spunk and showmanship as when he was on stage at Del Oro High School with a chorus of little people. Monday night, Ethan stood in his Les Mis costume of torn rags, alone in front of formally attired musicians. Tuxedoes didn’t phase Ethan. He belted out his brave determination as if he were at the barricades.
Wey Wey Chen, in formal attire, shouldered his instrument and with bravado played from the Violin Concerto in B Minor, Op. 35, of O. Rieding. The audience understood why Wey Wey Chen was the Division I winner in the Auburn Symphony’s Young Artist Competition. Artistic Director, Marjorie Hartung graciously thanked him after his performance from the podium with a very grown-up handshake for his outstanding achievement.
The Placer County Youth Symphony Orchestra then proceeded to fill out the evening by performing works by Tchaikovsky, Mozart, Haydn, Schubert, and Beethoven with skill and heart. Two splendid performances capped the evening: Schubert’s Unfinished Symphony with the incomparable Marjorie Hartung conducting and Beethoven’s Symphony No. 5, with charismatic Wayland Whitney conducting. What a glorious evening of music.
Review of the PCYO Performance, May 19, 2014, at the Valley Springs Presbyterian Church, Roseville, CA
How proud all of us who live in Placer County can be of the Placer County Youth Orchestra. Standing applause must go to each and every member for your dedication and your achievement. You are a talented group of musicians. The Intermediate Orchestra, the Theatre Orchestra which played Les Misérables at Del Oro High school earlier this month, and the Symphony Orchestra, all performed Monday night, May 19, 2014, to a high standard and transported the audience with wave upon wave of musical panoramas of passion, color, and beauty. Marjorie Hartung, artistic director, invited other organizations to collaborate with PCYO, as Del Oro High School did, to create additional performance opportunities for these excellent young musicians.
Two young boys early in the program with sky-scraper-high confidence entertained the hundreds of proud parents and friends listening. Ethan Freedman sang “Little People,” from Les Miserables with the same spunk and showmanship as when he was on stage at Del Oro High School with a chorus of little people. Monday night, Ethan stood in his Les Mis costume of torn rags, alone in front of formally attired musicians. Tuxedoes didn’t phase Ethan. He belted out his brave determination as if he were at the barricades.
Wey Wey Chen, in formal attire, shouldered his instrument and with bravado played from the Violin Concerto in B Minor, Op. 35, of O. Rieding. The audience understood why Wey Wey Chen was the Division I winner in the Auburn Symphony’s Young Artist Competition. Artistic Director, Marjorie Hartung graciously thanked him after his performance from the podium with a very grown-up handshake for his outstanding achievement.
The Placer County Youth Symphony Orchestra then proceeded to fill out the evening by performing works by Tchaikovsky, Mozart, Haydn, Schubert, and Beethoven with skill and heart. Two splendid performances capped the evening: Schubert’s Unfinished Symphony with the incomparable Marjorie Hartung conducting and Beethoven’s Symphony No. 5, with charismatic Wayland Whitney conducting. What a glorious evening of music.
Review of the PCYO Performance, May 19, 2014, at the Valley Springs Presbyterian Church, Roseville, CA
Tuesday, May 20, 2014
Les Misérables (Del Oro High School)
By Letha Dawson
Les Misérables, a cultural phenomenon, has been exciting and thrilling audiences since 1980 when Alain Boublil and Claude-Michel Schonberg adapted Victor Hugo’s novel, Les Misérables, for the stage in France. In 1985 the English language version of “Les Mis” opened in London, and since then more than 500 million theater-goes have thrilled to the music and spectacle of courageous men, women, and children rising up in revolution, standing tall in conviction to bring an end to their oppression. May 3, 2014, at Del Oro High School, les misérables sang again of their misery and determination to change the world. Under the baton of Margie Hartung, the Placer County Youth Orchestra played superbly. Les Mis was brought to life under the direction of "Sir" Jeffery Johnson and Shere Freedman. Authentic costume creations by Gina Musilli and Noelle Young transported the audience to France. And Shere Freedmen, wearing a second directorial hat, guided and brought the voices of the students to heights even they didn’t know they could reach. Therefore, Les Mis thrilled another several hundred people. It’s no easy task to bring a musical of this size and complication to the stage, but the artistic directors at Del Oro accomplished the feat with flying colors.
Each of the thirty-nine actors, singers, and dancers, and all ten of the junior cast carried us away to the streets, brothels, and drinking houses of France in the 1800’s with sincerity and heart, singing their parts well and genuinely looking like prisoners, prostitutes, and street urchins. The choreography, lighting, and music from the talented orchestra members, particularly Keegan McLean’s trumpet, Breanna Daley’s flute, and the ethereal string section, all came together to create a nimble, yet intense musical experience.
Seth Beam as Valjean sang and moved with emotion. He adapted to each role, whether the prisoner, the mayor, or the father with power and kindness. Mason Beseler looked and sang the part of of Javert. David Reyes, with his smooth voice, certainly fit the role of Marius, the young man in love. Hannah Massagli brought spunk with jabbing elbows and personality to the role of Madam Thenardier. Keirsten Hammond, Alec Irwin, Camerion Riggs, and Amberley Sewell, as well as all the other vocalists, sang the complex score with skill.
Special mention is demanded for the mobs. The choruses of singers were outstanding in their crowd movement, their cohesion, and their sound. The Company chanting the prologue, the unemployed, children and factory workers singing “At the End of the Day” and “Look Down” and “Little People” and “One Day More” -- these numbers were fantastic. The costumes again set the mood. The choreography of the group as a whole moved and surged. The stand-out came in the character of Gavroche, sung by Ethan Freedman. This child was the very bright star in this production. Ethan Freedman, a half-pint urchin, marched out on stage, and punched every line, swinging his arms, stamping his feet, and holding his ground as he sang like the tough little man the streets had made him. The audience loved him, shouting their delight every time he appeared. Hopefully, audiences will be seeing a lot more of this talented boy, for he’s only in first grade at Live Oak Waldorf School.
All in all, a standing ovation for the cast, Placer County Youth Orchestra, and all the artistic and production staff for bringing theatre lovers a great production of Les Mis.
Review of the May 3, 2014 performance at Del Oro High School.
Les Misérables, a cultural phenomenon, has been exciting and thrilling audiences since 1980 when Alain Boublil and Claude-Michel Schonberg adapted Victor Hugo’s novel, Les Misérables, for the stage in France. In 1985 the English language version of “Les Mis” opened in London, and since then more than 500 million theater-goes have thrilled to the music and spectacle of courageous men, women, and children rising up in revolution, standing tall in conviction to bring an end to their oppression. May 3, 2014, at Del Oro High School, les misérables sang again of their misery and determination to change the world. Under the baton of Margie Hartung, the Placer County Youth Orchestra played superbly. Les Mis was brought to life under the direction of "Sir" Jeffery Johnson and Shere Freedman. Authentic costume creations by Gina Musilli and Noelle Young transported the audience to France. And Shere Freedmen, wearing a second directorial hat, guided and brought the voices of the students to heights even they didn’t know they could reach. Therefore, Les Mis thrilled another several hundred people. It’s no easy task to bring a musical of this size and complication to the stage, but the artistic directors at Del Oro accomplished the feat with flying colors.
Each of the thirty-nine actors, singers, and dancers, and all ten of the junior cast carried us away to the streets, brothels, and drinking houses of France in the 1800’s with sincerity and heart, singing their parts well and genuinely looking like prisoners, prostitutes, and street urchins. The choreography, lighting, and music from the talented orchestra members, particularly Keegan McLean’s trumpet, Breanna Daley’s flute, and the ethereal string section, all came together to create a nimble, yet intense musical experience.
Seth Beam as Valjean sang and moved with emotion. He adapted to each role, whether the prisoner, the mayor, or the father with power and kindness. Mason Beseler looked and sang the part of of Javert. David Reyes, with his smooth voice, certainly fit the role of Marius, the young man in love. Hannah Massagli brought spunk with jabbing elbows and personality to the role of Madam Thenardier. Keirsten Hammond, Alec Irwin, Camerion Riggs, and Amberley Sewell, as well as all the other vocalists, sang the complex score with skill.
Special mention is demanded for the mobs. The choruses of singers were outstanding in their crowd movement, their cohesion, and their sound. The Company chanting the prologue, the unemployed, children and factory workers singing “At the End of the Day” and “Look Down” and “Little People” and “One Day More” -- these numbers were fantastic. The costumes again set the mood. The choreography of the group as a whole moved and surged. The stand-out came in the character of Gavroche, sung by Ethan Freedman. This child was the very bright star in this production. Ethan Freedman, a half-pint urchin, marched out on stage, and punched every line, swinging his arms, stamping his feet, and holding his ground as he sang like the tough little man the streets had made him. The audience loved him, shouting their delight every time he appeared. Hopefully, audiences will be seeing a lot more of this talented boy, for he’s only in first grade at Live Oak Waldorf School.
All in all, a standing ovation for the cast, Placer County Youth Orchestra, and all the artistic and production staff for bringing theatre lovers a great production of Les Mis.
Review of the May 3, 2014 performance at Del Oro High School.
The Music Man
After looking forward to the El Dorado Musical Theatre’s production of The Music Man
for months, I saw the show last Saturday afternoon – the first
performance after opening night – and I wasn’t disappointed. As is
typical with everything EDMT does, what I saw was brilliantly and
professionally executed. In fact, this show was dazzling from the
moment the curtain opened. A steam engine that appeared to be 12 or 15
feet high looked like it could run right into the audience. But then it
turned and opened to reveal a passenger car full of travelling salesmen
in the song called “Rock Island,” which imitates the sounds of a train.
(You remember “what d’ya talk” and “but you gotta know the territory,”
don’t you?) This was just the first of many spectacular sets. With
their help and the always period-perfect costuming, it didn’t take a
lot of imagination to believe that the year was 1912 and that you were
in River City, Iowa.
There are two casts in this show (I saw the River Cast), and I hesitate to comment on one set of actors, because I’m sure that both casts are equally outstanding. But I have to say that Andrew Wilson (Prof. Harold Hill in both casts) captured the jaunty self-confidence of that now-beloved con man with his typically excellent singing and acting. Opposite Andrew was Julia Adams as the winsome librarian and piano teacher, Marian Paroo. She won my heart, as much as she won Harold Hill’s. But as excellent an actress and singer as is Julia, and as charming a couple she made with Andrew, I’m sure Olivia Kaufmann – the other Marian – with her outstanding voice and acting would be just as appealing.
I’m especially sorry to have missed Olivia because, for her and Julia, and several other EDMT performers, this will be their last show. Having seen them sing and dance over several years, they have become my favorites, and I am sad to see them age out, go off to college – or embark on a professional career. If it makes me sad, I can only imagine how everyone at EDMT feels. But this happens every spring. And even as I was thinking about the young performers I would miss, I noticed – for the first time – even younger ones who seemed to have the spark of natural entertainers, and now I’m anxious to monitor their progress in future productions.
The Music Man is such a timeless and beloved part of American musical theatre. There are so many wonderful songs and such a clever, engaging and ultimately satisfying plot. I remember so many details from the movie version, and the EDMT production was true to all the best that I remembered. But then there was the choreography. Could the movie that I think I remember so well have had such intricate, precise, energetic, creative, and ultimately exhilarating dancing? It couldn’t possibly have. The numerous dance routines in this show – and their brilliant execution – showed once again why El Dorado Musical Theatre offers some of the best entertainment in the Sacramento region – with consistently professional standards.
Do yourself a favor, and see this show before its short run ends. It is a faithful presentation of an American classic, and it has all the charm of the show you remember. And if you’ve never seen it, how I envy the delight you will experience in seeing The Music Man for the first time.
There are two casts in this show (I saw the River Cast), and I hesitate to comment on one set of actors, because I’m sure that both casts are equally outstanding. But I have to say that Andrew Wilson (Prof. Harold Hill in both casts) captured the jaunty self-confidence of that now-beloved con man with his typically excellent singing and acting. Opposite Andrew was Julia Adams as the winsome librarian and piano teacher, Marian Paroo. She won my heart, as much as she won Harold Hill’s. But as excellent an actress and singer as is Julia, and as charming a couple she made with Andrew, I’m sure Olivia Kaufmann – the other Marian – with her outstanding voice and acting would be just as appealing.
I’m especially sorry to have missed Olivia because, for her and Julia, and several other EDMT performers, this will be their last show. Having seen them sing and dance over several years, they have become my favorites, and I am sad to see them age out, go off to college – or embark on a professional career. If it makes me sad, I can only imagine how everyone at EDMT feels. But this happens every spring. And even as I was thinking about the young performers I would miss, I noticed – for the first time – even younger ones who seemed to have the spark of natural entertainers, and now I’m anxious to monitor their progress in future productions.
The Music Man is such a timeless and beloved part of American musical theatre. There are so many wonderful songs and such a clever, engaging and ultimately satisfying plot. I remember so many details from the movie version, and the EDMT production was true to all the best that I remembered. But then there was the choreography. Could the movie that I think I remember so well have had such intricate, precise, energetic, creative, and ultimately exhilarating dancing? It couldn’t possibly have. The numerous dance routines in this show – and their brilliant execution – showed once again why El Dorado Musical Theatre offers some of the best entertainment in the Sacramento region – with consistently professional standards.
Do yourself a favor, and see this show before its short run ends. It is a faithful presentation of an American classic, and it has all the charm of the show you remember. And if you’ve never seen it, how I envy the delight you will experience in seeing The Music Man for the first time.
Monday, May 5, 2014
Little Women
By Letha Dawson
William Jessup University, in its first theatrical production, brought Little Women, the musical, to life with verve and spunk, to the delight of a packed audience Sunday afternoon. Little Women, a story of four girls on the verge of womanhood, book by Allan Knee, lyrics by Mindi Dickstein, and music by Jason Howland, based on the novel by Louisa May Alcott, brims with strong vocalists – vocalists an audience can love. Musical Director, Amy Malekos selected singers whose voices were perfect for their parts, dressed in period costumes from the 1860’s. Directed and choreographed by Derek Martin, Little Women moved along at a trot as excited sisters and young men are thrilled to do.
Singing over recorded music supplied by Music Theatre International, every vocalist delivered an outstanding performance. Each voice was right for his or her character’s part. William Jessup University has an outstanding group of talented students this year. Kayla Krogh, as Jo, the older sister, is a stand-alone star. Her clear voice, exactly enunciated words, and facial expressions revealing every emotion a New England girl feels when she yearns for New York and publishers who will applaud her writing, is completely convincing in the role of Jo. Amanda Duisenberg, playing Meg, brings absolute beauty to the music, and a sweetness of character that comes from within. Pulling from the professional music world, Amy Malekos brought in Tamra Rogers to sing Marmee’s part and Elizabeth Stanley, Aunt March. What great vocalists they are. Tamra Rogers with sweet sensitivity and a voice of satin, brings forth the motherly love of her character; while Elizabeth Stanley, in a strong alto, communicates the no-nonsense authority of the elder aunt. Kelly Dunn, another excellent vocalist, dances and tumbles and leaps, and still sings with energy to spare. Brett Patterson, playing Laurie, the neighbor’s son, with his wonderful, strong tenor voice, acted his part as determined boyfriend with humor and lightness. All the singers were delightful to listen to, are extremely talented and were convincing in their roles: Allison Coupe, as Beth; Lexi Ivey, as Mrs. Kirk; Robi Quick, as Professor Bhaer; and Ken Duisenberg, Mr. Laurence. Well done, William Jessup University Creative Arts Department! Theatre audiences will be looking forward to more great theatre.
Review of the 4-27-14 performance of Little Women at William Jessup University.
Monday, April 21, 2014
Thoroughly Modern Millie
Forget that this show is being produced at Oakmont High School because
it is better than you’ll see at many theatres. In a nutshell, it’s
smashing! From the lead vocalist, Kristen Brown, to all the members of
all the ensembles, every actor in this show, every musician, every
dancer, they’ve each given it heart and talent and made it theatrical,
thrilling, wonderfully musical and lively for the audience.
The choreography was so tight, so snappy, that it told the story without dialogue. The phenomenal Speed Test with all those toes tapping like typewriter keys was amazing. The dancers, all sitting behind desks while their feet did the typing, tapped in-time and synchronized. Either they practiced and practiced, or these dancers have natural talent. Drummer, Trevor Hall, deserves a big round of applause for all his on-time drumming, clacking, tapping, and cymbal work.
This show should be extended. More music lovers should get the pleasure of listening to Kristen Brown, Nicolas Valdez, Maria Sanders, Iven Webster, Sarah Allen, and Haley Buckmaster. Kristen Brown is a beautiful new talent on stage. Ms. Brown not only sings, but dances, and she sings while she dances, and connects with her audience. She lives the part of Millie Dillmount. This upcoming star deserves a stage. We’ll be seeing more of her. Haley Buckmaster, another entertainer with immense talent, is so at home in front of an audience. One harkens back to Lisa Minnelli when Haley takes the stage. Given a difficult part, that of a hardened trader in human beings, Haley carries the role with oomph, iron determination, and a strong, musical voice. Haley Buckmaster has talent to spare.
The individuals in the ensembles were excellent dancers and singers. Their many flapper- period costumes were colorful and interesting. The stereotypical Chinese twins provided comic relief, especially when pushed around by Haley Buckmaster, Mrs. Meers.
Lead by David Saul Lee, the orchestra, while just six musicians, sounded like twenty. Their music filled the house. Special mention must be made of the marvelous flute, saxophone, and clarinet work of Levi Saelua, the trumpet of Colin Matthewson, and the trombone of Kari Estrada. What a colorful accent Kari added every time she pulled her slide trombone. Mention was already made of Trevor Hall, drummer, but good comments cannot be over-stated. He was on cue for each action that wanted punctuation, and always at the right volume. Dominique Salazar-Turner, bass, kept the rhythm for everyone, and David Saul Lee, on piano, led them all superbly.
A word about the sets. They, too, were innovative and clever, taking us as they did to the skyscrapers of New York, the boarding house of Mrs. Meers, the typing pool, and the office building ledge 24-stories up. But special mention must be made of the elevator going up, up, up, while the want-to-be starlets waited inside. How clever. Of course we wouldn’t have this great production without the talent and hard work of Alison Sundstrom and Samantha Howard, choreographers. Finally, the overall direction of Samantha Howard made this all possible--Thoroughly Modern Millie--a top-notch production.
(April 12, 2014 performance at Oakmont High School, reviewed by Letha Dawson)
The choreography was so tight, so snappy, that it told the story without dialogue. The phenomenal Speed Test with all those toes tapping like typewriter keys was amazing. The dancers, all sitting behind desks while their feet did the typing, tapped in-time and synchronized. Either they practiced and practiced, or these dancers have natural talent. Drummer, Trevor Hall, deserves a big round of applause for all his on-time drumming, clacking, tapping, and cymbal work.
This show should be extended. More music lovers should get the pleasure of listening to Kristen Brown, Nicolas Valdez, Maria Sanders, Iven Webster, Sarah Allen, and Haley Buckmaster. Kristen Brown is a beautiful new talent on stage. Ms. Brown not only sings, but dances, and she sings while she dances, and connects with her audience. She lives the part of Millie Dillmount. This upcoming star deserves a stage. We’ll be seeing more of her. Haley Buckmaster, another entertainer with immense talent, is so at home in front of an audience. One harkens back to Lisa Minnelli when Haley takes the stage. Given a difficult part, that of a hardened trader in human beings, Haley carries the role with oomph, iron determination, and a strong, musical voice. Haley Buckmaster has talent to spare.
The individuals in the ensembles were excellent dancers and singers. Their many flapper- period costumes were colorful and interesting. The stereotypical Chinese twins provided comic relief, especially when pushed around by Haley Buckmaster, Mrs. Meers.
Lead by David Saul Lee, the orchestra, while just six musicians, sounded like twenty. Their music filled the house. Special mention must be made of the marvelous flute, saxophone, and clarinet work of Levi Saelua, the trumpet of Colin Matthewson, and the trombone of Kari Estrada. What a colorful accent Kari added every time she pulled her slide trombone. Mention was already made of Trevor Hall, drummer, but good comments cannot be over-stated. He was on cue for each action that wanted punctuation, and always at the right volume. Dominique Salazar-Turner, bass, kept the rhythm for everyone, and David Saul Lee, on piano, led them all superbly.
A word about the sets. They, too, were innovative and clever, taking us as they did to the skyscrapers of New York, the boarding house of Mrs. Meers, the typing pool, and the office building ledge 24-stories up. But special mention must be made of the elevator going up, up, up, while the want-to-be starlets waited inside. How clever. Of course we wouldn’t have this great production without the talent and hard work of Alison Sundstrom and Samantha Howard, choreographers. Finally, the overall direction of Samantha Howard made this all possible--Thoroughly Modern Millie--a top-notch production.
(April 12, 2014 performance at Oakmont High School, reviewed by Letha Dawson)
Rumors
Roseville Theatre Arts Academy’s production of Neil Simon’s Rumors is
the funniest show I have seen in years. The excellence of the show
starts with Simon’s brilliant writing, with comic tension and friction
from the very first scene as husband and wife argue over what to do
about the minor gunshot wound of the host of the party at which they are
the first to arrive. The host is never seen or heard, but as three
more couples arrive, the stress among the characters remains high as
they argue and try to hide the facts of the situation from each other.
The dialog is witty, but this production succeeds so brilliantly by
building on the structure that Simon has provided.
I’ve seen this play twice before and enjoyed it immensely, but this time was different. First, it’s the cast, and let me name them in order of their appearance: Michelle Raskey, Bobby Grainger, Teresa Ahnin, Mike Mechanick, Christi Axelson, Bob Nannini, Eliza Webb, Steve Gold, Paj Crank, and Ian Anderson. I have witnessed some of them perform before, and was looking forward to seeing them in these roles. But even those I hadn’t seen were delightful surprises. As a group these people are remarkable comic actors, adding nuance and exaggeration that kept me – and everyone in the audience – laughing almost constantly.
I never know how much to credit the director for what I see because the details in shows like this are usually collaborative efforts of director and cast, but the staging and blocking seemed inspired. One small example – that was not in any of the other productions I’ve seen – was the presence of an absurdly long telephone cord, allowing different actors to get tangled up in it – with hilarious results. There were numerous other sight gags and physical comedy to accompany the misunderstandings, frustrations, arguments and sardonic repartees – all delivered with perfect timing. I can imagine the fun these actors had during rehearsal, putting all this together, and I wish I could have seen it. But the result of the fun (and work, I’m sure) that they had was two hours of some of the best comedy I’ve been privileged to witness.
I’ve seen this play twice before and enjoyed it immensely, but this time was different. First, it’s the cast, and let me name them in order of their appearance: Michelle Raskey, Bobby Grainger, Teresa Ahnin, Mike Mechanick, Christi Axelson, Bob Nannini, Eliza Webb, Steve Gold, Paj Crank, and Ian Anderson. I have witnessed some of them perform before, and was looking forward to seeing them in these roles. But even those I hadn’t seen were delightful surprises. As a group these people are remarkable comic actors, adding nuance and exaggeration that kept me – and everyone in the audience – laughing almost constantly.
I never know how much to credit the director for what I see because the details in shows like this are usually collaborative efforts of director and cast, but the staging and blocking seemed inspired. One small example – that was not in any of the other productions I’ve seen – was the presence of an absurdly long telephone cord, allowing different actors to get tangled up in it – with hilarious results. There were numerous other sight gags and physical comedy to accompany the misunderstandings, frustrations, arguments and sardonic repartees – all delivered with perfect timing. I can imagine the fun these actors had during rehearsal, putting all this together, and I wish I could have seen it. But the result of the fun (and work, I’m sure) that they had was two hours of some of the best comedy I’ve been privileged to witness.
Spring Awakening
This was the much-anticipated, first production of Folsom Lake College's
Falcon’s Eye Theatre in the large Stage One of Harris Center – and
their first musical (that I can recall). Over recent years, every
Falcon’s Eye Theatre show that I have seen has featured an incredibly
creative set. This time, with the resources of this large,
state-of-the-art facility at their disposal, the directors really outdid
themselves. I don’t have a mastery of the terminology, but there was a
“wall” the width of the stage that could be raised and lowered. There
was a grid pattern of large squares and rectangles on this wall. When
it was partially opened it revealed an internal “stage” at about a
15-degree angle, sort of a “box” within the wall, inside of which much
of the action took place. But there was much more to the set: a long
staircase leading to the “roof” over the box, where a lot more of the
action took place, set pieces dangling from the fly tower, a “meadow”
over part of the orchestra pit, etc. And the “wall” itself had many
different built-in lighting effects. And speaking of lighting, giant
images were frequently projected on the “wall” to suggest different
out-of-doors scenes. It was absolutely dazzling, and provided staging
surprises throughout the show.
Staging was only one kind of surprise this show had to offer. The plot of this rock musical – which won a pile of awards in 2007, including 6 Tony Awards – is based on an 1891 German play by the same name. It was banned in Germany because of its portrayal of abortion, homosexuality, rape, child abuse and suicide, and that’s why this production prohibited children under the age of 12 and required those under 17 to be accompanied by an adult. I didn’t notice anyone who looked under 17 in the nearly full lower section of Stage One, but most of this Thursday-night audience seemed to be college students.
But I was talking about the show’s surprises. The action is set in late 19th Century Germany, and the costumes and dialog are consistent with that. But when it’s time for a song, the performers jump down from the “box” to the front of the stage, grab microphones, and all of a sudden we have a rock concert in full swing, often with flashing lights and the kind of spotlights that wander over an audience. This is accompanied by a live band, though I hesitate to call it a “band” because the instruments include 2 violins, a cello, and a bass violin. They give the proper mood for the numerous ballads in the musical score.
I’m not one to comment on the quality of contemporary rock music, but it sounded good to me. The singers had strong voices, though it was often difficult to make out the lyrics. I lost a lot of the dialog, as well, and I don’t know whether it is attributable to the sound amplification or the articulation of the actors, because there were many of them whose words did come through. I had read a detailed summary of the action before the show began, so I recognized character names and knew what to expect in the action. A good portion of the show felt like it was what I might call “sex with no skin.” I don’t think I’m particularly prudish, but to tell the truth, I saw some things I would rather not have seen. And yet the college girls seated around me seemed to enjoy it all.
There’s no question that this musical will be a new experience for most. It’s definitely edgy and risqué, but extremely well done, and that includes that acting, dancing and singing by the large, energetic cast. And the quality of the show is evidenced by the standing ovation and cheers from the audience that greeted the players when they took their final bows. I think my description is a fair one, and if you’re adventuresome and open-minded, this could be your cup of tea – or Red Bull or Rockstar.
Staging was only one kind of surprise this show had to offer. The plot of this rock musical – which won a pile of awards in 2007, including 6 Tony Awards – is based on an 1891 German play by the same name. It was banned in Germany because of its portrayal of abortion, homosexuality, rape, child abuse and suicide, and that’s why this production prohibited children under the age of 12 and required those under 17 to be accompanied by an adult. I didn’t notice anyone who looked under 17 in the nearly full lower section of Stage One, but most of this Thursday-night audience seemed to be college students.
But I was talking about the show’s surprises. The action is set in late 19th Century Germany, and the costumes and dialog are consistent with that. But when it’s time for a song, the performers jump down from the “box” to the front of the stage, grab microphones, and all of a sudden we have a rock concert in full swing, often with flashing lights and the kind of spotlights that wander over an audience. This is accompanied by a live band, though I hesitate to call it a “band” because the instruments include 2 violins, a cello, and a bass violin. They give the proper mood for the numerous ballads in the musical score.
I’m not one to comment on the quality of contemporary rock music, but it sounded good to me. The singers had strong voices, though it was often difficult to make out the lyrics. I lost a lot of the dialog, as well, and I don’t know whether it is attributable to the sound amplification or the articulation of the actors, because there were many of them whose words did come through. I had read a detailed summary of the action before the show began, so I recognized character names and knew what to expect in the action. A good portion of the show felt like it was what I might call “sex with no skin.” I don’t think I’m particularly prudish, but to tell the truth, I saw some things I would rather not have seen. And yet the college girls seated around me seemed to enjoy it all.
There’s no question that this musical will be a new experience for most. It’s definitely edgy and risqué, but extremely well done, and that includes that acting, dancing and singing by the large, energetic cast. And the quality of the show is evidenced by the standing ovation and cheers from the audience that greeted the players when they took their final bows. I think my description is a fair one, and if you’re adventuresome and open-minded, this could be your cup of tea – or Red Bull or Rockstar.
Generation ME
Generation ME, from Flying Monkey Productions, was a
mind-blowing, eye-opening experience for me – unlike anything I’ve ever
seen. Presenting it in the intimate, 200-seat City Studio Theater at
Harris Center, with the audience so close to the players, gave it an
extra boost of intensity.
This production company has been completely under my radar, though they have obviously been operating for many years. What makes them distinctive is that they give students “the opportunity to engage in all aspects of theatre production.” And “For all productions, the duties of director, vocal director, choreographer, stage manager, costume designer, set designer, and prop master are performed by teens and young adults.” Checking their website (www.flyingmonkeyproductions.org), you can see that they have produced mostly well-known musicals since 2003. Generation ME is different. As the young playwright and lyricist, Julie Solo, explains in her “Author’s Note” in the program, “After working with ridiculously talented teen singers, actors, and dancers for the past five years, it became clear that they were ready to be challenged” – with the age-appropriate roles of this remarkable musical.
The seed for all the action is the suicide of the principal character and that takes place very early in this 3-1/2-hour event. But don’t worry, much of the time is spent in flashback, so we are offered many insights into the possible causes of the suicide – as well as its aftermath. But it seems to me that most of this play is simply an exploration of what it’s like to be a teenager in this era, and it’s a tribute to the author that there is a wide variety of character types and a deep drawing of most of them. The action is fast-paced, and the show sizzles with energy, both in the acting and in the writing. There are some principal roles, but I wouldn’t consider any of the 20+ characters “minor.”
The whole experience felt “real” to me – sometimes too real, with representations of drug use, rape, destructive behavior, explicit language, and other details that would earn this show a warning for parents of younger children. But as someone who left high school behind many decades ago, I was fascinated by this look into the lives of current teenagers, though sometimes I felt more like a voyeur than an audience member. The plot seems dense at times, but that’s to the author’s credit: relationships are complicated and this show presents them as many-faceted and constantly evolving. The characters learn profound lessons, and so do we in the audience.
But don’t get me wrong, this show overflows with positive energy and humor. For one thing, I found many of the lyrics wonderfully witty (as for example in “The Bra Song” performed by two of the young men). Laughs abound throughout the show. And there are interesting set and staging ideas in the small performance space. In fact, the whole show brims with creativity. And the scene right before intermission is so unexpected, so over-the-top that it left me smiling in amazement, and I’m sure I will never, never forget it.
I was constantly impressed with the talent of the performers. There is strong singing – both individually and as an ensemble, and a bit of interesting dancing. But the acting is simply excellent. And whether they are portraying exuberance or profound sorrow, I couldn’t help but imagine that these young actors were feeling the emotions of their character at a deep level. So many of them deliver outstanding performances, and I wish I had space to acknowledge each of them. But I can’t resist mentioning Liam O’Donnell, who plays the character who committed suicide. I was haunted by his brooding persona throughout the show because he reminded me so strongly of someone I had seen before. Eventually, I realized that it was the same calm intensity that I associate with so many roles played by Kevin Spacey.
There is no question in my mind that I would like to see this show again: there is so much to it that I’m sure I would pick up details in a second viewing that blew past me in my wide-eyed first experience. It’s such a pity that it was only scheduled for a two-weekend run. But I’m sure it will return – somewhere – and you owe it to yourself to experience this bit of contemporary brilliance. The author announced in her introductory remarks that they have been accepted to participate in the Hollywood Fringe Festival (June 12-29), and the company is trying to raise money for the trip south. So maybe you can catch them there: it would almost be worth the personal travel costs.
This production company has been completely under my radar, though they have obviously been operating for many years. What makes them distinctive is that they give students “the opportunity to engage in all aspects of theatre production.” And “For all productions, the duties of director, vocal director, choreographer, stage manager, costume designer, set designer, and prop master are performed by teens and young adults.” Checking their website (www.flyingmonkeyproductions.org), you can see that they have produced mostly well-known musicals since 2003. Generation ME is different. As the young playwright and lyricist, Julie Solo, explains in her “Author’s Note” in the program, “After working with ridiculously talented teen singers, actors, and dancers for the past five years, it became clear that they were ready to be challenged” – with the age-appropriate roles of this remarkable musical.
The seed for all the action is the suicide of the principal character and that takes place very early in this 3-1/2-hour event. But don’t worry, much of the time is spent in flashback, so we are offered many insights into the possible causes of the suicide – as well as its aftermath. But it seems to me that most of this play is simply an exploration of what it’s like to be a teenager in this era, and it’s a tribute to the author that there is a wide variety of character types and a deep drawing of most of them. The action is fast-paced, and the show sizzles with energy, both in the acting and in the writing. There are some principal roles, but I wouldn’t consider any of the 20+ characters “minor.”
The whole experience felt “real” to me – sometimes too real, with representations of drug use, rape, destructive behavior, explicit language, and other details that would earn this show a warning for parents of younger children. But as someone who left high school behind many decades ago, I was fascinated by this look into the lives of current teenagers, though sometimes I felt more like a voyeur than an audience member. The plot seems dense at times, but that’s to the author’s credit: relationships are complicated and this show presents them as many-faceted and constantly evolving. The characters learn profound lessons, and so do we in the audience.
But don’t get me wrong, this show overflows with positive energy and humor. For one thing, I found many of the lyrics wonderfully witty (as for example in “The Bra Song” performed by two of the young men). Laughs abound throughout the show. And there are interesting set and staging ideas in the small performance space. In fact, the whole show brims with creativity. And the scene right before intermission is so unexpected, so over-the-top that it left me smiling in amazement, and I’m sure I will never, never forget it.
I was constantly impressed with the talent of the performers. There is strong singing – both individually and as an ensemble, and a bit of interesting dancing. But the acting is simply excellent. And whether they are portraying exuberance or profound sorrow, I couldn’t help but imagine that these young actors were feeling the emotions of their character at a deep level. So many of them deliver outstanding performances, and I wish I had space to acknowledge each of them. But I can’t resist mentioning Liam O’Donnell, who plays the character who committed suicide. I was haunted by his brooding persona throughout the show because he reminded me so strongly of someone I had seen before. Eventually, I realized that it was the same calm intensity that I associate with so many roles played by Kevin Spacey.
There is no question in my mind that I would like to see this show again: there is so much to it that I’m sure I would pick up details in a second viewing that blew past me in my wide-eyed first experience. It’s such a pity that it was only scheduled for a two-weekend run. But I’m sure it will return – somewhere – and you owe it to yourself to experience this bit of contemporary brilliance. The author announced in her introductory remarks that they have been accepted to participate in the Hollywood Fringe Festival (June 12-29), and the company is trying to raise money for the trip south. So maybe you can catch them there: it would almost be worth the personal travel costs.
Barry Manilow's Copacabana, the Musical
There’s a lot to like about Stand Out Talent's production of Copacabana,
so let’s get started. First of all, the settings are two night clubs:
the Copacabana in New York and the Tropicana in Havana. The stage show
is a big part of the action in both venues, and I thought these musical
numbers were dazzling. Part of it was the impressive costumes (I lost
count of the number of changes the dancers had to go through). But the
choreography was creative and simply exhilarating. Even more than the
choreography, though, it was the energy – and life – that the dancers
put into their performances that made them really memorable.
The first big dance number featured Tyler Leung (Tony) out front, and I was struck with the charisma he brought to that number. It was characteristic of his acting throughout the show, and I found him a confident and yet intense leading man. That’s remarkable because I later learned that he took on that role a mere 2-1/2 weeks before opening night.
Olivia Lawrence also was very credible as ingénue-turned-showgirl, Lola. She has as strong, listenable voice, and adding her dancing, she seemed to be to be perfect in that leading role. Amber Hollingsworth, as Gladys Murphy, gave a break-out performance (in her first leading role) as the confidante with a heart of gold, and she wowed the opening night audience with her big solo number. These two singers, plus the singing of the ensemble, provided some of the musical highlights of the evening.
Michael Coleman delivered an entertaining comic performance as nightclub owner, Sam Silver. And then there was Kevin Kirtlan as the villain, Rico Castelli. From the moment Kirtlan entered the stage, he projected a persona that was simply magnetic. It was arresting and beautifully sinister.
Kelly Andrews as Conchita Alvarez had me guessing from the moment she spoke. “Is she Hispanic – Cuban even?” Her singing and dancing were excellent, but it was the accent – and the way she carried herself that really made her character believable. When I spoke to her after the show, I was amazed to hear her speak without an accent. You can add to that amazement another fact I learned later: Andrews, like Leung, assumed her role only 2-1/2 weeks before opening night.
You can imagine from those last-minute changes that the drama on stage was not the only drama that characterized this production. This was a "Community Series" show for Stand Out Talent, which means that roles are not pre-cast, and the director pretty much works with what she gets when auditions come around. And director Jennifer Bortz is among the best in teaching the full range of musical theater skills. This time, though, it worked out that two leading roles, those of Leung and Kirtlan, had to be filled by excellent actors who are just not singers, and their songs demonstrated that fact. But they get lots of credit for taking up the challenge, and to my mind, the commitment and talent that they and the rest of the cast brought to this production explain why I left the show smiling and humming that last number to myself
The first big dance number featured Tyler Leung (Tony) out front, and I was struck with the charisma he brought to that number. It was characteristic of his acting throughout the show, and I found him a confident and yet intense leading man. That’s remarkable because I later learned that he took on that role a mere 2-1/2 weeks before opening night.
Olivia Lawrence also was very credible as ingénue-turned-showgirl, Lola. She has as strong, listenable voice, and adding her dancing, she seemed to be to be perfect in that leading role. Amber Hollingsworth, as Gladys Murphy, gave a break-out performance (in her first leading role) as the confidante with a heart of gold, and she wowed the opening night audience with her big solo number. These two singers, plus the singing of the ensemble, provided some of the musical highlights of the evening.
Michael Coleman delivered an entertaining comic performance as nightclub owner, Sam Silver. And then there was Kevin Kirtlan as the villain, Rico Castelli. From the moment Kirtlan entered the stage, he projected a persona that was simply magnetic. It was arresting and beautifully sinister.
Kelly Andrews as Conchita Alvarez had me guessing from the moment she spoke. “Is she Hispanic – Cuban even?” Her singing and dancing were excellent, but it was the accent – and the way she carried herself that really made her character believable. When I spoke to her after the show, I was amazed to hear her speak without an accent. You can add to that amazement another fact I learned later: Andrews, like Leung, assumed her role only 2-1/2 weeks before opening night.
You can imagine from those last-minute changes that the drama on stage was not the only drama that characterized this production. This was a "Community Series" show for Stand Out Talent, which means that roles are not pre-cast, and the director pretty much works with what she gets when auditions come around. And director Jennifer Bortz is among the best in teaching the full range of musical theater skills. This time, though, it worked out that two leading roles, those of Leung and Kirtlan, had to be filled by excellent actors who are just not singers, and their songs demonstrated that fact. But they get lots of credit for taking up the challenge, and to my mind, the commitment and talent that they and the rest of the cast brought to this production explain why I left the show smiling and humming that last number to myself
Oklahoma!
Oklahoma! at the Rocklin Community Theatre, will keep you smiling
and your feet tapping throughout this terrific production. Byron Roope
plays Curly, the cowman who meets a farm girl one day and can’t get her
out of his mind. Well-built and handsome, Roope struts and charms in
every appearance on stage as he sings Oh What a Beautiful Mornin’, The Surrey with the Fringe on Top, and Oklahoma!.
Girls and women, you don’t want to miss his manly performance. Byron
Roope is unforgettable as he conveys his love of the land in a voice
strong and alive and yet at turns so tender you can see the golden
waving wheat he sees and loves.
Alyssa Ray, as Laurey, the beautiful bashful farm girl of Curly’s dreams, sings, People Will Say We’re In Love, sweetly and exquisitely. Her clear, gorgeous voice carries Laurey’s playful, alluring intoxication with romance. Not only an accomplished vocalist, Alyssa dons toe shoes during the dream sequence and performs an arabesque during the graceful ballet.
Cassie March, as Ado Annie, a flirt who likes to be kissed, will totally enchant you as she sings I Can’t Say No. Spritely and impish, Cassie brings just the right mix to a coquette who enjoys the boys. Her voice delights us, along with the Persian peddler, Ali Hakim, played by Ryan Adame. Once again (Harold Hill in The Music Man) Ryan has completely become his character, this time the scared suitor at the point of a gun forced to marry Ado Annie by her father. Ryan Adame’s eyes sliding to one side in his head, his body language, his detailed hand gestures, all were hilarious, and his bowler hat and tight belted suit perfect. The audience laughed every time he came on stage anticipating his next subtle yet outrageous action. Adame is not just a funny face. He sings with full voice, precise and expressive and dances with digital timing.
Mary Young, as Aunt Eller, straightens out those cowmen. She strides across the stage singing and makes the youngins’ listen-up. Dynamic Nicky Garcia, as Will Parker, energetically sings and dances, determined to win his Ado Annie back from the Persian peddler. Victoria Sanders, irritates everyone with her annoying giggles. Takes talent to giggle so.
Michael Wright, as Jud, plays a difficult part superbly --the maladjusted farm hand obsessed with Laurey. Bearing his anguish in Lonely Room, Wright brings Jud’s pain to life. Michael Wright, like all the vocalists in this production, gives a strong delivery, pausing at the right places to evoke empathy for Jud, the outsider, alone and shunned. Michael’s voice--a velvet trombone as he glares menacingly from under his brows.
Just a few feet away from the audience in this theatre space, big cowboys and farmers lunge at and throw each other through the air and to the ground in fight scenes at once meaty and off-balancing in just the right way. Hats off to dancers, Byron Roope, Nicky Garcia, Michael Wright, Mark Joyner, Warren Cain Sr., Colby Harper, and Zack Garza, and especially choreographer, Gino Platina.
Behind the scenes, a very talented group of people bring Oklahoma to life in all its exciting rhythm: Peter Kagstrom, conductor and his orchestra; Richanne Roope, vocal director; Christian Savage, sound designer (never too loud, and every word clear); and last, but most important, Brent Hull, director. With great craftsmanship, Brent recreates Rogers and Hammerstein’s bounding musical on stage at the Rocklin Community Theatre. Talented local actors and artists take us to Oklahoma!
Reviewed by Letha Dawson, 3/28/14
Alyssa Ray, as Laurey, the beautiful bashful farm girl of Curly’s dreams, sings, People Will Say We’re In Love, sweetly and exquisitely. Her clear, gorgeous voice carries Laurey’s playful, alluring intoxication with romance. Not only an accomplished vocalist, Alyssa dons toe shoes during the dream sequence and performs an arabesque during the graceful ballet.
Cassie March, as Ado Annie, a flirt who likes to be kissed, will totally enchant you as she sings I Can’t Say No. Spritely and impish, Cassie brings just the right mix to a coquette who enjoys the boys. Her voice delights us, along with the Persian peddler, Ali Hakim, played by Ryan Adame. Once again (Harold Hill in The Music Man) Ryan has completely become his character, this time the scared suitor at the point of a gun forced to marry Ado Annie by her father. Ryan Adame’s eyes sliding to one side in his head, his body language, his detailed hand gestures, all were hilarious, and his bowler hat and tight belted suit perfect. The audience laughed every time he came on stage anticipating his next subtle yet outrageous action. Adame is not just a funny face. He sings with full voice, precise and expressive and dances with digital timing.
Mary Young, as Aunt Eller, straightens out those cowmen. She strides across the stage singing and makes the youngins’ listen-up. Dynamic Nicky Garcia, as Will Parker, energetically sings and dances, determined to win his Ado Annie back from the Persian peddler. Victoria Sanders, irritates everyone with her annoying giggles. Takes talent to giggle so.
Michael Wright, as Jud, plays a difficult part superbly --the maladjusted farm hand obsessed with Laurey. Bearing his anguish in Lonely Room, Wright brings Jud’s pain to life. Michael Wright, like all the vocalists in this production, gives a strong delivery, pausing at the right places to evoke empathy for Jud, the outsider, alone and shunned. Michael’s voice--a velvet trombone as he glares menacingly from under his brows.
Just a few feet away from the audience in this theatre space, big cowboys and farmers lunge at and throw each other through the air and to the ground in fight scenes at once meaty and off-balancing in just the right way. Hats off to dancers, Byron Roope, Nicky Garcia, Michael Wright, Mark Joyner, Warren Cain Sr., Colby Harper, and Zack Garza, and especially choreographer, Gino Platina.
Behind the scenes, a very talented group of people bring Oklahoma to life in all its exciting rhythm: Peter Kagstrom, conductor and his orchestra; Richanne Roope, vocal director; Christian Savage, sound designer (never too loud, and every word clear); and last, but most important, Brent Hull, director. With great craftsmanship, Brent recreates Rogers and Hammerstein’s bounding musical on stage at the Rocklin Community Theatre. Talented local actors and artists take us to Oklahoma!
Reviewed by Letha Dawson, 3/28/14
Saturday, March 29, 2014
Annie
I've seen a couple of other stagings of Annie recently, and
attending the second performance of the Roseville Theatre Arts Academy's
production, I was wondering how it would compare. Sitting at a table in
the lobby waiting for the house to open, I chanced to meet the star's
6th grade teacher. "So, is Baysia McCollam, spunky enough for this
role?" I asked. "She certainly is. I can vouch for that," she answered.
And indeed Baysia was, with a strong voice that fit the part beautifully
and filled the house, especially on her high notes. But throughout the
evening, I witnessed many inspired performers. Some were young children,
easily the majority of the cast of 47, and it was fun to see them
really get into character and pull off the numerous cute staging touches
which, along with the dialog, yielded a show that was full of laughs.
But this was a mixed cast, with many older teen cast members who delivered excellent strong singing as individuals and who strengthened the many production numbers that filled the stage. Besides that, the exaggerated characterizations in so many of the older roles were played beautifully. But I have to single out Tristan Harness as Miss Hannigan -- deliciously evil, practically possessed, and over-the-top funny.
Not every community theater production can muster a live, 6-member orchestra, and their playing made the most of the show's strong musical score. Another impressive feature of the production was the frequent set changes, an ambitious touch that demonstrated director Colon Archey's commitment to make this a quality experience for the audience. And I think all of us present that night would agree that he succeeded.
But this was a mixed cast, with many older teen cast members who delivered excellent strong singing as individuals and who strengthened the many production numbers that filled the stage. Besides that, the exaggerated characterizations in so many of the older roles were played beautifully. But I have to single out Tristan Harness as Miss Hannigan -- deliciously evil, practically possessed, and over-the-top funny.
Not every community theater production can muster a live, 6-member orchestra, and their playing made the most of the show's strong musical score. Another impressive feature of the production was the frequent set changes, an ambitious touch that demonstrated director Colon Archey's commitment to make this a quality experience for the audience. And I think all of us present that night would agree that he succeeded.
Placer County Youth Orchestra - "Carnival of the Animals"
Placer County Youth Orchestra presented an outstanding program March 16,
2014, at the Valley Springs Presbyterian Church in Roseville, CA.
Margie Hartung, Artistic Director, with input from Wayland Whitney and
Benjamin Hartung, Assistant Directors, selected a lively, exciting
program which entertained the many youngsters in the full audience and
thrilled the amazed and proud adults. Performers in the Jazz Band, the
Intermediate Orchestra and the Symphony Orchestra delivered performances
of tight timing and smooth blending.
Every piece--from Baby Elephant Walk, Flop Eared Mule, The Waltzing Cat, to Peter and the Wolf –all were played expertly in a bouncy and colorful manner so that the music escorted each listener through a landscape of birds and critters.
The Suite from Swan Lake, by P.I. Tchaikovsky, was breathtaking. The Symphony Orchestra played with such sensitivity and passion, particularly in "Scene and Dance of the Swans." One just swam in the beauty and depth of this music, wanting it not to end. When one thought the music couldn’t get any better, the audience was treated to "Carnival of the Animals" by C. Saint-Saëns. Each of the fourteen segments was performed superbly under the exquisite direction of Wayland Whitney’s baton. Special mention is demanded for Benjamin Hartung; his cello sang and whispered its beauty in "The Swan" with maturity and understanding and deep feeling. So moving and exquisite! Such precision. Wayland Whitney then brought forth from the well-rehearsed Symphony Orchestra in "The Finale," a big, exhilarating finish. The audience loved it, slapping their hands together and rising in appreciation of the excellent and all-too-short hour of great music by three groups of Placer County young musicians. A great big “Thank You,” Marjorie Hartung, Artistic Director, for this gift of music.
-Letha Dawson
Every piece--from Baby Elephant Walk, Flop Eared Mule, The Waltzing Cat, to Peter and the Wolf –all were played expertly in a bouncy and colorful manner so that the music escorted each listener through a landscape of birds and critters.
The Suite from Swan Lake, by P.I. Tchaikovsky, was breathtaking. The Symphony Orchestra played with such sensitivity and passion, particularly in "Scene and Dance of the Swans." One just swam in the beauty and depth of this music, wanting it not to end. When one thought the music couldn’t get any better, the audience was treated to "Carnival of the Animals" by C. Saint-Saëns. Each of the fourteen segments was performed superbly under the exquisite direction of Wayland Whitney’s baton. Special mention is demanded for Benjamin Hartung; his cello sang and whispered its beauty in "The Swan" with maturity and understanding and deep feeling. So moving and exquisite! Such precision. Wayland Whitney then brought forth from the well-rehearsed Symphony Orchestra in "The Finale," a big, exhilarating finish. The audience loved it, slapping their hands together and rising in appreciation of the excellent and all-too-short hour of great music by three groups of Placer County young musicians. A great big “Thank You,” Marjorie Hartung, Artistic Director, for this gift of music.
-Letha Dawson
Monday, March 10, 2014
The Miracle Worker
Helen Keller was an important, inspirational figure in
American history. And the story of how Anne
Sullivan brought her out of the isolation of deafness and blindness is powerfully
depicted in The Miracle Worker. The play
itself is well written, engaging an audience, not only with the drama of the early
interaction of teacher and pupil, but with thought-provoking insights. The small, intimate space of Sutter Street
Theatre (with a well thought out and surprisingly elaborate set) creates an
effective setting for this story. For
me, it was drama that, after a fairly slow start, drew me in, grabbed me by my
emotional handle, and held me there until the end.
Among the cast of 13, there were some truly fine actors, but
the success of a production like this rises and falls on the quality of the two
main characters – and they were superb. Camy
Rae Wilson was totally believable as Helen.
Without the help of any dialog (obviously, because young Helen was mute),
she crafted her character with consistency and intensity from the moment she
appeared on stage. And Heather Warren
did beautifully in portraying the internal conflicts and personal strengths of
Anne Sullivan, especially her assertiveness and determination. But it was the interaction of the two
principals that was so forcefully and effectively done – full of physical
action that seemed perfectly choreographed.
I expected a good story when I went to see the show, but
there was much more to it than that. It
was an evening of intensive, fulfilling entertainment. And if you miss it, especially the extraordinary
interaction between Helen and Anne, you will have missed something truly
special.
Saturday, March 1, 2014
Lend Me a Tenor
Placer Community Theater’s Lend Me a Tenor is a fun show,
and for me, it was full of laughs from beginning to end. The script for this farce has a lot of
built-in humor, but what makes it work is some excellent comic acting. Much of that comes from PCT regulars, but
there is also some new talent in this production – new to PCT, but players with
significant experience elsewhere.
Topping that list would be director Chris Harada, who really made a mark
in his debut with this company.
The show pulls all the comic levers: mistaken identity, double-entendre, physical
comedy – and strong portrayal of some of the main characters. Also impressive about this show is the set,
which seemed more elaborate than those of past PCT productions and that seemed
to fit the action perfectly. This show
has “good time” written all over it. Lose
your worries, get some laughs, and take it in before it closes.
Monday, February 24, 2014
Thoroughly Modern Millie
I saw the opening night performance of El Dorado Musical
Theatre’s Thoroughly Modern Millie,
and as is every show from EDMT, it was thoroughly entertaining. Everything about this show evoked the 1920s. The dialog is dictated by the script, of
course. But everything else seemed
consistent with that era: the costumes, the scenery – even the dance
moves. And what dancing it was! There were many tap numbers, each full of
creativity, impressive synchrony, and invigorating energy. But there were many more dance routines – some
just as background for action taking place downstage – and the complexity of
these routines, each dramatically different, was mind-boggling to me.
Now about the costumes.
I’ve seen costumer Christine Martorana’s work before and been impressed
by it, but the wardrobe part of this show was over the top. It felt like each actor must have had 8 or 10
costume changes (the young women, at least), and everything seemed an accurate
representation of the period. The
impression these outfits created on stage was just dazzling.
Julia Adams had the title role, and for me, she was the
perfect Millie Dillmount: spunky and
with a pleasing Broadway voice. And as I
watched her, it seemed that there was almost a magnetic attractiveness to her
acting. As perfect as Julia seemed for
her part, Zach Collins (Jimmy Smith) seemed the ideal leading man: good looks, excellent voice, and a fine actor. Moreover, he has excellent comic instincts,
and there were several times he made me laugh out loud. Maybe the biggest surprise of the program was
Anjie Rose Wilson. I’ve seen her perform
in these productions and those of the High Voltage troupe, and I’ve recognized
her as a brilliant dancer – often a real show-stopper. But in the role of the pseudo-Chinese
boarding house keeper, Mrs. Meers, she had practically no dancing at all. It was all acting, and her portrayal of that
comic part was just stunning: no holds
barred, pushing the limits, and spotlight-seizing. And she slid into and out of a Chinese accent
with ease. To me, it was a break-out
role for her.
Early in the show, I found myself asking, “Is this
over-acting?” Then it struck me that Thoroughly Modern Millie is designed as broad
comedy bordering on farce. With that
thought, I relaxed and enjoyed watching these young people push their
characters to the limits of believability.
Later in the show, I found myself appreciating how thoughtfully each
character was crafted by the actor. But
of course, director Debbie Wilson deserves a lot of that credit. She has compiled such an amazing body of work
over the years with EDMT. There should
be a lifetime Tony award for working with young dancers and actors, and she
should get it. No, it should be named
after her.
One challenge in mounting this show is having two
characters, Mrs. Meers’ henchmen, speak only in Chinese. Zach Wilson and Dylan Gray brought this off
beautifully (with the help of translations projected above the stage). And when they sang Al Jolson’s “Mammy” (“Muguin”
in the program), it practically brought the house down.
Come to think of it, it seemed like each of the major
characters had a big number that wowed the audience. But none was bigger that Olivia Kaufman’s “Only
in New York” in the role of Muzzy Van Hossmere.
I was impressed with the quality and strength of Olivia’s voice and with
her ability to put across a song when I first heard her as a 15-year-old three
years ago. Now with more experience,
confidence and maturity, she is just sensational. No question:
this was a “big time” performance for her. In Olivia’s development as a performer, and
in so much of outstanding singing in these EDMT shows, one can see the hand of
vocal director, Jennifer Wittmayer. Jennifer’s
skill in developing natural talent and coaching these young people toward
professional standards is a major element of EDMT’s success.
There were so many outstanding performers in this show. Andrew Wilson (as Trevor Graydon) and Kelly
Maur (as Miss Dorothy Brown) were two more members of this company that were a
delight to watch – and hear. Andrew,
especially, provided some inspired comic acting, and Kelly was the perfect foil
to Millie. Their comic dance number, “I’m
Falling in Love with Someone” was one of the many highlights of the show. Indeed, this show was full of highlights, one
after another. Throughout the evening
there was great comedy and romance, and the personality and energy of the
performers spilled over the stage into the audience. And when the bows began, who could keep to
their seat?
My advice: don't miss this show. These young people are on the move, building careers as performers, and someday you'll pay a lot of money to see them perform.
My advice: don't miss this show. These young people are on the move, building careers as performers, and someday you'll pay a lot of money to see them perform.
Tuesday, February 4, 2014
Agnes of God
I fear that by the time you read this you will have missed an outstanding show. I saw Stand Out Talent's production of Agnes of God at
the beginning of the last weekend of its run, and I only wish I had
seen it opening night, so I could have spread the word of the quality of
this production. That quality lies in the acting and direction because
the set was spare, and there were no changes in costume, no special
effects (well, almost none), minimal lighting effects – not much of what
you might call stagecraft. But to my mind, that only enhanced the
effectiveness of the drama that unfolded. It is the story – based on
real events – of a young nun discovered with a dead newborn in her room,
leading to questions of how she got pregnant, how the baby died, and
who was at fault. There are only three characters in this play (unlike
the movie of the same title): the young nun, the Mother Superior, and a
psychiatrist trying to discover the facts of the case and evaluate the
sanity of the nun.
The script itself is a work of art, uncovering bits of the mystery layer by layer, all the while adding more mystery in the nuances of the plot, as the playwright explores issues of religion, insanity, culpability, familial relations, and the nature of miracles. As I watched, it was increasingly clear why this play garnered various award nominations (and a Tony Award for one of the actors) when it was introduced in 1982.
But what really kept me engaged, even fascinated, for two hours was the quality of the acting. I had not seen these women before – Natasha Burr, Susan Andrews, and Jessica Neufeld – perhaps because this is apparently the first time they have performed locally. From their bios in the program, their very broad experience ranges from New York to Los Angeles, and many places in between. To my mind, they were perfectly cast for this show, and their performances were impeccable – with what felt like flawless timing, delicious intensity, and great emotional range. In other words, I quickly stopped seeing them as actors on a stage and instead saw people experiencing real emotions as a real story unfolded. And of course, much of the credit for what I saw and felt is attributable to the directing of Jason Bortz. I’ve seen many of the productions he has directed, and if you haven’t, you’re missing a rising talent in our area. All those involved have put together a production that truly does justice to this award-winning drama.
The script itself is a work of art, uncovering bits of the mystery layer by layer, all the while adding more mystery in the nuances of the plot, as the playwright explores issues of religion, insanity, culpability, familial relations, and the nature of miracles. As I watched, it was increasingly clear why this play garnered various award nominations (and a Tony Award for one of the actors) when it was introduced in 1982.
But what really kept me engaged, even fascinated, for two hours was the quality of the acting. I had not seen these women before – Natasha Burr, Susan Andrews, and Jessica Neufeld – perhaps because this is apparently the first time they have performed locally. From their bios in the program, their very broad experience ranges from New York to Los Angeles, and many places in between. To my mind, they were perfectly cast for this show, and their performances were impeccable – with what felt like flawless timing, delicious intensity, and great emotional range. In other words, I quickly stopped seeing them as actors on a stage and instead saw people experiencing real emotions as a real story unfolded. And of course, much of the credit for what I saw and felt is attributable to the directing of Jason Bortz. I’ve seen many of the productions he has directed, and if you haven’t, you’re missing a rising talent in our area. All those involved have put together a production that truly does justice to this award-winning drama.
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