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)
Monday, April 21, 2014
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
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