Twelfth Night

I’ve seen theatrical productions of “Shakespeare” that were hardly recognizable as his work. This was something different. Roseville Theatre Arts Academy has moved Twelfth Night from the fictional kingdom of Illyria to the old West. But in the process, they have maintained Shakespeare’s language. There were edits with references to San Francisco, and Olivia’s home becomes Olivia’s saloon: but this is Shakespeare – no question. And the most remarkable thing about the transition is that all the characters speak with a western (or southern) drawl, which they maintain remarkably well throughout the play. Adding the drawl to Shakespearean English, which is not easy to understand anyway, causes some of the dialogue to be lost to the typical listener, but unless you’re an insistent Shakespearean purist the effect is hilarious – and entertaining.

I’m not sure that this would be a good introduction to Shakespeare (or this play) for someone unfamiliar with the language or this plot, and I noticed that the children in the audience responded mostly to the frequent physical humor. But the acting (some of it excellent) really illustrates the meaning of the arcane language, and makes the plot reasonably easy to follow for those unfamiliar with it. And I don’t see how anyone (except the youngest) could come away without an appreciation for the elegance of Shakespeare’s language. Those most familiar with Twelfth Night will be most likely to find the delight in this drawl-delivered adaptation. If they don’t, then a pox on the churlish varmints.

9 to 5

There are so many things that are good about Placer Community Theater's production of "9 to 5," and first among them is the acting. Sure, I know it’s a musical, but that’s what made the acting stand out: so often, even in a good musical, the acting takes a back seat to the music. But not with this production of “9 to 5.” And how did they find 3 women who were so perfectly cast for the leads? Jeanette Albrecht played Doralee (Dolly Parton’s role in the movie) to perfection. Lyra Dominguez, with her big voice, was convincing in the role of Judy. And Allyson Finn was amazing in the role of Violet: if she doesn’t get an Elly Award – or at least a nomination – there’s something wrong with the process. And let’s not forget Phil Jacques, who was wonderfully funny as the hated boss, and Kathleen Brace, who was hilarious as his obsequious assistant, Roz.

 

But there was so much more that made this show a complete delight, a conclusion I heard from many other audience members last Saturday night. The music, for one, was engaging, and just about every number was listenable and fun. Although the ensemble songs were thin (not enough body mics to go around), the solo singing was solid, and there were a few numbers that were real show-stoppers. And the orchestration itself was great: jazzy piano, drums and guitar. It was so good, in fact, that I thought it was a recorded track until I spoke during intermission with music director Patricia Leftridge, who assured me that her piano playing was indeed live. (I spoke with her only after enjoying the complimentary dessert and drinks that this company somehow finds the means to provide.)

Another plus of the program was the dancing, a fair amount of which took place in the aisles. How many productions can claim as a choreographer, someone experienced and beloved enough to have a high school theater named after her? That’s Patti Baker, who retired from teaching dance at Roseville High School several years ago, and who enlisted 6 of her alumni to put on some great dancing (in which she joined) throughout this show.

Although the sets and set pieces were rather Spartan, as one might expect from a community theater production, they were more than made up for by the projections on the stage-wide screen above and behind the actors. When the action was taking place in an office, the screen showed a real office scene, and this background changed when the action moved to a different locale. But there was much more to what was projected, including images that reinforced the action (such as the imagination of the main characters), humorous commentaries, etc. Another person might think that getting creative with projections would detract from any realism in the play, even for a musical like this. But I thought the effect was terrific and added a lot to the pace of the action and the humor.

And this is a genuinely funny show, with witty dialog and excellent comic acting. Some of the humor is a bit risqué, and there are occasional words that would be bleeped out if you were watching on TV. So leave your small children at home. But don’t miss this show yourself. It has personality -- a quality that is projected by each person on stage – and that, along with all this production’s other strengths, makes this top-quality entertainment.

Honk! Jr.

There are many children’s theater companies in our area. I’ve seen some of their productions, and – with a few exceptions – they are of a quality that only family and friends would enjoy. This was something different. Unlike other El Dorado Musical Theatre productions that feature professional or near-professional quality performers up to age 20, this “Rising Star” show is limited to kids 6 to 13 years of age. But it is an absolutely delightful experience, so bring your kids or grandkids if you have them, but don't stay away if you have no young family to bring. Any grown-up will find a lot to like about Honk! Jr. The writing is witty and the music is engaging, but what EDMT has done with this raw material makes all the difference.

I counted 60 kids in the cast, and when they are all on stage, doing their choreographed moves and singing together, it’s impressive – and remarkable – considering how young many of them are. Of course, that tender age translates into child voices that can’t match the quality of older kids when singing solos – with several notable exceptions (Madison Sykes as Ida, for one). And the acting of some of these young people made me think of child stars in times past. Zach Wilson, for example, a veteran of years with the older EDMT players, was brilliant as Ugly (the ugly duckling who becomes a swan), in his acting, dancing and singing. Also impressive were Ireland Bonds as the cat (fascinating to watch!) and Russell Anderson as the militaristic head goose: British accent, soldierly bearing and all. But there were so many others among these young actors and singers who brimmed with on-stage personality and added to the fun of it all.

It was the hand of the adult Director and Choreographer, Kat Bahry, and her numerous assistants and the others responsible for set, costumes, etc. that really gave these young kids the opportunity to shine. And there were wonderfully creative staging ideas throughout that kept the audience engaged (and delighted). This show is loaded with cute, but that’s not the only reason for coming. It is quality entertainment for the whole family, and everyone should attend to see just how good children’s theater can be.

For more information, click here.

Thoroughly Modern Millie

This latest offering from Rocklin Community Theatre is a hands-down winner. The assemblage of local talent is amazing, starting with co-directors, Ryan Adame and Christi Axelson, who is also the choreographer. I don’t know whether they’re compensated for their efforts, but these people are experienced pros who have put together a production that sparkles with creativity.

This is described as a “Teen Theatre Workshop Production.” But forget “teen” and forget “workshop.” These kids are mature performers with outstanding acting, excellent singing, and brilliant dance routines. The story itself of a young woman trying to make it in New York City in the 1920s, hangs together well as an engaging romantic comedy, and the writing is excellent. A few of the songs are familiar, but that doesn’t matter: they all make for good listening, and some are wonderfully funny, like singing in Chinese with English subtitles.

But the writing and songs would fall flat without the talent that brought them out last night, because the stage brimmed over with personality on everyone’s part. This show is double-cast, and I saw the Kansas Cast perform, so I’m hesitant to single out individual performers, especially because so many were so good. That said, Caroline Mixon as Millie was an absolute knock-out, with acting and singing that, to me at least, was star-quality. And Casey Borghesi played Mrs. Meers, the Chinese landlady, with such flair that nearly everything she did made me laugh.

I’ve heard many of the principals in this production sing before, but somehow this seemed like their best work, and no doubt a lot of the credit should go to vocal director, Erin Gabriele. I just wish that they could have had more individual mics, because a couple of ensemble numbers could not be heard well – and I was sitting in the third row. But the principals and all the supporting actors could be easily heard.

One of the most impressive things about this production was the costuming. I began to be amazed at the brilliant array of 1920s-themed costumes and new, dazzling outfits for the women as the show progressed. Even the uniform outfits and hair of the typing pool were noticeably inspired touches by Denise McHugh and her costume team.

I found myself wondering how this small company could afford such quality costumes, but more than that, how could they manage a 13-piece live orchestra? I have to add that these musicians played beautifully, and their coordination with the singers on stage appeared to be seamless.

If this show doesn’t earn multiple Elly Awards, there is something wrong with that award system. I found the production so engaging that I’m going back to see how the New York Cast does. If I can see it twice, you should at least see it once. It’s an entertainment gem.

For more information, click here.

P.S. I just saw the New York Cast perform, and they pulled off another great show. Whichever cast you see, you won't be disappointed.

The Gin Game

Surely this offering by Sutter Street Theatre qualifies as a "great local show." It's serious drama, but still loaded with humor. The concept is simple: two residents of a "home for the aged" interact over games of Gin Rummy. But she always wins, and he can't handle it. With two award-winning actors, Hazel Johnson and Stephen Kauffman, and experienced director, Janelle Kauffman, behind this production, the quality of acting is high as tension builds. This Pulitzer Prize-winning play is substantial theater fare, with significant character development and food for thought in its insights into personal relations.

Leading Ladies

This is a genuinely funny show that had me and my fellow audience member laughing throughout. You would have to call this a farce, but it’s a darn well-written farce. But what makes it work are the comedic talents of the extraordinary cast and director. Ryan Adame and Michael Coleman have to be the funniest two men playing both men and women since Tony Curtis and Jack Lemmon in “Some Like It Hot.” But the comedic talents of the rest of the cast are excellent, as well, especially Lindsay Jones, whose acting skills helped make everything work. It’s a pleasant evening’s (or afternoon’s) entertainment with over-the-top hilarity. I’m still laughing.

Gift of the Heart - Homeland

I saw this uplifting and exhilarating show last year, and it promises to be another crowd-pleasing spectacular. The music is provided by the Placer Pops Chorale and the Gift of the Heart Orchestra and Chorus, both under the direction of Lorin Miller, whose high standards of musicianship always deliver a quality event. Presented in the informal setting of the Auburn Library Garden Amphitheater, attendees are encouraged to bring low-backed lawn chairs, blankets, and refreshments -- though vendors are at hand for food and drinks. The program will focus on Americana and patriotic music, and from the response of the crowd I was part of last year, there is little question that those people will make it a Fourth-of-July tradition, so arriving early would be a good idea. Acoustics were good last year, and even though sitting at the back of the amphitheater, I didn't miss anything. It's a great launch for anyone's celebration of the holiday.