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.

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.

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.

Music Man Soars at Rocklin Community Theatre

Better than the Macy’s parade, The Music Man at the Rocklin Community Theatre will have you rocking in your seat and raising your arm to lead the band. Composer, Meredith Willson’s score infects your bones and paints a smile on your face that lasts, thanks to the show’s live orchestra of ten musicians led by Peter Kagstrom. Theirs is a sound to keep you humming all the way home.  

The casting, costumes, and choreography – are perfect. Take your seat and be transported back to Iowa, 1912, to see the townsfolk transformed into River City’s Marching Band. Star of the show, the handsome Ryan Adame, con-man and traveling salesman, sings in a rich baritone, dances with importance and confidence as any con-man should, and falls in love with the irresistible Marion, the librarian, so sincerely, you never doubt a word he’s singing. Marian, Madam Librarian, played by Alyssa Ray, radiates beauty, intelligence, kindness and grace, as she beautifully lifts her voice in “Goodnight, My Someone,” and “Till There Was You.” Alyssa Ray floats on the high notes! You’ve got to hear her to feel the chills running up your arms as she sings.

Everyone in this cast is outstanding. Marian’s Irish mother, Lori Thomson, and Marian’s little brother who lisps, Evan Teigland (for this show), will steal your heart.  

Not only are the show’s stars, Ryan Adame and Alyssa Ray, terrific vocalists, but so are the men in the school board quartet, Georgio Selvaggio, Ken Duisenberg, Byron Roope, and Nick Lunetta. And the Pickalittle Ladies will delight and amuse.   

There are too many talented teens and adults to name each one, but every singer and dancer in this Rocklin Community Theatre production of The Music Man is outstanding.  

This show was brought to life by the very talented Gina Threshie, Costume Designer; Christian Savage, Sound & Lighting Designer; and Laura Gailey, Stage Manager. Other talent you don’t see on stage, but who make the whole production as thrilling as it is, who make this show grand, are—Choreographer, Cassie March; Musical Director, Peter Kagstrom, and Director, Jill Page. The Music Man’s merriment dazzles and captivates.

This independent review is by Letha Dawson, Roseville writer, playwright, and musician.

Peter Pan

Peter Pan has arrived. And El Dorado Musical Theatre’s version is not Peter Pan like you’ve ever seen it before. I’m one of those whose memory of Peter Pan goes back to the Disney movie (first run, mind you!) and Mary Martin playing the title role on TV. So when I attended opening night of this production, a lot of the musical numbers were new to me. And the way those musical numbers were staged makes me believe that you could not possibly have seen Peter Pan done like this. Director and choreographer Debbie Wilson works from a script, but I bet it doesn’t tell her how to choreograph the dance numbers – or maybe even whether certain songs should be choreographed. And it is the choreography that puts this show over the top. In every EDMT show I have seen choreography and dance moves that I’ve never seen before – that I couldn’t even have imagined. And this show was no exception. It felt like there was one highly choreographed, high-energy scene after another. It was stunning.

Compared to what was to come, the opening scenes of the show were pretty tame. What stood out to me in the early going was the consistency of the accent in the dialog, pretty much across all the characters. Even Professor Henry Higgins might not have been able to pinpoint what part of England the speakers came from, but they sure didn’t sound like they were from around here and that helped craft the wonderful illusion unfolding on the stage. The illusion was helped by EDMT’s typically elaborate sets, beginning with that of the Darling’s nursery. But the effect of the sets paled in comparison with that of the flying, starting with Peter Pan’s entrance, soaring through an opened window. I think everyone in the theater knew in advance that the actors would be flying, but it’s still impressive when you see it, and there were some delightful surprises that involved actors suspended above the stage.

The first few scenes also helped focus attention on the character of Peter Pan. There is a fascinating back story on the casting and preparations for this show in the online magazine, Stage Pass (click here to open it in a new window). I had read the article before the show, and so I knew something about Kiersten Hunter and what she went through to get ready for this role. Knowing all that, as I watched her perform, I became convinced that it was not a high school girl up there. She didn't speak, sing, act, look, or move like a girl (or even any boy I’ve known). That was Peter Pan. The transformation was perfect.

Of course, Peter Pan is not really a comic character, but so many of the others are: Andrew Wilson was a deliciously evil Captain Hook, and his pirate crew (especially his cousin, Zach Wilson as Mr. Smee) were hilarious, as were the lost boys and the Indians. I think the comedy was enhanced because the audience, many of them enthused EDMT fans, were really charged up. How charged up? Hook enters the stage for the first time, and they boo him. His reaction? “But I haven’t done anything yet!” Surely that wasn’t in the script, but it was one of so many fun moments in this show.

As is always the case with EDMT, the singing was strong, due no doubt in great measure to the efforts of vocal director, Jennifer Wittmayer. I spoke with Kiersten Hunter’s voice teacher at intermission, and I’m sure a lot of special work went into crafting that character singing voice that came through so strongly. But what surprised me most was the ensemble sound when the stage was full, including the youngest performers. It was a pleasing, unified, articulated sound that really delivered in some important numbers.

And speaking of the youngest performers, what impressed me (and the people sitting next to me) even more was their mastery of so much complex choreography. Sixty-plus kids of all ages executing the same sharp moves in almost perfect unison, for minutes on end – while singing – was simply amazing.

Once again, the costuming for an EDMT production was nothing short of inspired. For the pirates and lost boys especially, it looked like Christine Martorana and her associates just let their imagination run wild – except for Captain Hook. His costume seemed to me like a wonderful combination of how Hook appeared in the original Disney movie and the character Dustin Hoffman played in the movie, Hook. And the way they did the crocodile was especially fun, drawing laughs every time he appeared.

I have to end by emphasizing the dancing. The big dance numbers (and there seemed to be more of them in this show than in other recent EDMT shows) were fascinating, engaging and simply stunning. Between the dance numbers and the staging, it sometimes felt like the activity was nonstop: Indians then Lost Boys then pirates then Indians, etc. To me, this was a constant, high-energy visual feast.

There are a lot of shows and concerts I want to see in the coming weeks, but having seen the Neverland Cast, I'm terribly curious to see what the Tinkerbell Cast can do.  If I can see this show twice, and you're still not sure about seeing this show once, please keep this in mind. This is not a holiday kiddie show. This is a major production. And I don’t think there is a jaded adult or a TV-numbed child who would not find it wildly entertaining.

UPDATE:  I saw the Tinkerbell Cast last night and (no surprise) it was the same outstanding show – except that all the actors were different, an amazing feat in itself, considering how complex the action was.  Bethany Wheat's Peter Pan was the same energetic, androgynous, self-confident, character I saw last week, with her own strong singing voice, and with enough differences to be interesting and fun to watch.  Alex Levy was a somewhat taller Captain Hook but with the same swagger and buffoonery I saw before, and Dylan Gray's Mr. Smee was full of his own style of physical comedy.  As he entered for the first time, Hook met the audience's booing with the same "But I haven't done anything yet," so maybe the line was scripted – or maybe it was a clever ad lib from opening night that was worth repeating.  Oh sure, I have my favorites (in both casts), so I'm glad I saw them both.  And the consistent quality of the two casts is yet another tribute to the excellent planning, training, coaching, and directing that characterize every production of the El Dorado Musical Theatre.

The Crucible

For most experienced theater-goers – or even those who were simply paying attention in high school English class – The Crucible is familiar material. Accordingly, a new production is a bit risky because it has to stand comparison with one’s previous experiences of the play. I have been impressed with the quality of acting and creativity in every Falcon’s Eye Theatre production I’ve attended, and I was not disappointed in this one. In fact, it felt like the best version of The Crucible that I’ve seen, an engaging evening of quality drama.

My first impression was of the set, simple but not spare. It and the set pieces that came along strengthened the sense of time and place. The same should be said of the costumes. And there were subtle enhancements via sound and lighting. I’ve seen offerings of The Crucible that came up short in these areas and left too much to the imagination.  By contrast, this was a rich production.

The great excellence of this show, though, was in the acting. The players' voices were clear and strong, and they handled the archaic language naturally and fluidly. I thought their pacing and interactions with each other were near perfect and transparent, and they opened up the tremendous dramatic potential in this Tony Award-winning play.

What’s the best thing you can say about a performance like this? It makes you feel the passion, understand the conflicts on a gut level, and somehow believe that what’s unfolding in front of you is real. That was my experience. It was yet another high-quality production from Folsom Lake College’s Falcon’s Eye Theatre.

The 25th Annual Putnam County Spelling Bee

As I write this, there are only 3 more performances of Sierra College’s production of The 25th Annual Putnam County Spelling Bee, and believe me, it would be a shame if you missed this show. In case you haven’t seen it before, the plot simply revolves around 6 quirky 12-year-old kids participating in a spelling bee. But within that loose framework there is a lot of room for talented actors and singers to create something truly entertaining.

This is a musical, with an excellent 5-piece band (plus conductor) in the pit, and there are 23 or 24 songs in the show. Although none of them have memorable melodies (to me, at least), they were certainly entertaining, and many included creative, fun choreography. In the number called “Pandemonium,” for example, there was literal pandemonium on the stage, and it was nothing short of hilarious. There were also numbers that gave each of the 9 principal actors solo parts, and at those times, I heard many big, listenable voices.

But the acting is what makes this show work, and last night it worked beautifully. The characterizations were each very different, and these young people (far from 12-year-olds, of course) were simply possessed by their characters, ad libbing throughout and keeping the audience laughing throughout the show. Then there was the constant stream of one-liners from the hostess of the spelling bee (giving background on each contestant), and the judge (giving definitions of words and using them in sentences). This show is loaded with comedy potential, and the Sierra College Drama Dept. (and Director and Department Chair, Debra Hammond) exploited that potential to the utmost. So use your DVR to record that TV show that’s so important to you, and come see live theater that is truly outstanding.