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.

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

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

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.

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

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.

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.