Seussical!

(Stand Out Talent, 8-24 to 9-9-12)

It starts with a cute story line that combines Dr. Seuss’most popular fables into a single plot, with clever dialog that incorporates a lot of his rhymes. Then there’s an engaging musical score that gets toes tapping. But what really creates the magic in this production is the energy of the cast: if you could harness it, it would light a city. Every character brims with personality, starting with Cat-in-a-Hat, played to zany perfection by Chelsea Fitzsimmons. But I’m not going to start enumerating these young actors, so many of whom gave over-the-top performances in their fanciful roles, delighting the opening night audience. And when the stage was filled with all 26 players in their bright and fanciful costumes, dancing and singing, it made quite a sensation. The singing itself was solid throughout, but I have to single out Sam Bank as Sour Kangaroo, whose big, stylized voice from that small body was one of the highlights of the evening. The choreography was also a big factor in making this show come alive: it seemed that the actors were always in motion in a diverse repertoire of dance moves. By my estimation the cast ranged in age from about 3 to the 30s (?), but the youngest members of the cast were cute enough to bring tears to the eyes of a sentimental adult. Throughout last night's performance, there were so many delightful touches in staging that demonstrated the creativity of the two professionals behind this production, Jennifer and Jason Bortz. They have put together a show that can’t help but delight the whole family.

The Producers

(From Sutter Street Theatre)

The Producers ran for 6 years on Broadway with 2,502 performances, so there’s no question it is a good show: the plot is engaging, the music makes for good listening, and the writing is witty. But this musical about two oddly matched Broadway producers trying to create a show that is sure to flop succeeds because of the extraordinary array of local talent it showcases. It is wildly funny, with over-the-top, outrageous humor. And chief among the on-stage lunatics is Kevin Caravalho as Max Bialystock, the jaded producer: radiating energy, singing powerfully, and acting with creative intensity every minute he’s on stage. And Caravalho is well paired with Aaron Boyer as Leo Bloom, the timid accountant who becomes Max’s partner, and who is convincing and delightful in this comic role. Then there is Ryan Adame who has performed brilliantly in so many local productions, and once again creates a memorable comic persona in Roger, the director. And let’s not overlook Jacob Goodyear as Roger’s preposterously flamboyant assistant, and Dennis Curry, as Franz, the Hitler-o-phile, whose imposing presence, big voice, and credible German accent make his improbable character believable. But it’s a pity to single out individual cast members because I could see each person in this show giving their all, and embracing with abandon their role (and they all played many roles) in this theatrical mayhem. I have to add, though, that one of Brady Tait’s many characters made me laugh harder than I have in years – and I mean years.

Beyond the individual acting talents, there is so much more that makes this offering of The Producers so entertaining. Connie Mockenhaupt outdoes herself as director and choreographer with wonderfully humorous and creative touches and dance routines. Chris Schlagel plays the piano accompaniment masterfully throughout, and no doubt is largely responsible for the fact that the singing – including the ensemble singing -- is so consistently good. And Eileen Beaver’s costuming is nothing short of amazing for a production on this scale. She puts together so many character-appropriate, quality costumes. And Roger’s entrance in drag is stunning: I’ve seen it, and I can attest that Roger does, indeed, look like the Chrysler Building – as he laments.

This hilariously funny production is intense entertainment from beginning to end. I consider it adult fare, so leave the little ones and early teens at home. But come yourself. It is a manic, tour de force that is likely to attract numerous Elly nominations and awards, and it is not to be missed.

- Dick Frantzreb

Measure for Measure

I have always felt that I needed to read a Shakespearean play before seeing it performed (or at least read a summary) in order to be able to follow the action.That was not necessary for this production from Free Fall Stage, because writer and director, Tana Aivaz Colburn, has taken Shakespeare’s meaning and converted it to a style of English more reminiscent of the writing of Jane Austen. And to make that work better, the play has been moved from 1500s Vienna to England of the early 1800s.And I must say that I was impressed with the quality of the adaptation.It preserved much of Shakespeare’s wit, elegance of expression (in similes and metaphors, for example), – as well as his philosophic observations on life and death, justice and mercy, and sin and righteousness.More importantly, the adaptation gives the actors the opportunity to act (rather than merely recite lines), and there was a lot of outstanding acting, some of the best I’ve seen lately.There was even an heroic attempt to maintain British accents, and though some faded as the play proceeded, several kept their accents consistent.But with or without accent, the words could be easily understood, giving clarity to the play’s action and emotions.

Although the set was static (probably an unavoidable limitation in this venue), the costumes were very well done and added a lot to the theatrical magic.But in the final analysis, the success of this enterprise rested on the writing.There’s no question that much of the enduring appeal of Shakespeare is in the quality of his language, but it can’t be fully appreciated without annotation of the archaic words and obscure references, so some of Shakespeare’s sharpest wit and most brilliant use of language is lost on the unprepared audience.But Ms. Colburn has saved us from this disappointment, and made it easy to follow what is an engaging plot, and appreciate the wisdom and passion that are an important part of what this most famous playwright has given us.This is indeed Shakespeare, and an entertaining introduction to one of his less familiar plays.

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.