Disney's The Little Mermaid, Jr.

This is a reprise of a show that Rocklin Community Theatre ran last spring to sold-out audiences, and I know why. It’s a delightful send-up of one of Disney’s best, with a lot of good music and an engaging fairy-tale plot. My first thought was that the amazing costumes must have been rented, but I see from the program that an army of people are devoted to costuming, so they must be original and if that’s the case, their efforts should garner awards: the costumes were just stunning. That’s not to demean the skills of the young performers. I saw the Seashell cast, and I was struck with the strong, clear voices of all the principals. The acting was uneven, but Marlize Dizon sparkled as Ariel, Jake Young had leading-man charisma as Prince Eric, Angie Reed was wickedly good as Ursula the Sea Witch, and Emily Masnica played Sebastian brilliantly, especially in his two big numbers, “Under the Sea” and “Kiss the Girl.” It was also great fun to watch the Mersisters have fun in their appearances: they rocked every time they were on stage. And not only theirs, but all the choreography was entertaining. I took special note of the audio, which made the songs and dialog crystal clear, something you can’t say for many local productions. This whole ensemble performed beautifully in a show that any family should love.

High Voltage - Holiday Celebration

Although I haven't seen any of their past holiday shows, I have seen several other performances of High Voltage (part of the El Dorado Musical Theatre organization). These young people are all-around entertainers, with professional standards, although no one in the group is over 20 years of age. I have no doubt that this will be another outstanding show. For more background, check my reviews in the Sacramento Choral Calendar at this link: www.sacchoralcalendar.com/Reviews.htm.

Let's Dance - Holiday Spectacular

I wish I could visit more performing arts events in our area, especially dance programs, including high school productions. Last night, I attended Woodcreek High School’s “Let’s Dance – Holiday Spectacular,” and it was indeed pretty spectacular, involving over 100 dance students (including 14 boys) in 30 dance numbers – most choreographed by students. It was a high-energy event with a lot of creativity and grace, and with some outstanding individual performances.

The highlight for me, though, was something completely unexpected. Four of the numbers were choreographed by Jacob Montoya who, I learned afterwards, is beginning to gain a professional reputation as a choreographer 10 years after graduating from Woodcreek High. Two of the dances he choreographed (“In This Shirt” and “Ave Maria”) had amazing power, complexity and creativity. It would have been worth attending just to see those two pieces, but there was much more to this show that made it enjoyable holiday fare.

There is one more thing worth noting. The success of this show rests on the professionalism of Lydia Ajay, the faculty member behind the dance program at Woodcreek High School. I bet that you, as I did, would find it fascinating to read her thoughts about the value of dance instruction in high school, and what it takes to make a program successful. She has put those thoughts into an article in the Oct-Nov-Dec 2012 issue of Perspectives, published by PlacerArts. Copies are available at art galleries and other locations throughout Placer County.

For more information about Woodcreek High School’s “Let’s Dance – Holiday Spectacular,” check their listing in the Placer Performance Calendar at this link: http://perfcal.com/orgs/WoodcreekHS.htm.

Seussical the Musical

Seussical the Musical opened on Broadway in 2000 and has become one of the most performed shows in America. It weaves over a dozen Dr. Seuss books into a single, fast-moving story, with a fun musical score. I had seen this show three times before watching a dress rehearsal of the El Dorado Musical Theatre production last night, and until then, I didn’t realize just how good the music was – or how good the show itself could be. In fact, I can’t imagine the Broadway production being as good as this one, because it was done with adult actors – and this present version, with young people aged 6 to 20, seems truer to the whole idea of the show.

More than that, this production by EDMT is nothing short of dazzling. There are 65 young actors in the show, and when they are all on stage for one of the large ensemble numbers, dancing and singing, it’s truly impressive. But there are so many stunning individual talents on display. The show is double-cast (I saw the Ham Cast), and the only part played by the same individual in both casts is that of Cat in the Hat. It’s a role in which Andrew Wilson is nothing short of brilliant. His acting captures the enigmatic quality of the character, but beyond the acting, his many other talents – singing, dancing, acrobatics, etc. – make him a delight to watch (and listen to). The other principal roles are also played beautifully, but I have to single out Carly Speno as Gertrude McFuzz. I’ve seen her in many roles, but the special energy she puts into this character demonstrates her extraordinary versatility.

And speaking of energy, the stage overflows with it – mostly in the extraordinary choreography. In fact, it seems that the dancing is almost continuous and always fresh. Maybe it’s my memory that is faulty, but I’d swear I saw dance moves that I’ve never seen before. Much of this is done by the small ensembles like the Bird Girls and the Wickersham Brothers, who are all an important part of the fun of this experience. And again the energy: if you have elderly friends, get them to see the show – it will add years to their lives.

Above all, this production is loaded with creativity: sets, costumes, lighting, sound effects, and ideas that I can’t even categorize. There is one surprise after another, each one a delight. The show itself is great fun, with good music and witty writing, but Director and Choreographer Debbie Wilson and her creative associates, along with these young actors, have electrified it. If you think you’ve seen Seussical the Musical before, let me assure you that you haven’t. So here’s my advice: don’t miss this production. It’s pure entertainment from beginning to end – for young and old.

(November 2012)

The Mousetrap

An Agatha Christie murder mystery provides great raw material for good theatre, and this production by the Drama Department at Sierra College crafts that raw material into not just good, but excellent theatre. The experience begins with ominous music playing as the audience enters. Waiting for the play to begin gives ample time to scan the well-designed, elaborate set – an English guest house in the 1950s. As with any Agatha Christie mystery, the question is, who is the murderer? And this well-written, sophisticated play makes nearly every character a plausible suspect. But what makes the suspicion work is the quality of the acting. Some of the players are students, some are clearly older non-students, but they all do a remarkable job of fashioning their character and displaying a wide emotional range. The dialog, complete with credible British accents, is crisp, and the timing of their interplay with each other is precise. Much of this can, no doubt, be traced to the skill of the veteran Director, Michael Hunter. His hand can also be seen in details like the continuous falling snow visible behind the French doors, the howling wind when the doors are opened, and so many other touches that are subtly and inextricably bound into the audience’s experience. At last night’s opening night, I found myself thinking “This is good drama.” I think that will be your conclusion, as well.

(Oct.-Nov., 2012)

Anne of Green Gables

Folsom High School’s Theatre Department has staged a theatrical version of Anne of Green Gables, the 1908 novel, since recast as a movie, a musical, and a TV series – among other formats. It’s the story of an orphan girl who goes to live with a middle-aged brother and sister on a farm on Prince Edward Island, and gradually becomes beloved by them and by the community. It’s a charming, heartening story, charmingly presented. I found it to be a breath of clean, fresh, country air in contrast to today's wide array of urbanized, sophisticated, jaded entertainment options. And Folsom High School has given Anne’s story life in this production, suffused with humanity and gentle humor. What particularly impressed me was the high quality of acting from this large cast. There was hardly a case of woodenly delivering one’s lines. Nearly every actor was “in the moment,”living their part, interacting naturally with each other, and preserving the magic of the unfolding story. Emily Parker’s portrayal of Anne was particularly brilliant, with a consistently high level of energy. At times she seemed almost possessed, and even her intentional overacting was effective. Sets and costumes helped to reinforce the sense of place and time, and the occasional contributions from the off-stage choir were a nice bonus. From beginning to end, this show is a delight, well worth catching one of the remaining performances, if you can.

Into the Woods

(from Roseville Theatre Arts Academy, October 2012)

I’ve seen Stephen Sondheim’s Into the Woods before, and I’ve felt I didn’t like it. The trouble is I hadn’t seen a really good production. And this is not a good production: it is a brilliant one. It is Roseville Theatre Arts Academy’s first show with adult actors, and it is bursting with pent-up creative energy. I was impressed first with the acting from this remarkable assemblage of talent. In particular I was delighted by the characterizations of Little Red Riding Hood by Elizabeth Poore, the Witch by Erin Gabrielle, the Wolf by Tristan Rumery, and the Princes by Rumery and Byron Roope. But the whole cast plays their parts with verve, and it is a special pleasure to watch (and listen to) Christi Axelson as the Baker’s Wife. The clever dialog is great fun, and last night one could tell it resonated with the audience from the frequent laughter.

That brings me to the music. I’ve seen musicals with a few good singers, and quite a few mediocre ones. Not here. These are all strong – sometimes even elegant – singers. I must say that I don’t believe there is a single hum-able tune in the whole show; yet the songs are engaging. Sondheim’s wordy and witty lyrics are delivered almost flawlessly, and I found myself in awe of how individual singers were able to carry out the interplay of the fast-paced snippets of lyrics that they exchange in so many of the songs. Even more impressive is the tight coordination with the pit musicians, led by Music Director Jennifer Vaughn on piano, and whose efforts make the music in this musical such a success.

I should add that the set itself is extraordinary – much more elaborate than I anticipated – and with some delightful, unexpected effects. Another pleasant surprise is the costumes. The quality of so many of the other elements of this show is matched by artistry of the costuming.

The presentation of this well-loved, frenetic, clever, cerebral show that I saw on opening night has to be viewed as a triumph for Director Michelle Raskey, the wonderfully talented cast, and the whole staff who gave their all for this first “Main Stage” production at Roseville Theatre Arts Academy.

- Dick Frantzreb