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.
Monday, November 25, 2013
Monday, November 11, 2013
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.
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.
Saturday, November 9, 2013
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.
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.
Monday, October 28, 2013
Young Frankenstein (Stand Out Talent)
People love this show. Why? First, Mel Brooks’ 1974 movie of the same name has become a cult classic, the kind of movie you want to own and watch again every few years. And this musical version captures so much of what its fans like about the movie. Then it turns the best comic moments of the film into wonderful, witty songs, and brings those movie memories to life in front of you on the stage.
Predictably, there was so much to like about Stand Out Talent’s send-up of “Young Frankenstein” at last night's opening. Steve Campbell was solid in the role of Frederick Frankenstein, with believable acting, a good comic sense, and quality singing that came through even when his body mic failed for much of the second half of the show. And Jennifer Bortz played to the hilt the role of his self-absorbed fiancée, Elizabeth Benning – with her typical strong singing. Then there was Mary Young as Frau Blucher who put enormous energy into her big number, “He Vas My Boyfriend.”
Indeed, there was strong characterization in many of the parts, but Spencer Peterson’s Igor was truly inspired. To me, he rivaled Marty Feldman’s portrayal of Igor in the movie. Apart from solid acting and singing, the way he moved was brilliant. His antics delighted the audience whenever he was the focus of attention.
This show was all about brains, and no doubt it was the fertile brain of director, Jason Bortz, that helped the actors make the most of the comic potential of the script, adding creative touches that could not have been in the original stage directions. (I’m thinking of the interminable door-locking sounds when Frederick is locked in with the Monster.) There were more wonderful staging ideas that I don’t want to disclose because they will shock you (in a good way) when you see the show. Suffice it to say that one involved brains (again!). Another had to do with what the Monster was capable of. (It was amazing!)
Speaking of the Monster, Joe Calavita – at 6 feet, 10 inches tall – was just about perfectly cast in the part, and he obviously had a lot of fun with it. Furthermore, his costume and make-up were so impressive that, after the show, people were clamoring to have their picture taken with him.
The music was prerecorded, and as she usually does, Jennifer Bortz came through with some exhilarating and creative choreography for numbers like “Transylvania Mania” and “Please Don’t Touch Me” and “Puttin’ On the Ritz.” Predictably, there were some opening night glitches: a scene had to be restarted, and there were often times when the volume of the sound track was such that one couldn’t make out the words being sung. Actually, I was kind of glad of that because it seemed that the lyrics were sometimes too bawdy for the few children in the audience. (Think twice before bringing small children or maybe even early teenagers to the show.)
But none of that takes away from the fun to be had with “Young Frankenstein.” This is now the third time I’ve seen this show in just the past six months, and I’d go again. Each production I’ve seen had something special and unique about it. This one certainly did, and the audience must have agreed, as evidenced by their quick standing ovation when the final bows began.
Predictably, there was so much to like about Stand Out Talent’s send-up of “Young Frankenstein” at last night's opening. Steve Campbell was solid in the role of Frederick Frankenstein, with believable acting, a good comic sense, and quality singing that came through even when his body mic failed for much of the second half of the show. And Jennifer Bortz played to the hilt the role of his self-absorbed fiancée, Elizabeth Benning – with her typical strong singing. Then there was Mary Young as Frau Blucher who put enormous energy into her big number, “He Vas My Boyfriend.”
Indeed, there was strong characterization in many of the parts, but Spencer Peterson’s Igor was truly inspired. To me, he rivaled Marty Feldman’s portrayal of Igor in the movie. Apart from solid acting and singing, the way he moved was brilliant. His antics delighted the audience whenever he was the focus of attention.
This show was all about brains, and no doubt it was the fertile brain of director, Jason Bortz, that helped the actors make the most of the comic potential of the script, adding creative touches that could not have been in the original stage directions. (I’m thinking of the interminable door-locking sounds when Frederick is locked in with the Monster.) There were more wonderful staging ideas that I don’t want to disclose because they will shock you (in a good way) when you see the show. Suffice it to say that one involved brains (again!). Another had to do with what the Monster was capable of. (It was amazing!)
Speaking of the Monster, Joe Calavita – at 6 feet, 10 inches tall – was just about perfectly cast in the part, and he obviously had a lot of fun with it. Furthermore, his costume and make-up were so impressive that, after the show, people were clamoring to have their picture taken with him.
The music was prerecorded, and as she usually does, Jennifer Bortz came through with some exhilarating and creative choreography for numbers like “Transylvania Mania” and “Please Don’t Touch Me” and “Puttin’ On the Ritz.” Predictably, there were some opening night glitches: a scene had to be restarted, and there were often times when the volume of the sound track was such that one couldn’t make out the words being sung. Actually, I was kind of glad of that because it seemed that the lyrics were sometimes too bawdy for the few children in the audience. (Think twice before bringing small children or maybe even early teenagers to the show.)
But none of that takes away from the fun to be had with “Young Frankenstein.” This is now the third time I’ve seen this show in just the past six months, and I’d go again. Each production I’ve seen had something special and unique about it. This one certainly did, and the audience must have agreed, as evidenced by their quick standing ovation when the final bows began.
Sunday, October 13, 2013
Fiddler on the Roof
Having been very impressed with last year’s production of “Into the Woods” by the Roseville Theatre Arts Academy, I was expecting a good show when I attended opening night of “Fiddler on the Roof.” I was prepared for another good show, not a great show – but that’s what I got. It was an eyeful and an earful. The large cast, of all ages, often spilled over the stage, and the 6-piece pit orchestra sounded like a much larger group, and completely professional. Even the set and props – and especially the costumes – were so well done that it was easy to believe I was peeking in on the real town of Anatevka. And starting the show with a real fiddler on a real roof underlined the attention to detail that characterized this production.
The acting was excellent throughout. There were some excellent characterizations – the pushy, talkative Yente the Matchmaker was one of my many favorites. The dialog of this show, especially, is so clever, and these actors really made it work to great comic effect. But the key to any production of “Fiddler” is the character of Tevye, and Mike Mechanick played it to perfection. He had a bit of an accent and a speaking and singing voice that had great range. He even had dance moves that delighted the audience. But his performance was more than the sum of these elements. He just lived the part. And though I’ve seen Zero Mostel and Topol in this role, from now on when I think of the real Tevye, in my mind I’ll be seeing Mike Mechanick.
I have to mention the sisters (Tzeitel, Hodel and Chava), too. They were simply dazzling in their singing, dancing and acting; just a delight to watch every time they were the focus of the action. And speaking of dancing, the choreography of this show was of prize-worthy calibre. “Fiddler” is full of dancing, but what I saw in scene after scene was movement that was fresh, engaging – and highly entertaining. I had not seen Gino Platina’s work before, but from now on I will certainly be alert to any production he has a hand in.
The show was full of subtle touches – gestures, sotto voce comments, facial expressions – most of them presumably director’s touches, and they made this an inspired production that really communicated. Director Michelle Raskey deserves enormous credit for so many creative staging ideas. In particular, the scene of Tevye’s dream was over-the-top brilliant, with wonderfully chaotic choreography and singing and playing from the orchestra. And what can I say about the appearance of Fruma-Sarah, Lazar Wolf’s deceased wife? It was shocking, stunning – I’m still amazed that they pulled it off so well.
OK, I’m sitting the audience, completely familiar with the show, following the action in the story, and I’m asking myself, What is it that is bringing me to tears? Somehow, I think it was the authenticity of this production of a show that I have loved for many decades. So many parts of it were so perfect – not an imitation, but an inspired, accurate reproduction of what was so great about earlier stagings of this masterpiece of musical theatre. But most of all it was full of heart. I felt that the players loved this show as much as I have and put their love into each aspect of the production. It was more than a night at the theater; it was an experience, and a very satisfying one.
The acting was excellent throughout. There were some excellent characterizations – the pushy, talkative Yente the Matchmaker was one of my many favorites. The dialog of this show, especially, is so clever, and these actors really made it work to great comic effect. But the key to any production of “Fiddler” is the character of Tevye, and Mike Mechanick played it to perfection. He had a bit of an accent and a speaking and singing voice that had great range. He even had dance moves that delighted the audience. But his performance was more than the sum of these elements. He just lived the part. And though I’ve seen Zero Mostel and Topol in this role, from now on when I think of the real Tevye, in my mind I’ll be seeing Mike Mechanick.
I have to mention the sisters (Tzeitel, Hodel and Chava), too. They were simply dazzling in their singing, dancing and acting; just a delight to watch every time they were the focus of the action. And speaking of dancing, the choreography of this show was of prize-worthy calibre. “Fiddler” is full of dancing, but what I saw in scene after scene was movement that was fresh, engaging – and highly entertaining. I had not seen Gino Platina’s work before, but from now on I will certainly be alert to any production he has a hand in.
The show was full of subtle touches – gestures, sotto voce comments, facial expressions – most of them presumably director’s touches, and they made this an inspired production that really communicated. Director Michelle Raskey deserves enormous credit for so many creative staging ideas. In particular, the scene of Tevye’s dream was over-the-top brilliant, with wonderfully chaotic choreography and singing and playing from the orchestra. And what can I say about the appearance of Fruma-Sarah, Lazar Wolf’s deceased wife? It was shocking, stunning – I’m still amazed that they pulled it off so well.
OK, I’m sitting the audience, completely familiar with the show, following the action in the story, and I’m asking myself, What is it that is bringing me to tears? Somehow, I think it was the authenticity of this production of a show that I have loved for many decades. So many parts of it were so perfect – not an imitation, but an inspired, accurate reproduction of what was so great about earlier stagings of this masterpiece of musical theatre. But most of all it was full of heart. I felt that the players loved this show as much as I have and put their love into each aspect of the production. It was more than a night at the theater; it was an experience, and a very satisfying one.
Tuesday, October 8, 2013
13 the Musical
This was the sixth time I’ve seen a production of “13, the Musical” in recent years, and I have some great memories of past shows. But I was really looking forward to Rocklin Community Theatre’s version because it’s fundamentally a great show. I’ll confess, though, that I was a little nervous, sitting in the dark and waiting for it to begin. I was nervous because, to me, the show depends on the main character of 13-year-old Evan, and I’ve seen some Evans who weren’t quite credible in the role. But when the lights went up, this Evan (Brett Young) seized control of the stage and went into his first song with such confidence and style that my anxieties were put to rest.
Brett is really13 (and most of the kids in the cast could at least pass for 13), and from that first number, I was impressed with his strong voice. Actually, I have to add that I heard many remarkably good solo voices last night. I’ve seen productions that suffered from the vocal limitations of good young actor, but there was none of that here. Not all the singers were equally strong, but hey, they’re supposed to be 13 years old, so a slightly immature voice is realistic. That said, I heard half a dozen kids who had really outstanding voices. And when they put that song across in character, it was real musical theater.
The musical score of this show is one of its great strengths. It’s mostly rock music, and, to me, it was toe-tapping fun from beginning to end. And the 6-piece band really rocked. But so did the kids. There was a lot of cute choreography, and the kids really got into it. The dance moves weren’t always in perfect synchronization, but it seemed to me that each young performer was inspired – sometimes even possessed.
Speaking of choreography, it’s obvious that every director has many opportunities for putting their own creative stamp on a production – sometimes a brilliant one. For example, I’ll never forget the dancing rabbis in Placer High School’s production of “13” a few years ago. In this show, a similar highlight was “Being a Geek.” Actually, this number wasn’t even included in some of the recent productions of “13” that I’ve seen. But last night, I was artfully staged and screamingly funny. Years from now, I’ll remember this number. If they had it on YouTube, I’d watch it again and again.
Last night I was aware that there was hardly any set or set pieces, and the scene was mostly created by a projected image on a screen to the right of the main stage. But in the final analysis, it didn’t matter. The main thing, apart from the music, was the wonderful comedy, and it seemed to me that these young actors (guided by their directors, of course) capitalized on the potential of each comic opportunity. It may have been the sixth time I’d seen the show, but I laughed all the way through.
To me, the casting was very nearly perfect. I was about to mention the kids individually, but I stopped when I recalled that this show is mostly double-cast. I saw the New York Cast, but I bet the Indiana Cast is as fun to watch as the players I saw last night. Not only was the acting strong, but there were various points in the show where an ensemble member or minor character had the opportunity to dance or sing out front, and I could see that the talent in this production ran deep.
Eventually the action drew to a close, and all the players took their bows. Those of us in the audience applauded enthusiastically, thinking it was all over. But they gave us one more big encore so full of energy and joy that we were all on our feet before it was completely over. This last number – like the whole show – was dazzling. And of the six productions I’ve seen, I think it will rank as my favorite.
Brett is really13 (and most of the kids in the cast could at least pass for 13), and from that first number, I was impressed with his strong voice. Actually, I have to add that I heard many remarkably good solo voices last night. I’ve seen productions that suffered from the vocal limitations of good young actor, but there was none of that here. Not all the singers were equally strong, but hey, they’re supposed to be 13 years old, so a slightly immature voice is realistic. That said, I heard half a dozen kids who had really outstanding voices. And when they put that song across in character, it was real musical theater.
The musical score of this show is one of its great strengths. It’s mostly rock music, and, to me, it was toe-tapping fun from beginning to end. And the 6-piece band really rocked. But so did the kids. There was a lot of cute choreography, and the kids really got into it. The dance moves weren’t always in perfect synchronization, but it seemed to me that each young performer was inspired – sometimes even possessed.
Speaking of choreography, it’s obvious that every director has many opportunities for putting their own creative stamp on a production – sometimes a brilliant one. For example, I’ll never forget the dancing rabbis in Placer High School’s production of “13” a few years ago. In this show, a similar highlight was “Being a Geek.” Actually, this number wasn’t even included in some of the recent productions of “13” that I’ve seen. But last night, I was artfully staged and screamingly funny. Years from now, I’ll remember this number. If they had it on YouTube, I’d watch it again and again.
Last night I was aware that there was hardly any set or set pieces, and the scene was mostly created by a projected image on a screen to the right of the main stage. But in the final analysis, it didn’t matter. The main thing, apart from the music, was the wonderful comedy, and it seemed to me that these young actors (guided by their directors, of course) capitalized on the potential of each comic opportunity. It may have been the sixth time I’d seen the show, but I laughed all the way through.
To me, the casting was very nearly perfect. I was about to mention the kids individually, but I stopped when I recalled that this show is mostly double-cast. I saw the New York Cast, but I bet the Indiana Cast is as fun to watch as the players I saw last night. Not only was the acting strong, but there were various points in the show where an ensemble member or minor character had the opportunity to dance or sing out front, and I could see that the talent in this production ran deep.
Eventually the action drew to a close, and all the players took their bows. Those of us in the audience applauded enthusiastically, thinking it was all over. But they gave us one more big encore so full of energy and joy that we were all on our feet before it was completely over. This last number – like the whole show – was dazzling. And of the six productions I’ve seen, I think it will rank as my favorite.
Monday, August 26, 2013
The Wiz
If you think that The Wiz needs an all-black cast to be really entertaining, think again. Jennifer Bortz of Stand Out Talent has once again worked her magic with a cast ranging from very young children to adults (including at least one entire family) to put on a high-energy show that should please everyone. And that “everyone” includes children. The night I saw the show, I’d say that one-third of the audience were under 18, with lots of very small children. I couldn’t help thinking, “These kids are going to grow up loving live theater.” Giving that gift to the children in the cast and in the audience is one of the reasons why Stand Out Talent is a community treasure.
The children in the audience might not have gotten the clever dialog and contemporary humor in this retelling of The Wizard of Oz, but they had to have been dazzled by the over-the-top costumes and make-up, especially those of the witches and Dorothy’s three “friends.” Speaking of Dorothy, it's her character that is critical to making this show work, and Madyson Mazzola delivered, with consistently good acting and the biggest singing voice you ever heard from a 13-year-old. And how about those "friends"? The characterizations of the Scarecrow, Tin Man and Lion – played by Ryan Knox, Craig Perra and Eddie Nason – were a delight. And I was amazed to learn that it was the first time for each of them to play a leading role. Nason, in particular, made me laugh to the point of tears. There was humor, too, in the disembodied voice of The Wiz, performed by Jason Bortz. It showed that you don't have to have someone to look at to experience great acting.
The ensemble numbers were a high point of this show, with its large cast. I’m not sure who was the very young man who led the singing in “Ease on Down the Road,” but his voice and charged-up personality really put that song over. Another show-stopper for me was “Don’t Nobody Bring Me No Bad News,” in which Sidney Raey was a wonderfully evil (and talented) Wicked Witch of the West.
The ensemble numbers, of course, highlighted the outstanding choreography (and some excellent individual dancing) of this show. Throughout the evening, I saw so many evidences of Jennifer Bortz’ creativity, but the innovative choreographic ideas were among the most interesting. (Wait till you see how the tornado was choreographed!) It’s because of all those creative touches that I’m confident in saying that you could never see The Wiz produced like this again. Check it out before this short run closes. And bring the kids: you’ll all have fun.
The children in the audience might not have gotten the clever dialog and contemporary humor in this retelling of The Wizard of Oz, but they had to have been dazzled by the over-the-top costumes and make-up, especially those of the witches and Dorothy’s three “friends.” Speaking of Dorothy, it's her character that is critical to making this show work, and Madyson Mazzola delivered, with consistently good acting and the biggest singing voice you ever heard from a 13-year-old. And how about those "friends"? The characterizations of the Scarecrow, Tin Man and Lion – played by Ryan Knox, Craig Perra and Eddie Nason – were a delight. And I was amazed to learn that it was the first time for each of them to play a leading role. Nason, in particular, made me laugh to the point of tears. There was humor, too, in the disembodied voice of The Wiz, performed by Jason Bortz. It showed that you don't have to have someone to look at to experience great acting.
The ensemble numbers were a high point of this show, with its large cast. I’m not sure who was the very young man who led the singing in “Ease on Down the Road,” but his voice and charged-up personality really put that song over. Another show-stopper for me was “Don’t Nobody Bring Me No Bad News,” in which Sidney Raey was a wonderfully evil (and talented) Wicked Witch of the West.
The ensemble numbers, of course, highlighted the outstanding choreography (and some excellent individual dancing) of this show. Throughout the evening, I saw so many evidences of Jennifer Bortz’ creativity, but the innovative choreographic ideas were among the most interesting. (Wait till you see how the tornado was choreographed!) It’s because of all those creative touches that I’m confident in saying that you could never see The Wiz produced like this again. Check it out before this short run closes. And bring the kids: you’ll all have fun.
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