Saturday, September 14, 2019

Mamma Mia

“Mamma Mia,” now in its 21st year, was groundbreaking. The popularity of this “jukebox musical” based on the music of ABBA sparked a raft of similar musicals featuring the music of other musicians — like “Jerseys Boys” (music of The Four Seasons), “Beautiful” (Carol King), “Ain’t Too Proud” (The Temptations) and dozens of others. The stories are sometimes contrived in order to fit in as many songs by the featured musicians as possible.

“Mamma Mia” appears to be having renewed popularity. There have been several productions of it in the Bay Area and at least three in the Sacramento area in the last couple of months. And now a joyous production has opened on the Davis Musical Theatre Company stage.

Directed by Steve Isaacson, with choreography by Kyle Jackson and a cast of 40, this production is spectacular. (Never let it be said one cannot dance in swim fins!)

In 1999, Catherine Johnson decided to take 22 of the best-known ABBA songs (written by Benny Andersson and Björn Ulvaeus) and weave a story around the lyrics. Even if you think you don’t really know ABBA music, you’ll be surprised at how many tunes you’ll recognize — and if you are an ABBA fan this is a must-see show.

The story centers around single mother Donna Sheridan (Andrea Eve Thorpe) raising her daughter Sophie (Abby Lambert) on the Greek island where Sophie was conceived, the product of a liaison with one of three men. Donna has built herself a successful taverna and has no need of a man in her life.

But Sophie is about to be married to Sky (Kyle Jackson) and she wants her real father to give her away. Having snooped through Donna’s diary, she invites three men — Harry Bright (AJ Rooney), Bill Austin (David Muerle) and Sam Carmichael (Tate Pollock), all of whom had relations with Donna around the time of Sophie’s conception — to her wedding, unbeknownst to Donna. The men all arrive, thinking Donna has invited them. Sophie wants her real father to walk her down the aisle.
Also attending the wedding are Donna’s two friends, her back-up singers when the three were Donna and the Dynamos. Tanya (Laura M. Smith) and Rosie (Kasper Cummins) are delightful comediennes, and those costumes were great fun.

(The program gives an ABBA fun fact about those marvelous costumes. They were an easy way to save on the group’s tax bill. ABBA exploited a Swedish law which meant clothes were tax deductible if their owners could prove they were not used for daily wear.)

Andrea Thorpe gives a powerful performance as Donna and gets cheers for her very emotional “The Winner Takes it All.”

As Sophie, Abby Lambert is winsome and engaging, as is her fiancé Sky (Kyle Jackson), whose short shorts make him look leggy and somehow younger than he really is.

The three possible fathers are fun. Harry’s (Rooney) secret is suggested in his various costume changes. Bill (Muerle) is the adventurer, the first to accept Sophie as his daughter, while his duet with Rosie (Cummins) is great. Sam (Pollock) is the love of Donna’s life and, despite a marriage and children of his own, is obviously still in love with her.

Everyone in the show learns something about themselves and the wedding itself, though not quite as planned, is worth the two-act wait.

The three “bows” numbers — tacked on at the end because there was no place in the plot to put them — are great fun and have the audience standing and waving their arms along with the cast.

Do I recommend this production? Of course I do, I do, I do, I do, I do.

Monday, August 19, 2019

Yeomen of the Guard

“Yeomen of the Guard,” the 10th Gilbert and Sullivan collaboration is, strictly speaking, not a comic opera – it is a tragedy.  In fact, Gilbert & Sullivan themselves never called it a “comic opera” but rather “an entirely new and original opera.”

That’s not to say it’s not funny.  It’s very funny, but mostly gallows humor, since the entire story is about death.  It deals with beheadings, traveling performers,, mistaken identity, overlapping romances,...and not everybody lives happily ever after.

“Yeomen” has some of the most magnificent Sullivan music, and Light Opera Theater of Sacramento performs it magnificently.  With a 30 piece orchestra, under the direction of Anne-Marie Endres, which knows when to let the music soar (when no one is singing) and when to keep it low so the voices can be heard over the instruments, the orchestra alone is worth the price of admission.

And trust me, you want to hear those voices!  Robert Vann (double cast with Anthony Tavianni) is Colonel Fairfax, a man, wrongly accused, who marries a randomly chosen, blindfolded woman to divert his fortune away from the cousin who wrongly accused him.  He is one of those performers whose first appearance on stage makes you sit up wondering where he’s been all his life.  One place he’s been is performing with San Francisco’s Lamplighters, with whom he performed the role of Fairfax several years ago.  His performance is outstanding.

Timothy Power is quite good as Sir Richard Chomondeley, tasked by Fairfax to find him a bride before his beheading.

Carley Neill (double cast with Jadi Galloway) is Elsie Maynard, who comes to the Tower of London with jester Jack Point (Charlie Baad) to earn some money by entertaining the people.  Her mother is ill so when she is offered 100 crowns to marry the condemned Fairfax, she agrees, knowing that within an hour she will be a widow.  Neill’s voice is as outstanding as Vann’s and the two make the perfect pair.

The focus of the story, however, is Jack Point himself.  Baad gives a good performance, one of his most poignant moments being “A private buffoon,” wherein he describes the life of a funny man who must entertain no matter what tragedies are going on in his life.  “They’re exceedingly kind...they don’t blame you as long as you’re funny,” he sings, dripping irony.  The end of the story for Point has been the subject of debate among Gilbert & Sullivan fans ever since it was first written in 1888.

Sergeant Meryll, of the Yeomen of the Guard, is played by Mike Baad.  He succeeds in helping Fairfax escape, with the assistance of daughter Phoebe (Rikki Pratt, alternating with Paige Kelly).

Wilfred Shadbolt (Eric Piotrowski), the head jailer and assistant tormenter) has his eye on Phoebe, who uses that knowledge to find a way to help her father free Fairfax.  Wilfred is convinced that if Point can be a jester, he can too and their “Cock and Bull” is very funny.

Lenore Sebastian, familiar to Davis audiences, is Dame Carruthers, born and raised in the Tower and now its housekeeper, fiercely proud of its workings (“When our gallant Norman foes”), She is furious that a prisoner has escaped and nobody can find him. 

Rebecca Cox is her niece Kate.  The character exists mostly to add a fourth voice to the lovely madrigal “Strange Adventures.”

Scenic Designer Dwayne Slavin has made the most of the small stage with a lovely Tower of London, and Theresa Vann Stribling has credit for the lovely costumes, though the striking yeomen’s uniforms are from Valley Light Opera.

This rarely performed production, directed by Mike and Debbie Baad, is one of the best I’ve seen from Light Opera Theatre of Sacramento.  From the wonderful orchestra to the strong chorus to the beautiful visuals to the perfectly cast principals.

If you’ve been missing Gilbert & Sullivan, this is definitely one you’ll want to see.

Saturday, August 17, 2019

The Wiz

“The Wiz,” now at Music Circus, is a joyous, energetic, audience-pleasing musical with a cast that is mostly Equity members. The result is spectacular.

The history of this musical is older than one would think. Author L. Frank Baum always thought his “The Wonderful Wizard of Oz” would make a good musical and, in fact, a musical was first presented in Chicago in 1902 and played for 12 sold-out weeks. It opened on Broadway in 1903 and ran for 18 months, and productions were held around the country.

However, it was not until 1939, when MGM created the iconic movie that we all know so well, that we formed our visions of what the story should look like. We all know what Munchkins are, that Dorothy follows a yellow brick road with her dog Toto, and that she wears the ruby slippers of the wicked witch whom she accidentally kills.

In the 1970s, disc jockey Ken Harper imagined what the story would be like if the cast were all African-American. With financial backing from 20th Century Fox, he selected playwright William F. Brown and songwriter Charlie Smalls to create a new script using the urban vernacular and music that was a mixture of R&B, soul and gospel.

After a 1974 opening in Baltimore and lots of tweaking, it opened on Broadway in 1975 and received mixed reviews, negative from the traditionalists and more positive from other critics. It went on to receive seven Tony awards, including Best Musical. This is the show that is now gracing the Music Circus stage and leading to a standing ovation from an enthusiastic audience.

There are great special effects, including a marvelous tornado. Music Circus also makes the best use (so far) of its new projection screens that surround the stage.

There is no “Over the Rainbow,” but Auntie Em (Christine Acosta Robinson) opens the show with a warm, wonderful “The Feeling We Once Had.” (Robinson briefly appears later in the show as the wonderful Glinda the Good Witch in a gorgeous costume.)

Toto appears very briefly, but Dorothy (Adrianna Hicks) makes the trip to Oz alone.

There is no gathering of little people to play Munchkins, but the costumes for the chorus are unique and they are led by Addaperle (Terry Burrell), the Good Witch of the North. Burrell, like Robinson, displays a magnificent voice and is dressed in another gorgeous costume (kudos to costume coordinator, based on the designs of Paul Tazewell).

As Dorothy “eases on down the road,” she meets the Scarecrow (Kevin Smith Kirkwood, returning to Music Circus after his starring role in “Kinky Boots” on Broadway), the Tin Man (James T. Lane) and the Lion (Phillip Boykin). Boykin has a magnificent voice which could easily shine in the opera world.

It is the Lion alone who gets hypnotized by the Poppy Girls.

Arriving in Oz, they must fight the royal gatekeeper (Jeff Gorti), determined to keep the quartet away from the Wizard until he sees that Dorothy is wearing the silver slippers from the Witch of the East (MGM changed the color of the slippers to “ruby” because they photographed better).

Alan Mingo Jr. is The Wiz and promises to grant their wishes if they will do one simple thing for him — kill Evillene, the Wicked Witch of the West. The encounter with the witch is surprisingly short, but Zonya Love makes the most of it.

The unmasking of the Wizard isn’t done by Toto but by a uniquely Music Circus effect, which is very clever.

Glinda encourages Dorothy to “Believe in Yourself,” and with clicks of her silver slippers, she is once again back in Kansas in the arms of Auntie Em, who must have had a very quick costume change.

This whole production, directed by Glenn Casale, with musical direction by Darryl Archibald, making his Music Circus debut, is simply a delight and a good choice for all ages. The theater was nearly filled on opening night, so tickets are selling well.

Thursday, August 08, 2019

Peter and the Starcatcher

Acme Theatre Company traditionally does three shows a year: an intimate drama in January, a free comedy in the park in May and a large show where everyone gets cast in the summer. Acme members are in the ninth to 12th grade, so their time in the company is only three to four years and every few years, there is a new crop of actors. In the past, the years where the bulk of the cast are new to the company, the shows are less polished than they will be two to three years later.

Happily, “Peter and the Starcatcher,” directed by Emily Henderson, is the exception to that rule. With more “new” people in the cast than “old,” this “Peter” is outstanding. The show is double-cast, and I saw the performance on opening night. You would have thought it was a cast of veteran Acme actors.

Adapted by Rick Elice from Dave Barry and Ridley Pearson’s 2004 children’s novel, this play tells the story of how a nameless, angst-ridden orphan became the immortal Peter Pan. The (air-conditioned) Wyatt Pavilion became a magical place, without the use of many fancy technical tricks. Sets were created using ordinary rope, a couple of ladders, a few household appliances, a couple of boxes, and, most important, the actors themselves.

In “Peter and the Starcatcher,” the young orphan and his mates are sent on a ship from Victorian England to a distant kingdom ruled by an evil king. There are some marauding pirates, a jungle tyrant, less-than-willing comrades and unlikely heroes. Best of all, there is a mysterious trunk in the captain’s cabin, which contains precious, otherworldly cargo. At sea, the boys are discovered by a precocious young girl named Molly, a starcatcher-in-training who realizes that the trunk’s precious cargo is star stuff, a celestial substance so powerful that it must never fall into the wrong hands.

Jordan Hayakawa is excellent as “boy,” who would later acquire the name Peter (Hayakawa alternates with Garnet Phinney in the role). We first meet him and his two friends Prentiss (Odie Lopez/Antonia Zaragoza-Smith) and the food-obsessed Ted (Sara Su/Gavin Pinnow) on a ship named The Neverland.

Molly (Megan Abbanat/Fiona Ross) is the daughter of an English Lord (Julie Knoepfler/Lee Libbet), and herself an apprentice starcatcher, a group of people dedicated to stopping the power of the star stuff from being used for evil. The two overcome bands of pirates and thieves in their quest to keep a magical secret safe and save the world from evil.

Molly’s father, on the ship The Wasp is a starcatcher and is guarding a trunk filled with magical star stuff to prevent pirates from stealing its treasure. Grey Turner is outstanding as the pirate Black Stache (alternating with James Hayakawa) and has one of the best moustaches ever, a trademark of his family.

Black Stache’s faithful first mate is Smee (Jemima Aldas/Wren Arellano)

Peter and Molly manage to dump the trunk into the ocean and jump overboard during the confusion of a storm. After the storm, everyone and the trunk wash ashore on an island inhabited with hostile natives and a giant crocodile (one of the most clever crocodiles you’ll ever see on stage, created using the plainest of materials).

The island natives are Cypher McIlraith/Rylan Valdepena as Fighting Prawn, Allie Gunther/Anja Nittner as Hawking Clam and Kira Cubbage as Teacher in both productions.

While not strictly a musical, there is a three-piece band, directed by music director Oliver Steissberg, for a couple of musical numbers.

Sophia Nachmanoff and Emma Larson are credited with costumes, and what a delightful assortment of colorful costumes they are!

Henderson’s direction results in a tight cast with no lapses in the action. The two hours pass quickly. This is a show that will delight adults and children alike.

Saturday, July 27, 2019

Guys and Dolls

There are people who love Shakespeare and people who love Jane Austen. I love musical theater. I’ve loved musical theater all of my life. There are some shows I like better than others.

“Guys and Dolls,” currently at Music Circus, was never one of my favorites. It’s OK. I’ve seen the movie several times and have reviewed the stage show five times and was never blown away — until I saw this Music Circus production.

My word, is it wonderful!! I may have to move the show into my “favorites” category.
This musical by Jo Swerling and Abe Burrows — based on short stories by Damon Runyon, with music and lyrics by Frank Loesser — is set on the streets of New York in the 1940s, and the characters are so stereotypically delicious that we can’t help falling in love with them.

These are the lowlifes, gamblers, showgirls and gangsters, and the Salvation Army-like missionaries who try to save their souls.

While everyone in the show is terrific, the real “star” of the show is choreographer Michael Lichtefeld, who has created fabulous dance numbers that blend seamlessly with the storyline. Particularly wonderful was the dance during the overture.

Kudos also to costume designer Marcy Froelich for all those terrific 1940s “gangsta” costumes, especially the wonderful striped suit of Nathan Detroit (Jeff Skowron), desperately trying to find a place to hold his “oldest established floating crap game” in New York, now that Lieutenant Brannigan (Ron Wisniski) is hot on his tail and has managed to seal up all the “usual” places.

It is particularly necessary to find a place to accommodate “Big Jule,” in from Chicago and ready to play. Jerry Gallagher is a wonder. Head and shoulders above everyone else, he is a talented hulk who personifies someone named “Big Jule” and the actor’s bio says he has played this role all over North America and Europe and even on a cruise ship.

Into the world of the dedicated gamblers come the Salvation Army-type missionaries, trying to win souls for God, especially naive, idealistic Sarah Brown (Ali Ewoldt), under the guidance of paternal Arvide Abernathy (Lenny Wolpe), whose love for Sarah is expressed beautifully in “More I cannot wish you.”

Charming gambler Sky Masterson (Edward Watts), who has a girl in every port, sets his sights on Sarah.

From the first moment of their meeting, sparks fly between the two actors and the chemistry is magic.

Detroit has been engaged for 14 years to the long-suffering Miss Adelaide (Lesli Margherita), a singer and dancer at The Hot Box; she’s beginning to worry that they’ll never get married. Adelaide only dreams of settling down in a real home with Nathan.

Their duet, “Sue Me,” is a true crowd-pleaser.

There is a whole stable of wonderful cast members, led by Michael Paternostro as Benny Southstreet, Carlos Lopez as Harry the Horse, and Evan Harrington as Nicely-Nicely Johnson, who delivers the show-stopping “Sit Down, You’re Rockin’ the Boat.”

The popularity of, and enduring affection for, Frank Loesser’s “Guys and Dolls” is easily seen in its award history. It swept the Tonys in 1951, the year it opened on Broadway (where it ran for 1,200 performances), winning not only “Best Musical,” but also awards for Best Actor, Actress, Director and Choreographer.

It had nominations again for Best Actor (Jerry Orbach) in 1965 and was nominated in 1977 for Best Revival of a Musical.

In 1992, it again won an award for Best Revival of a Musical, as well as awards for Director, Choreographer and Actress, with four additional nominations for the revival. In 2009, it was again nominated for Best Revival.

Various productions also hold Drama Desk awards, Olivier awards and Helpmann awards. It was picked to receive the 1951 Pulitzer Prize but because Burrows had been investigated by the House Unamerican Activities Committee, the trustees of Columbia University chose to withhold the award, so no Pulitzer for drama was awarded that year.

Guys and Dolls has a number of familiar tunes (“I’ll Know,” “I’ve Never Been in Love Before,” “If I Were A Bell,” “Luck Be A Lady”). It would be surprising if the audience did not emerge humming one of them at the end of the evening.

Friday, June 28, 2019

Gentleman's Guide to Love and Murder

Kyle Stoner gives a great performance in Davis Shakespeare company’s production of “A Gentleman’s Guide to Love and Murder.” In fact, he gives eight wacky performances of members of a noble family, all of whom are doomed to die.

If the musical, by Robert L. Freedman and Steven Lutvak, directed by Gia Battista, sounds familiar, you may remember seeing the Alec Guinness movie “Kind Hearts and Coronets,” also based on the 1907 novel “Israel Rank: The Autobiography of a Criminal” by Roy Horniman.

Daniel Sugimoto is Monty Navarro, writing his memoirs from prison. He recently learned that his mother was disinherited by her aristocratic family when she married the wrong man. She was forced to spend the rest of her days earning a meager living as a washerwoman.

Monty is actually the ninth heir to the D’Ysquith (pronounced DIE-skwith) family. To avenge his mother, Monty decides to kill each of the other heirs, leaving himself as the Earl of Highhurst. Stoner plays each of the heirs, which include the pompous Lord Adalbert (with the fabulously expressive mustache), the Reverend Lord Ezekiel, the dramatic Lady Salome, the charitable matron Lady Hyacinth, the fitness-obsessed Major Lord Bartholomew and an effeminate beekeeper named Henry.
Though Monty is a cold-blooded killer, Sugimoto’s performance somehow makes him a charming, likable character. An enterprising, ambitious and resourceful fellow, Monty sets out to eliminate his family members while at the same time juggling relationships with the two ladies in his life: his mistress and his fiancée.

Sibella (Kyra Kozlenko) is his oversexed mistress who admits to loving him, but who is more in love with the idea of marrying a wealthy man. “Has it ever occurred to marry for love,” Monty asks her. “Now you’re being cruel,” she replies.

Cousin Phoebe D’Ysquith (Alyssa Giannetti) is perhaps the only truly virtuous person in the show. She is determined to prove Monty innocent following his arrest for the murder of the only person he actually did not kill.

Both women give amazing performances with gorgeous lyric voices. Like Monty, Sibella has no moral compass or sense of fidelity. Though she married for money, the closer Monty gets to becoming the heir, the more attracted to him she becomes, and to heck with her husband.

Though there are no real familiar tunes in the show, perhaps the most famous scene from the musical is “I’ve Decided to Marry You,” performed at the 2013 Tonys, where the show won four awards. Sibella is in one room and Phoebe in the other, while Monty tries to keep both from checking out what is on the other side of the door.

The scenic design by Liz Hadden-McGuire is functional, with lots of moving set pieces, allowing the set to be used by both this show and “The Tenth Muse,” running in repertory. But the most clever scene for this show has to be the portrait gallery.

“Why Are All the D’Ysquiths Dying,” which opens Act 2, is wonderfully choreographed, and too bad it was not used as a publicity photo since it is so photogenic. “I’m utterly exhausted keeping track / And most of all, I’m sick of wearing black.”

Music is provided by the nine-piece onstage orchestra, under the direction of Tom Abruzzo.

From the leads down through the multitasking chorus, this is a superb ensemble, vocally and in their facility for verbal and physical comedy. And while Stoner has the most amazing role, there is a reason why he and Sugimoto take their bows together because Sugimoto’s performance is invaluable as the narrator of every scene.

Davis Shakespeare Festival has chosen two blockbuster shows for their 10th summer season, and if you like one, you are certain to like the other.

Thursday, June 27, 2019

The Tenth Muse

Davis Shakespeare Festival director Rob Salas explained to the audience that he had seen Tanya Saracho’s “The Tenth Muse” at the Oregon Shakespeare Festival a few years ago and had been waiting for the right moment to bring it to Davis. This is the right moment.

Set in 18th century Mexico during the Spanish Inquisition, three young women are admitted to a convent for their protection. Jesusa (Gabby Battista) is a “Mestiza,” a woman in danger because she is of mixed race. She has been living in a Carmelite convent, but is sent to help Sor Rufina (Susanna Florence) take care of Sister Isabel (Kelley Ogden), who is going blind.

Tomasita (Leah Sanginiti), a servant, is brought by her mother to be a slave for the nuns, who will protect her from the Inquisition.

Manuela (Talia Friedenberg) is a noblewoman with her own secret who is also seeking protection for reasons that will become obvious far too soon.

The nuns, particularly Sor Filomena (Laurie Strawn), are none too happy with the new residents and, with room scarce, put them in a basement, where they are told they can sleep but not to touch a large locked cabinet. Naturally, they do and in it they find the writings of Sor Juana Ines de la Cruz, a famous protofeminist and intellectual who died 20 years before.

The convent was once a center of culture, and Sor Juana was one of the first advocates for women to have the right to an education and her library was one of the largest in the New World. But under the pressure of the Inquisition, Juana was forced to take a vow of silence and burn her books. She died aiding her sisters during the plague.

The women aren’t sure what to do about their find. At first, they are afraid to even touch the writings because it is forbidden for women to be educated (and only one of them can read well). But they eventually revel in the contents of the papers and even begin singing Sor Juana’s songs (to the accompaniment of a guitar hidden in the cabinet) and performing plays, an act which creates a bond of sisterhood among the three.

In a funny scene, the young women are trying on men’s clothes, costumes for one of Juana’s plays. It is such an unimaginable thing for women to wear men’s pants that they all feel very naughty.

By the end of Act 1, I was thinking this was a pleasant play and watching the growing friendship among the women was nice — but I wasn’t sure where it was going or what the point of it all was. The longer Act 2 answered all my questions.

The all-female ensemble was fantastic, each player highlighting the quirks of her character superbly. Battista lit up the stage with her effervescent Jesusa. (She is so chatty, it’s difficult to imagine her in the silent monastery!)

Ogden was a joy to watch as Sor Isabelle, who, unlike her fellow sisters who are terrified of the Inquisition, is clinging onto her last glimpses of music and art left by her beloved Juana.

Lisa Quoresimo plays a powerful and frightening Mother Superior (sadly a vision that many still have of women in her position). She is at her worst at the climax, which is a beautiful scene but a cruel decision on her part, which she truly believes would protect the sisters.

The many scene changes are hardly noticed because of the lovely quartet singing Gregorian chant: Margie Curler, Lisas Halko, Monica Vejar and a fourth nun (split between Strawn and Quoresimo). They are a highlight of the production.

This play resonates on many levels and makes us wonder what life would be like if we were deprived of everything that makes life worth living.

Wednesday, June 26, 2019


“Oklahoma!” is a favorite of Music Circus audiences. The current production is the 14th since 1954. This production is directed by Linda Goodrich, her third for Music Circus, the last being “Singing in the Rain.”

According to many theater historians, “Oklahoma!,” the first musical collaboration of Rodgers and Hammerstein, who later brought the world the likes of “Carousel,” “South Pacific,” “The King and I” and “The Sound of Music,” changed the face of musical history when it debuted in 1943, for telling an emotional story through music, lyrics and dance like never before.

Based on the play “Green Grow the Lilacs” by Lynn Riggs, “Oklahoma!” brought something akin to folk art to professional theater and won the Pulitzer Prize for drama in 1944 and recently won the Tony for best revival.

The story is set in the Oklahoma territory — in 1906, the days just before statehood — and touches ever so lightly on the ongoing feud between farmers and cattlemen.

As an aside, pay attention to the films shown on the screens surrounding the theater before the show starts. There is a nice history of the Oklahoma territory then and today. (I’m sure lots of women nudged their husbands when they showed Pawhuska, OK, the home of the “Pioneer Woman.”)

This is mostly a story of cattleman Curly McLain (Ryan Vasquez), who is in love with Laurey Williams (Emilie Kouatchou), who lives on a farm with her Aunt Eller (Jennifer Allen) and the hired man, Jud Fry (John Rapson). Jud has his eye on Laurey; she, in turn, is sweet on Curly, though won’t admit it.

Vasquez, who is making his Music Circus debut, has played the title role, among other roles, in “Hamilton” on Broadway. He is a perfect Curly — tall, charismatic and self-assured, with a powerful voice.

Kouatchou, also making her Music Circus debut, is a perky, flirty Laurey, attracted to Curly, but reluctant to give him the satisfaction of knowing it. She, too, has a beautiful, powerful voice, and the chemistry between the two of them is strong.

Rapson, as the dark hired man, has his heart set on Laurey as well, but his intentions are less honorable and he becomes a very scary character when he gets her alone.

It’s a simple story without a deep plot, but with songs like “Oh, What a Beautiful Mornin,’” “The Surrey with the Fringe on Top,” and “People Will Say We’re In Love,” the songs become the thing people remember most.

Brit West is the sex-starved Ado Annie Carnes, who has “known what’s right from wrong” since she was 10, yet “can’t say no” to any man who gives her any attention. West is adorable and doesn’t quite understand that the peddler Ali Hakim (Jeff Skowron) isn’t as interested in her as she thinks.

Skowron is great as Ali Hakim; his discomfort at finding himself engaged to Annie is very funny, as he finds a way to extricate himself.

Pierce Cassedy is Will Parker, who went to Kansas City to win $50 in a rodeo so that he could ask for Annie’s hand in marriage. His “Kansas City” is a wonderful song and dance number, especially for those cowboys in their tap boots.

Ron Wisniski, a Music Circus regular in meaty minor roles, is both Annie’s father and the territory judge, which comes in handy later.

Also of note is Ashley Arcement in the role of Gertie Cummings, who sets her sights on Curly. She has the most annoying laugh and does it perfectly. Often.

The dream ballet features Taeler Cyrus as Dream Laurey, Conrad Sager as Dream Curly and Stephen Hanna as Dream Jud.

It’s best not to think too carefully about the moral of this story, which seems to be that if you kill an unlikeable guy accidentally, you don’t need to go to trial because everyone would rather see you head off on your honeymoon. Poor Jud is dead and doesn’t get the nice funeral Curly promised him.

“Oklahoma!” is a timeless piece of theater and is worth the trip to Music Circus, whether you’ve ever seen it before or not. Your toes will tap and it’s almost a sure bet that you’ll leave the theater humming at least one of those old familiar songs.

Tuesday, June 25, 2019

The Roommate

Laura Jane Bailey, left, and Jamie Jones are excellent in the Capital Stage production of “The Roommate,” running through July 21. Charr Crail/Courtesy photo
It is unusual to find two meaty roles for over-50 women, much less one written by a 20-something playwright. Jen Silverman has created such a play, “The Roommate,” now at Capital Stage, directed by Dena Martinez.

This very funny play examines what can happen when a lonely, middle-aged woman takes in a roommate for companionship and to share expenses. Playwright Silverman feels that “Women of that age group are rendered invisible or they are played in ways that are harmless, infantalizing, and I want the audience to see potential for transformation that lies in themselves.”

For the play to work so well, it needs two excellent actresses to bring these two characters from paper to life. In Laura Jane Bailey and Jamie Jones, Capital Stage has just that.

Bailey is Sharon, who has “retired from her marriage” and who has a son, who may or may not be gay, whom she rarely sees. She fills her time with her “reading group” and a part-time job at a local shop. Though she is originally from Illinois, she is now an Iowan and may be the stereotypical view of any middle-aged woman from Iowa. I’ve been to Iowa. I have met Sharons. Bailey nails it.

Throughout the play, you realize the importance of Rebecca Redmond’s costume designs. Sharon starts out in a simple cotton dress, the kind you’d find in The Vermont Country Store catalog. As the play progresses, her dress becomes less dowdy and more current until her final costume, which is — well — amazing.

The play takes place in Sharon’s kitchen, which is perfectly depicted by scenic designer Eric Broadwater.

To help fill her big empty house, Sharon rents a room to Robyn (Jones), who says she wants to “start over” and through most of the play is hiding something that eventually comes out.

The “getting to know you” scenes are so funny, as Sharon begins to understand the kind of woman who has moved into her house. She thought that her new roommate was from upstate New York, not the Bronx (“Isn’t the Bronx dangerous … and you’re, I mean, a woman”).

Robyn starts to understand what it’s like to live in Iowa. She is amazed that Sharon never locks her door.

“It’s pretty safe here, except for the tornados,” Sharon tells her. Robyn never thought of tornados.
Robyn is vegan and a lesbian, a big adjustment for Sharon. “I don’t have any problems with homosexuals … I think, you know, gay rights! Let them marry! … Some of my son’s friends are homosexual people. Probably most of them. I think most New Yorkers are.”

Robyn also smokes pot — “medicinal herbs” she calls it. “Herbs only become drugs when a capitalist economy gets involved.”

She offers Sharon a joint, which she decides to try. “Am I gonna hallucinate?”

As the days pass, the women become more comfortable with each other. Robin’s story begins to unfold and without spoiling the reveal, suffice it to say that her move to Iowa was likely to remove herself from legal situations back east. Sharon is fascinated with Robin’s past life, and she begins to look at her own life in a different way.

The conversations between these two actresses and their rapid-fire responses make time pass very quickly. Bailey and Jones are a delight to watch, and Silverman’s dialogue is pure magic. The women are warm; they are funny; they are real people forced to overcome some of their earlier choices and learn how they want to spend their later years.

Better not to reveal how each is changed by the other since that is a surprise for all. I will admit that there are a couple of things at the end that I found confusing, but mostly it is a logical conclusion, and I’d love to see how both women are going to be in another five years.

Wednesday, June 19, 2019


The cast rocks out singing “Season of Love” in Davis Musical Theatre Company's production of “Rent.”
The show runs at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays at the
Jean Henderson Performing Arts Center, 607 Peña Drive in Davis.
The show has strong language, adult themes and drug references,
and is recommended for theater goers 13 and older. Courtesy photo

“Rent” was to the 1990s what “Hamilton” became to the early 21st century — a little-ish show that started Off-Broadway, took the theater world by storm and moved to Broadway, where it made show business history.

The show was written by Jonathan Larson, based partly on his own story (and Puccini’s “La Bohème,” with musical references throughout). Larson tragically, died of an aortic dissection, believed to have been caused by undiagnosed Marfan syndrome, the night before the Off-Broadway premiere. He never got to know what a sensation his show became, how it had a 12-year run on Broadway and how it won several Tonys and the Pulitzer Prize for drama.

Now it has come to Davis. Steve Isaacson, the producer of Davis Music Theatre Company, proudly shared his two degrees of separation with Larson, who was apparently a friend of Isaacson’s drama teacher.

This production is directed by John Ewing, with musical direction by Kyle Jackson and choreography by Cynthia Krivicich and displays a DMTC phenomenon that I have observed over the years.

In its 34 year history, DMTC has made great strides in productions. The quality of shows has become quite good, some better than others. What I have seen, however, is that when the company produces a “new” show, especially a popular one such as “Rent,” which is rarely performed locally, all the best talent from all over the area show up to audition. Based on how many actors in this show are making their DMTC debut, this is obviously the case for “Rent,” which explains why this is such a uniformly excellent production.

It is the emotional story of young artists and wannabes in Manhattan’s East Village, looking for love, inspiration and a place to live. Critics praised it not only for its acting and musical components but for its representation of HIV-positive individuals.

Mark (Philip Graves) is a documentary filmmaker living with rock musician and recovering drug addict Roger (Jonathan Wertz), who is attracted to S&M club dancer and drug addict Mimi (Aimee Rose Santone). Their first meeting (“Light My Candle”) is right out of “La Bohème.”

Zany drag queen Angel (Ethan Mack), who has AIDS, saves Mark and Roger’s former roommate Tom Collins (Kevin Borcz) from a beating and the two fall in love, a relationship which is the most powerful of the show, showing the couple as being happy, with positive outlooks on life, rather than being resigned to their inevitable deaths. Following Angel’s death, Collins’ moving “I’ll Cover You” is the production’s most powerful moment.

That most of the characters have AIDS is subtly revealed at a dinner scene, where someone’s alarm goes off and most of the characters take out pill bottles. Today, when AIDS is no longer an automatic death sentence, the underlying story of “Rent” is a bit dated, but no less emotional.

Maureen (Cassie Mosher) is Mark’s former girlfriend and current girlfriend of lawyer Joanne (Chantel Aldana).

Benjamin “Benny” Coffin (Kyle Hadley) is an ex-roommate to Mark and Roger and now the landlord of the building in which they live. He has overlooked their rent for a year and is now demanding it or threatening to lock them out of the building.

The story follows the group from one Christmas Eve to another (the beautiful “Seasons of Love” opens the second act and is a highlight of the evening, a poignant acknowledgment of the passage of time and evolution of emotion).

The message of “Rent” is to live for the moment, soak up as much of “life” as you can because you never know how much longer you have to live. Instead of being an overriding sad situation, it is a salute to the love of the characters for life and for each other.

Thursday, June 13, 2019


“Shrek” is a fairytale turned on its head. The princess waiting in her tower to be rescued by a handsome prince actually has a terrible secret: The prince is a jerk — and the unlikeable hero is a scary ogre who hates everyone.

Making its Music Circus debut, “Shrek the Musical,” with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori is a fun couple of hours, filled with just about every fairytale character you’ve ever known to appeal to the kids; enough double entendres and bad jokes to appeal to the adults; and enough farting and belching jokes to appeal to everyone.

This is not an instant stage classic that we will be seeing again for decades, nor does it have memorable music (except for the closing number, Neil Diamond’s “I’m a Believer”). But for what it is, under the hands of director Glenn Casale, it delivers. Based on William Steig’s book “Shrek!” and the DreamWorks animated film, its ultimate message is that everyone is worthy of true love (except, maybe, the prince.)

The show delivers some really marvelous effects, particularly the spectacular dragon, created by Richard Bay (who designed 15 puppets for this production). The dragon swoops and flies and turns in circles on stage and above the stage and is amazingly lifelike, and surprisingly flirty.

Shrek (Jacob Keith Watson) is an ogre who was left by his parents in the woods on his 7th birthday (Michael Stark plays Young Shrek), with a package of supplies and good wishes that he find a life for himself.

He’s now all grown, totally anti-social and enjoying the privacy of his little swamp when he is invaded by all of the fairytale characters who have been thrown out of the town of Duloc by the evil Lord Farquaad (Steven Strafford). Farquaad is scheming to make Princess Fiona his bride so he can become king and steal her kingdom. Shrek agrees to help the characters if only to get rid of them and return to peace and quiet again.

“Donkey” (André Jordan, who played the role in the national tour which played here in 2011) makes a dramatic entrance, and begs to be Shrek’s sidekick in his search for Fiona. Donkey is annoyingly endearing and Shrek relents and lets him tag along.

There remains only to (a) find the princess’s castle, (b) make it across the treacherous moat and beat the fire-breathing dragon, (c) manage to get the princess out of a locked room many stories tall and (d) return her to Lord Farquaad.

Piece o’ cake.

Princess Fiona is actually played by three actresses: Mia Fisher as the young Fiona, Ella Bleu Bradford as the Teen Fiona and Kristen Beth Williams as the adult Fiona. This is no shrinking violet. She has waited many years for her freedom and is going to make the most of it. But she bears a terrible secret, which Donkey accidentally discovers.

Several of the lesser characters make an impact, primarily the whiney Pinocchio (Tyler Jones), whose nose grows and shrinks on stage without any visible assistance from Jones himself.

Along the way, there are some marvelous dance numbers, such as the rat dance number, a chance for Fiona to shine, and a song called “Build a Wall,” which brought out titters from the audience with lyrics like:

“I’m gonna build me a wall, I’ll make it ten feet high.
See ya later pal, bye-bye.
No one gettin’ in so don’t you even try.
A ten-foot wall.”

This is just a fun production, which teaches us that beauty is in the eye of the beholder and self-acceptance is the way to happiness.

Parents should be aware that it’s rather long; so for younger kids, a matinée might be best.

Tuesday, June 11, 2019

The Forever Question

I enjoy comedy, but I’m a tough critic. It takes a lot to make me laugh out loud. With that said, you should know that I laughed out loud throughout the entire first act of the new B Street production, “The Forever Question” by James Christy, directed by Lyndsay Burch.

The play, which won last year’s New Comedies Festival (a pool of 70 plays hoping to be chosen for a mainstage production this year), is about a couple trying to decide whether or not to have a second child.

Playwright Christy says the idea for this play came after he and his wife had their third child and he started to wonder, “How did I even get here?” Writing “The Forever Question” was his way of examining how becoming a parent changes your life forever — and why, having done it once, we ever do it again.

Actors Peter Story and Dana Brooke are stunning, playing the young couple, Mike and Carolyn, and, throughout the play, several other minor characters including her mother, his father, and his brother. They are so effective because all it takes is a small prop (like a beer bottle or a scarf) and a slight change of facial features to pop in and out of character.

This would be funny for anyone, but anyone who has a child — or more than one child — will especially enjoy it and find themselves remembering their early days of parenthood.

Through flashbacks, the couple remembers their first dating experiences and first sexual encounters. Back in today’s time, they make very, very funny observations about parents, babies, sex, childbirth and relationships between men and women.

Mike’s memories of his first sexual experience had the audience in stitches, and his attempts to prove to Carolyn that he understands menstrual cycles only get funnier and funnier.

Carolyn gives birth to their first child on stage — and you have to wonder how they did that as that basketball sized pregnant belly turns into a blanket-wrapped baby when it’s all over.

By intermission, everyone was laughing so hard that as the audience filed out to the lobby for a few minutes, even the usher was still laughing and sharing his own parenting experiences with people in his section of the theater.

I wish I could say that the second act was as good as the first. It was also very funny, but including the death of Mike’s father, the children growing into rebellious teenagers and both Mike and Carolyn facing the prospect of growing older, the laughs were further apart and not as hilarious. They were still tweaking the script on opening night, artistic director Buck Busfield explained, and I would love to return later in the run to see how it changes as it grows.

The scenic design by Samantha Reno is amazing. B Street asked for donations of toys to help decorate the stage and they received so many that Reno has built marvelous mountains of toys that rise up from the floor and hang down from the ceiling. The toys will be donated to children’s groups at the end of the run.

Sunday, May 26, 2019

The Beaux Stratagem

The romantic Dorinda (Sophia Nachmanoff), left, attempts to cheer up the grumpily
married Kate Sullen (Megan Abbanat) in Acme's free comedy “The Beaux' Stratagem.”

Restoration comedy, like George Farquhar’s “The Beaux Stratagem,” has always been something the Acme Theatre Company does very well.

Farquhar wrote the comedy in 1707. In 1939, it was partially adapted by Thornton Wilder (an Acme-favorite playwright), but abandoned with the outbreak of World War II. In 2000, Wilder’s 57 page manuscript was rediscovered and, with the permission of the Wilder Estate, Ken Ludwig (“Lend Me a Tenor,” “Sullivan and Gilbert,” etc.) completed the work.

The Memorial Day weekend productions, which are free, have long been a gift to the city of Davis for all of its support of the young people’s theater company — the oldest in Davis (at 39 years, it beats Davis Musical Theatre Company by a year).

The current production is colorful, energetic and just plain silly. Sophia Nachmanoff has outdone herself with costumes that are deliciously over the top, particularly for Lady Bountiful, in an oversized hoop skirt so big and so broad that moving in and around the stage was particularly tricky, but done adroitly by Gavin Pinnow.

No one is credited for makeup design, but the white-face, bejeweled look for everyone was unique and fun, but with some male actors played females and vice versa, sometimes made it difficult to tell who was who.

The fun begins before the show actually starts, as the costumed actors invite the audience to join them in dancing to a Madonna tune. As the music ends, the performers run to the stage and the performance begins.

Jack Archer (Cory McCutcheon) and Tom Aimwell (Cypher McIlrath) are two young gentlemen who have squandered their respective fortunes and now plan to travel through small towns, entrap young heiresses and steal their money. To start, Aimwell poses as a gentlemen and Archer as his servant, the plan to switch on and off as they move to different towns.

They settle in at the inn run by Boniface (Kira Cubbage), whose own daughter Cherry (Sam Cubbage) is attracted to both Tom and Jack, but fears they are highwaymen, come to rob Lady Bountiful’s house

But right off the bat, the men’s plan goes awry when, in the first town, Tom actually falls in love with Dorinda (Nachmanoff), the daughter of the wealthy Lady Bountiful, who specializes in herbal medicine and amputation. She attributes her successes to the fact that her “patients” are so satisfied they never return.

At the same time, Jack makes friends with Mrs. Kate Sullen (Megan Abbanat) whose husband, Squire Sullen (Peter Syverson), is a cruel drunk who actually despises his wife.

In a parallel plot, Tom has a given the box containing the men’s last £200 to Boniface for safekeeping, unaware that he is part of a group of highwaymen, including Hounslow (Odie Lopez) and Bagshot (Emma Larson), who themselves plan to rob Lady Bountiful.

As the plot advances, it focuses more and more on Kate and Jack, who fall in love and want to marry, were it not that she is married, a situation eventually solved by the arrival of her brother, Sir Charles Freeman (Elie Bukowski), and all live happily ever after.

This production has many strong performances and the direction of Emily Henderson kept the action moving crisply at all times.

This is a great way to spend a Memorial Day weekend. Churros and other goodies are available to snack on at intermission and blankets available to rent if the weather turns cold.

Friday, May 24, 2019

Disney's Aladdin

If for some reason I had to leave the theater after the opening number of Disney’s “Aladdin,” now at the Sacramento Community Center, I would have been satisfied that I had already seen an amazing, albeit short, production.

“Aladdin” opens with color, with dancing, with music, with enough sequins to make Liberace happy and with more feathers than you’d find in an aviary. You meet the good guys and the bad guys, you experience a long, scary chase scene that would do credit to “American Ninja Warrior,” and you see amazing sword fights that only get better later on in the show.

Where do you go after such a breathtaking start?

Fortunately, the only way to go is up — and up they go.

Disney’s “Aladdin” is the stage version of the 1992 animated movie, featuring Robin Williams as the voice of the Genie. It’s your standard poor boy meets princess story that ends (spoiler alert) happily ever after.

In between, there is more dancing, more chasing, more sword fights, more incredible costumes by Gregg Barnes and lots of “you won’t believe your eyes” magic. Music is by Alan Menken, with lyrics by Howard Ashman, Tim Rice and Chad Beguelin, and some of it is new to the stage production. None of the songs are particularly memorable, but are thoroughly enjoyable in context.

The role of Aladdin is played by Clinton Greenspan for four performances and by Jacob Dickey for the rest. Likewise, the role of Prince Abdullah, the Sultan, is shared between Albert Jennings and Charles McCall.

In the opening number, we meet Aladdin (Greenspan) and his buddies, Babkak (Zach Bencal), Omar (Ben Chavez) and Kassim (Colt Prattes), trying to steal from market vendors and hiding from the law.
At the same time, Princess Jasmine (Kaenaonālani Kekoa) is a very independent young lady, refusing to marry for money but determined to marry for love. She slips out of the palace and finds herself in the marketplace, where she meets Aladdin. Sparks fly and things look good until he is captured for shoplifting and she has to reveal her identity as the Princess in order to save him.

Watching all of this are the evil Jafar (Jonathan Weir) and his henchman Iago (Reggie De Leon, who steals most of the scenes he is in). They make a plot to take over the kingdom. All they need is someone who can go into an enchanted cave and steal a magic lamp for them.

The heretofore energetic production becomes frenetic when Aladdin accidentally rubs the lamp and frees the Genie (Major Attaway, who played the role on Broadway). With an almost constant patter consisting of jokes and terrible puns, milking the audience for applause, Genie dominates the show and his answer to Aladdin’s first wish (to be a prince) was just a tad over the top (maybe it was the 95 monkeys).

Sparks fly again when Aladdin and Jasmine meet once more, and their magic carpet ride was just that — pure magic — perhaps the height of the special effects.

There are more fights, imprisonment, redemption and getting your just desserts before Jafar’s evil plot is destroyed and Prince Abdullah agrees to allow his daughter to marry the pauper.

For those who like their musical instruments to be real instruments and not electronic wannabes, this show will satisfy every desire. The pit band is exceptional.

“Aladdin” closes out the Broadway On Tour series, as well as the Community Center, which will now close for renovation. The 2020 season will take place at Memorial Auditorium, 1515 J St., starting in January with “Dear Evan Hansen.”

Tuesday, May 21, 2019


Andrew Nicholls is UCD’s Granada Artist in Residence for Spring 2019. He comes with an impressive list of credits. He began writing comedy with Darrell Vickers in junior high, and the team wrote for TV, radio and stage, as well as for comedians and cartoonists. They have written for George Carlin and Mickey Rooney, and for NBC’s “Tonight Show” from 1986-92 as Johnny Carson’s head writers. They’ve since created 20 TV series and written over 400 episodes of children’s TV.

Now Nicholls brings his talents to UCD in “{LOVE/Logic},” directed by Josy Miller.

It’s not exactly a drama because there are so many funny situations and lines, though not exactly a comedy because there are serious situations as well. What is not under question, however, is its R rating, filled with adult themes, situations and language.

Rory Gaynor-Flynn plays twin brothers, Daniel and Michael. While he gives a good performance, his self-confidence grew throughout the play and it was nice to see a stronger performance by the end. (According to his bio, he is a neurobiology/physiology major studying to become a diagnostician, but he hopes that one day he can become a full-time actor, which may make him the perfect person to play this role!)

Daniel is a physicist, headed for a conference in Switzerland, when he meets Bronwen (Olivia Coca), another physicist. Through a series of interconnected things, the two become mirror images of each other, unable to physically pass by each other, speaking the same things simultaneously.

They sit on a large train car, designed by John Iacovelli — his final design for the department of theater and dance after three decades in the UC system. The train car breaks into two pieces, moving each piece to the side of the stage, allowing other set pieces to be brought onto the Wyatt stage. The stage crew (Tristan Atkinson, Riley Morris and Stephanie Nielsen, who also play minor characters) are dressed in train uniforms and move the set pieces with choreographed precision.

On the other side of the world is Daniel’s twin, Michael, who has an obsession with women, but who tries to convince Carol (Rabiya Oberoi) that she alone is the love of his life and if she will marry him, he will give up his philandering ways. Oberoi gives a strong performance and, before accepting his offer of marriage, Carol agrees to an odd way to prove that Michael remains faithful to her.

Reagan Price appears as Michael’s adult daughter, both before she is born and years later when she is really an adult. She’s there as his conscience.

Olivia Coca appears later as Elaine, a femme fatale determined to seduce Michael, in one of the raciest scenes in the play. Coca is so successful as Elaine that it’s difficult to find her other character, Bronwen, in her.

The program includes a glossary of what it admits are probably unneeded definitions, but thanks to the list, we can understand that Michael is using a multi-variable associative analytic analysis to predict the origins and result of his interaction with Elaine.

Says director Miller, “The play is a masterpiece in physical comedy and a simultaneous critique of contemporary gender and power relationships. Reality is many-layered, and actors embody characters real, imagined and that occupy the spaces in between.”

Sunday, May 12, 2019

The Other Place

Melinda Parrett was born to play Juliana Smithton, a scientist whose research has led to a potential breakthrough which will change the lives of thousands of people. Parrett has the ability to play the cold, aloof scientist, the wronged wife, and, as the play progresses, the confused and terrified woman whose life seems to be unraveling — and do it flawlessly. What is even more remarkable is her ability to switch back and forth among those feelings seamlessly.

The structure of “The Other Place,” by Sharr White, now at Capital Stage, is a little difficult to get into, as it goes back and forth in time, with Juliana both the narrator of the piece and a character in it. But when you get the hang of it, it’s brilliant.

Things move quickly, thanks to the deft direction of Michael Stevenson, and even the many set changes are choreographed so that they are done quickly and do not slow the action at all.

We first meet Juliana at a convention in the Virgin Islands, where she has been invited to give a lecture on a new drug designed to slow the neurological degeneration associated with dementia. She is aware that as a woman she is not necessarily taken seriously by her colleagues, and she dresses the part in a business suit and begins her talk professionally until she spies a woman in a yellow string bikini sitting in the audience. The presence of the unspeaking woman becomes unsettling and eventually the object of Juliana’s derision.

Cut to an interview between Juliana and another woman (Jennifer Martin). We’re not quite sure what the interview is for yet. Through bits and pieces, we discover that she is in the process of divorcing her philandering husband, an oncologist (Jonathan Rhys Williams), who also serves as her doctor because she feels she is dying of brain cancer, as her relatives did before her.

Asked if she has flirted with ideas of suicide, Juliana sarcastically retorts: “Dating them, actually, but they won’t put out.”

There is a crisis involving their daughter, who left the home at age 15 many years before, and the man (Kirk Blackinton) with whom she supposedly left. Juliana has never seen their twins and is trying to set up a way to reconnect with her daughter.

Williams is wonderful as Ian, Juliana’s husband, who is either a philanderer or a frustrated devoted husband, strained to the breaking point, trying to help his wife. He is irritating at first, as the couple argues and he seems uncaring about Juliana’s condition, but as the play progresses and we understand his suffering, you can’t help but feel sorry for him.

These are the elements of the plot and how it all unravels, twists and turns, and ultimately climaxes at the couple’s “Other Place,” a house on Cape Cod. It’s an intense 90-minute drama that is both sarcastic and heartbreaking.

Blackinton and Martin play several different characters; Martin is particularly wonderful as the stranger surprised to find Juliana in her house, who is at first afraid and then sympathetic, responding warmly to Juliana’s needs.

It doesn’t give away the plot to reveal that some of these characters are real and some are not. It is nearly halfway through the play that the truth about Juliana’s condition slowly becomes evident.

Timothy McNamara is credited with scenic and projections design. The setting, indicated by what is seen out the windows on stage, was very effective as was the rain created by sound designer Ed Lee.

There seems to be a tendency to have more one-act, 90-minute plays these days, which can sometimes get to feel draggy by the time the play ends. This is not one of them. The action is crisp and nonstop, and by the end, there will be tears wiped away.

Wednesday, May 01, 2019

Pajama Game

Seven and a half cents doesn’t buy a heck of a lot, but it’s enough to write an entire musical about. ‘The Pajama Game,” on stage at the Davis Musical Theatre Company, is to classic musicals what “Mad Men” was to TV. It’s a dated world, where sweatshops exist, the boss is king and raises have to be fought for. Nobody has thought of MeToo yet, but harassment is rampant.

With book by George Abbott and Richard Bissell, music and lyrics by Jerry Ross and Richard Adler, this Tony-Award-winning musical premiered on Broadway in 1954, the year that director Steve Isaacson was born. It was made into a movie in 1957, starring Doris Day and John Raitt.

You probably know most of the songs, like “Hey There,” “Hernando’s Hideaway,” and “Steam Heat,” the latter the first Broadway choreography by Bob Fosse, showing the classic style which would be so recognizable in future musicals.

The action takes place at the Sleep-Tite Pajama Factory, which has just hired a new superintendent, Sid Sorokin (Tate Pollock) who almost immediately butts heads with the grievance committee headed by Babe Williams (Morgan Bartoe). It’s not clear exactly how these two fall immediately in love/lust with each other, but it happens — though Babe vehemently denies her feelings (“I’m Not At All In Love”).

The grievance committee is concerned because they want a 7 1/2 cent per hour raise in pay. (The date of the show is shown when calculations showed that in a year’s time that would come to $852.74, which would buy a year’s supply of gasoline! It gave the audience a good, if rueful, laugh.)

Pollock says this is his “anniversary show” with DMTC, having started with last year’s “Guys and Dolls.” He has a nice charisma about him. Bartoe has a more meaty role than the feather duster she played in “Beauty and the Beast,” and she rises to the occasion. She has a beautiful voice and her duet with Sid (“There Once Was A Man,” written by Frank Loesser) was great fun.

Exter Hardy is very good as the big boss, Mr. Hasler, who wears a suit beautifully, but has the very best costume for the company picnic late in the first act. Costume designer Jean Henderson has a great sense of humor.

Hugo Figueroa is Heinzie, the timekeeper, responsible for making quotas and keeping the women working. He has the hots for Gladys, one of the secretaries, though is jealous of her relationships with other men. His duet with secretary Mabel (Dannette Vassar), (“I’ll never be jealous again”) is very funny.

Aimee Rose Santone is outstanding as Gladys, wiggling her backside provocatively at many of the males in the company. She, together with Maeve Kelly and Holly McGuinness do a great job with “Steam Heat.” Choreographer Kyle Jackson keeps the trio faithful to the familiar Fosse moves. (In a bit of fun facts, the program points out that the original Gladys, Carol Haney, broke her leg and chorus girl Shirley MacLaine covered for her. She was soon signed to Paramount Pictures, and the rest in is history!)

Matthew Evans is “Prez,” the head of the Union, and another candidate for MeToo attention. Doug Baker is Max, one of the factory’s salesmen. Amy Woodman is cute in the small role of Poopsie, but I was always afraid that her blonde wig was about to fall off.

This is a fun production and someone mentioned to me at intermission that she liked it better than the film, which has to be high praise indeed.

Friday, April 26, 2019


The cast of “Disaster!” includes, from left, Nicole Sterling, Tim Stewart, Natasha Hause,
Jamie Jones and Michael Cross. The Sacramento Theatre Company
production runs through Sunday, May 12.
Charr Crail Photography/Courtesy photo
The laughter was so continuous at the opening night of Sacramento Theatre Company’s “Disaster!” that it was sometimes difficult to hear the dialogue. But that didn’t matter because the plot is more or less negligible to the zany nonsense going on on stage.

This jukebox musical, written by Seth Rudetsky and Jack Plotnick (with additional material by Drew Garaci), uses 27 popular songs of the ’70s like “I Am Woman,” “Feelings,” and “I Will Survive,” played by the five-piece onstage orchestra, to move the action forward — action that never stops, thanks to the nimble hands of director Michael Laun.

This is a parody of those silly ’70s disaster movies like “Poseidon Adventure,” “Jaws” and “Towering Inferno.” The setting is the opening of a new floating casino, and the first act pretty much introduces us to the players (a cast of 20 first-rate actors) who will be trying to escape the casino when disaster strikes in Act 2.

Tony (Tim Stewart), whose baby this casino is, has built it Trump-like, ignoring rules and regulations and taking shortcuts wherever possible. Professor Ted Scheider (Casey McClellan) is the disaster expert who knows what is going to happen but can’t get anybody to believe him. They’re all having too good of a time.

New York Times reporter Marianne (Melissa Brausch) is trying to write an article about Tony’s cost-cutting measures, which have made the casino unsafe.

Because there has to be a love story in there, Marianne runs into former lover Chad (Sam C. Jones) and the two rediscover their “Feelings” for each other, which may lead to their peril.

Lounge singer Jackie (Natasha Hause) is waiting for philandering Tony to pop the question. She has two children, Lisa and Ben, both played by Elizabeth Lamora (alternating with Kateyn Reeves), who proves that you can play two characters on stage at the same time if you stage it right!

The guests are great, particularly Nicole Sterling as Sister Mary Downy, a nun with a previous gambling addiction, trying to resist the lure of the slot machines as she attempts to let people know that if they gamble, they will go to hell. Her “Never Can Say Goodbye” is a highlight.

Maury and Shirley (Michael Cross and Jamie Jones) are a retired couple, celebrating Maury’s retirement (“You’re Still the One”). Shirley is a salute to Shirley Winters’ character in “Poseidon Adventure,” who ends up saving the young lovers. Winters’ character called on her swimming skills; this Shirley resurrects her skills as a former high school tap-dancing champion to tap out the morse code instructions to open a watertight door.

Miranda D. Lawson is Levora, a disco diva, who, in songs such as “Theme from Mahagony” and “Knock on Wood,” shows that she’s not quite ready for retirement yet.

Kudos to scenic designers Jarrod Bodensteiner and Renee Degarmo for creating realistic earthquakes and flooding, with the aid of Emma Bramble’s sound design and Craig Vincent’s lighting design.
If you like to laugh, and especially if you were a fan of either ’70s pop music or those crazy disaster films, this is the show for you!

Wednesday, April 17, 2019

The Self - Unseeing

There’s a new theater in town and if its debut production, “The Self-Unseeing,” is any indication, we are in for some exciting shows in the future. The Happy Hour Theatre was founded by area natives Shenandoah Kehoe and Christi van Eyken in August of 2018. Kehoe grew up in Sacramento and studied theater at Sacramento State. Van Eyken is a Davis resident and an alum of the Davis High School drama program.

The Happy Hour Theatre offers opportunities for theater artists to undertake new challenges and expand their ability to make compelling theater.

The company has no permanent home at the moment, but this first production is held at the Black Box Theater in West Sacramento and the Palms Playhouse in Winters. In the immediate future, the company will perform at various venues, without a single home base.

In addition to using local actors and directors, the company plans to produce original works by community members as well as published pieces in order to give local playwrights a place to bring their words to life. Incidental music for each of the five plays presented in this one-hour production is written by local musicians The Bad Barnacles, Mark Butterworth, Band of Coyotes, Odd Moniker, Lucinda H. Cone and Taeko McCarroll.

The debut production consists of five short plays not original to Happy Hour Theatre and which have been performed at least once before. The entire production takes just one hour, and in the West Sacramento location, there is a happy hour in the café downstairs after the show.

“Don’t Bleed on Me,” by Andy A.A. Rassler, directed by Michael Sicilia, features Christine Nicholson and Luther Hanson as white socks in a washing machine, appalled when a colored athletic sock is tossed into the machine, concerned about the proximity of the bright colors and what they might do to the snowy white socks. It is a very funny bit, with not-so-subtle implications about discrimination. The ultimate solution to the problem is very clever — if only it could happen in real life.

“What Are You Going to Be?” written by Steven Korbar and directed by Acme alum Betsy Raymond, pits parents against a stubborn teenager determined to have her own way in the choice of a Halloween costume. Kathleen Poe and John Ewing are marvelous, trying to explain to daughter Natalie Evans why it is not a good idea to go trick-or-treating in a burqa. The surprise ending is wonderful.

In “Mendacity, or the Herd of Elephants in the Room” by Carlos Murillo and directed by Andrew Fridae, Mauricio (Doug Williams) has developed a very strange physical condition to the consternation of wife (Lisa Derthick) and son (Matthew Hurley). This is a very funny 10 minutes. While not in the least political, it will have you thinking of the current administration. The best line in the evening came from this play, where Mauricio describes his pain as “imagine passing a kidney stone during natural childbirth without medication.”

The final two plays are “Sold!” by Donna Hoke, directed by Lucinda Hitchcock Cone, a familiar name to Sacramento audiences, featuring Christi van Eyken, Chris Scarberry and Kathleen Poe, and “Paper Thin” by Lindsay Price, directed by Vernon F. Lewis, featuring Matthew Canty, Emily Vernon, Chris Scarberry and Shenandoah Kehoe. Each of them is unique and enjoyable.

Happy Hour Theatre is off to a terrific start. I can hardly wait to see what they come up with next.

Wednesday, March 27, 2019

42nd Street

Someone who saw the opening night production of Woodland Opera House’s “42nd Street” (directed by Robert Cooner) told me that it was spectacular and that I would love it. I am happy to report that it is — and I did.

This formulaic Depression-era story of a girl from the midwest arriving in New York, determined to become a star, was first a Busby Berkeley movie vehicle for hoofer Ruby Keeler in 1933, with book by Michael Stewart and Mark Bramble, lyrics by Al Dubin and music by Harry Warren.

In 1980, David Merrick decided to bring the story to Broadway, under the direction of Gower Champion. The stage version used only four of the songs from the original movie version and added songs from other musicals of the 1930s (including one by Hoagy Carmichael, uncredited in the current printed program). The end result was nominated for several awards in 1981 and won a Tony for best revival in 2001.

The cast of 22 fill the Opera House stage and most of them tap dance through several impressive numbers, each of which brings down the house. The best part was that there was nobody out of line — they were as in unison as a murmuration of starlings. Choreographer Staci Arriaga may be the real star of the show!

The central figure of the story of Peggy Sawyer, played by Ernestine Balisi (who played this same role with Davis Musical Theatre Company in 2017). She arrives in New York, wide-eyed and fresh-faced and certain she’ll immediately get cast in a big Broadway musical. She can dance up a storm but has never been on stage before.

Michael David Smith plays Billy Lawlor, the tenor of the show-within-a-show. Smith is a huge bundle of talent in a less-than-huge body. He’s a triple threat — he sings, he acts and he dances up a storm. He and Peggy have an instant rapport and there is hint of a budding romance, though that is not the focus of the story.

Scott Martin is terrific as Julian Marsh, the producer who believes the show, “Pretty Lady,” is going to get him back on top again, after a series of less-than-successful shows. When counting heads, he realizes that he is short one chorus girl and so Peggy, who just happens to be on the street in front of the theater, is chosen, seeming to learn all the dance routines instantly.

Patricia Glass plays Dorothy Brock, an aging, fading Big Name whose sugar daddy, Abner Dillon (David Cross), has backed the production so that his girl can have another hit. While she has a great voice, she has two left feet and so choreography has to be revised so that others can dance around her to hide the fact that she can’t dance.

Lenore Sebastian and Gil Sebastian are Maggie Jones and Bert Barry, the songwriters for the show, offering comic relief throughout. These local favorites do not disappoint and, in fact, Lenore gets some of the biggest applause at the curtain call.
When an accident takes Dorothy Brock out of the cast, Peggy is chosen to be her replacement, in two days, under Marsh’s direction. Marsh is a harsh taskmaster and when Peggy gets the jitters before the curtain goes up, he utters those immortal lines: “Two hundred people, two hundred jobs, two hundred thousand dollars, five weeks of grind and blood and sweat depend upon you. It’s the lives of all these people who’ve worked with you. You’ve got to go on, and you’ve got to give and give and give….You’re going out there a youngster, but you’ve got to come back a star.”

Nothing like a little pressure!

I won’t spoil the show by revealing how it ends, but let’s just say lots of tapping and arm waving are involved.

It’s all very silly, and involves a lot of suspension of disbelief from anyone with even the vaguest inkling of what goes into producing a Broadway show, but what the heck: The important thing is getting from one musical number to the next – and everybody does this exceptionally well.

Woodland offers consistently fine productions and this one exceeds even their own normal standards. Try not to miss it!

Thursday, March 21, 2019


Some time ago, I was chastised by a reader for not warning of “adult language” in a production. So let me say at the outset that if you are upset by adult language, you want to skip “Vietgone,” now at Capital Stage. But if you do, you will be cheating yourself out of a very special theatrical experience.

Is this the new look of American theater? It’s a hilarious comedy that can move you to tears in emotional moments. It’s not a musical, yet entertains with “Hamilton”-esque rap numbers. In place of actual sets, there are projections that enable the story to flip back and forth in time and place and include video news footage from the war era. It even includes a fantasy ninja warrior battle.

While it is contemporary in its examination of stereotypes (both Americans and Asians), and the treatment of immigrants following the Vietnam war, it certainly echoes life today.

As Producing Artistic Director Michael Stevenson completes his welcoming message, he announces that a “special guest” will also speak. Actor David Crane introduces himself as the playwright Qui Nguyen and begins to give an explanation of what might seem confusing about the play, which he describes as an “action sex comedy.”

He explains that though we hear the characters speaking English, they are really speaking Vietnamese and when an American character appears, you’ll know he is American because he will spout American nonsense like “Yee Haw! Get’er done! Cheeseburger, waffle, fries, cholesterol, NASCAR, botox, frickles,” the translation of which will be obvious by the response from the Vietnamese. It is an interesting switch of life and history from the Vietnam perspective, which we rarely, if ever, see.

The story centers on two characters, Quang (Jomar Tagatac), a helicopter pilot during the Vietnam War, who was unable to bring his wife and two young children out of Vietnam and longs to return, and Tong (Rinabeth Apostol), a Vietnamese refugee, whose fiancée was left behind in Vietnam and she whom knows she will never see again.

Tong came to America with her sharp-tongued mother, Huong (Michelle Talgarow), with strong feelings about America, American food, how Tong should act and the men she should date. Talgarow also plays several other characters, as do Anthony Chan and the aforementioned David Crane.
Quang finds a dilapidated motorcycle, which he repairs and, with this friend Nhan, heads for California. Along the road, the two have one of the funnier sequences, when they taste burritos for the first time and decide that maybe not all American food is terrible.

Kudos to, I assume, Christa Kinch, who gets credit for Properties Design, for the great motorcycle which is ridden all over the stage throughout the play.

For Quang and Tong, it is lust at first sight and their relationship is strictly a physical one until they begin having feelings for each other, something both of them fight.

Director Jeffrey Lo has a deft hand at letting the relationship between the two grow until we see the inevitable — Quang’s conversation with their son some 20 years later.

The play gives the audience a chance to witness American culture as seen through the eyes of immigrants, to hear that for the immigrants the war is over and done with and they are moving on, while Americans hunger for more and more details about what happened in the past.

“My life is more than the eight years I fight,” Quang tells his son. “All I hear is politicians using Vietnam as a symbol for a mistake. ‘If the president not careful, this will be another Vietnam.’ This is not how any Vietnamese wants Vietnam to be remembered….let me tell you about the people. But if you only wanting to know about war, then go rent a movie.”

This is a unique production that is well worth seeing.

Wednesday, March 13, 2019

Inherit the Wind

Henry Drummond (J. Toney) interrogates a potential juror (Tyler Tufts)
as the judge (Greg Lanzaro) watches. Courtesy photo
Though they have done a few dramas in the many years I have been reviewing productions of the Winters Community Theatre Company, I think of them as doing mostly comedies, with the occasional musical. I wasn’t sure what to expect when I learned the next production was going to be Jerome Lawrence and Robert Edwin Lee’s “Inherit the Wind.”

Coming off the stage and into the director’s chair for the first time, Rodney Orosco promised the audience “a good show…maybe a great show.” In all honesty, it was not a great show, but it was a very good show.

Most people know that this is the story of the trial of Thomas Scopes (called Bertram Cates in this script), the teacher who had the audacity to teach his students about evolution instead of creationism in 1925. It is sad to realize that many of the things shouted by conservatives in 1925 ring true in 2019, nearly 100 years later. At the time this was known as “Godless science versus fairy-tale notions.” I’m sure somewhere someone is preaching the same sentiment today. We have not evolved as quickly as expected.

The Scopes trial pitted two of the legal giants of the age against each other — three-time presidential candidate William Jennings Bryan (called Matthew Harrison Brady in the play) and Clarence Darrow (known as Henry Drummond).

The impact of the play rests on the performance of these two characters. If they are not strong, the play can fall apart. How fortunate Winters is to have two impressive newcomers in the roles. Will Oberholtzer gives a towering performance as Brady, the self-professed Biblical scholar who defiantly defends fundamentalism. Brady is the more bombastic of the two and Oberholtzer is captivating.

J. Toney’s Drummond is more laconic and sarcastic, but no less effective. He gave a spellbinding interrogation of Brady, whose slow but continuous wilting under the questions was perfect. Brady’s physical condition was hinted at by the attention of his wife (Ana Kormos) throughout the first act and his reaction to the courtroom heat was so realistic, we almost wanted the theater to turn on the air conditioner.

(Toney’s daughter Cameron — last seen in last year’s “It’s a Wonderful Life” — plays the town’s mayor.)

Winters regular Philip Pittman was E.K. Hornbeck, the reporter who covers the trial and arranges for Drummond to represent Cates at the trial. This was another strong performance. Hornbeck knows he is a controversial figure (“I am admired for my detestability”) and uses his reputation to his advantage.

Defendant Cates hasn’t much to say or do, but Spencer Alexander did it well, projecting his concern about his future as well as his feelings for Rachel Brown (Elizabeth Williams, alternating with Sierra Winter), daughter of the town minister, Jeremiah Brown (Tom Rost). Rost is always outstanding and makes a convincing minister, denouncing his daughter as a creature of the devil for her feelings for Cates.

There is a large cast, and Tyler Tufts outdoes himself by playing two characters being interviewed for the jury, one distinguishable by his impressive mustache.

(Also doing double duty is the suitcase, which a reporter (Laurel Brittan) carries in, and off stage, brought back on again minutes later by Rachel, bringing clothes to the jailed Cates.)
Among the many town characters, Germaine Hupe adds comic relief by her many shouted epithets at both Cates and Drummond.

There is a simple set dominated by a stage-wide backdrop by Jeff Hesemeyer. It’s an impressive piece, a vision of the town of Hillsboro, Tenn., strangely reminiscent of the town of Winters itself, both the Putah Creek Café and the Buckhorn easily identifiable.

The debate of creationism vs. evolution continues today and one wonders how many more decades this play is going to remain contemporary.