The title on the program for Music Circus' final offering of the 2001 season says "Show Boat," but there were times during the interminable 3 hours when it felt more like "Titanic," and it would have been a blessing to let the captain go down with the ship.
Alan Young as Cap'n Andy, the captain of a showboat on the Mississippi river, is an embarrassment. Despite use of a body mic he could not be heard, which probably didn't matter, since he couldn't remember half of his lines anyway (and I swear was reading them from a script at one point, though supposedly in character, giving directions to the performers on the show boat stage). His Cap'n Andy had no personality whatsoever and he only became believable in the nightclub scene on New Year's Eve where he's supposed to be drunk and bumbling as he listens to his daughter Magnolia make her singing debut at the Trocadero night club.
It is a shame that the "name" performer for this production is so weak when there were others in the cast who are so strong.
At the top of the list is Derrick Smith, as Joe, a deck hand on the Cotton Blossom. His "Old Man River" was a show stopper and he received the highest accolades at the end of the show. But not even "Old Man River" could save this production.
As Joe's wife Queenie, Inga Ballard is outstanding. Queenie is a small role, but she stood out from the rest of the cast. Her duet ("Can't Help Lovin' That Man") with the showboat chanteuse Julie Lavern is terrific.
Beverly Ward and Kerby Ward as Frank and Ellie, the comic/dance duo are wonderful. Beverly Ward is a funny commedienne and the dance numbers for the two of them, especially the tap number, "Goodbye My Lady Love" were great fun.
Magnolia, the daughter of Cap'n Andy and his wife Parthy, who steps into the lead in the showboat's melodramas when Julie is forced off the showboat, is played by Dale Kristien. Kristien has an operetta quality voice and a face that could grace a cameo. She made a lovely Magnolia.
Marcia Mitzman Gaven gives an uneven performance as the singer Julie, who is of mixed race, but who passes for white until she is betrayed by a spurned suitor. She is re-discovered in Act 2, having fallen into decline. Though obviously under the influence of the liquor in the bottle she carries around before and after her singing the song "He's Just My Bill," the song is performed straight, with no hint of the ravages that alcohol have taken on her body and her voice. Though the voice is beautiful, the performance is not always credible.
Likewise there is an unevenness to the performance of Richard White as the river boat gambler Gaylord Ravenal. Though White sings well and seems to do everything right, he lacks the suave personality that one expects of Ravenal. There is little chemistry between him and Magnolia. He is at times so stiff that their love scenes might have been from one of Cap'n Andy's melodramas.
Patti Karr's Parthy, Andy's sharp-tongued wife, had some trouble with her lines as well, though it may just have been difficulty working off Young's Andy. It would have been nice to see some hint of real affection for Andy shine through that harsh exterior.
In a small bit of pantomime, Chris Weikel is outstanding and, along with Derrick Smith, was one of the highlights of the evening.
Abby Sassoon as the young Kim, Gaylord and Magnolia's daughter, was very believable, and provided one of the few scenes where Ravenal seemed to genuinely show affection.
Costumes designed by Dione H. Lebhar are lush and colorful and seem to be authentic down to the high button shoes. Parthy's dress for Act 2 was a knockout.
Once again Choreographer Bob Richard has provided an energetic, fast paced, well rehearsed, visually pleasant set of dances.
However, there is absolutely no excuse for Leland Ball's direction of this show. We were seated on the side of the house opposite the orchestra and must have watched 3/4 of the show from the back. One wonders if the actors were directed to face the orchestra, or whether they were so under-rehearsed that they needed the exaggerated conducting of Music Director Dennis Castellano to keep up with the tempo. Even when Ball used the turntable (which he did often), as the table would turn, the actors would pivot to continue facing the orchestra. At first it was annoying, and then it became irritating.
However, the coup de grace came in the final scene. For the dramatic moment when Gaylord and Magnolia are reunited after 20 years, Ball has placed chorus members in the aisles close to the stage, which effectively blocks large portions of the audience from seeing any of the action on stage whatsoever. I have absolutely no idea what Magnolia's reaction was because all I saw was the back of a chorus member's head.
For the price of Music Circus tickets, patrons deserve better than this show.
Stars: 2
Tuesday, August 21, 2001
Tuesday, July 24, 2001
Music Man
There were somewhat fewer than 76 trombones at the finale of Music Circus' opener, "The Music Man" Lawsuits by five people in the neighborhood prevented the traditional inclusion of a local high school band for the closing musical number. However, even without the splash that the addition of a band would have made, opening production to Music Circus' 2001 season does not lack for energy or enthusiasm.
Meredith Wilson's story of River City, Iowa and the effect of a
traveling salesman on small town life in early part of the 20th
century has been delighting audiences for decades and the current
production, directed by Leland Ball, does not disappoint. Ball's
direction makes use of every bit of space in the Music Circus tent,
imaginatively setting scenes in the aisles, giving the amazing Music
Circus tech crew the opportunity to rush onto the stage in the dark
and change the scenery. The end result is a high energy, fast moving
show which keeps the audience involved until the final notes.
Michael G. Hawkins commands the stage as Harold Hill, the con artist
who intends to bilk the town out of its money by selling them on the
idea of a boys band.
Sarah Tattersall is Marian, the Librarian who suspects Hill, but
succumbs to his charm, and to the difference he brings in the life of
her young brother, Winthrop. She has a clear soprano that soars in
numbers like "Goodnight, My Someone" and "My White Knight."
Michael Federan steals the show in his scenes as Winthrop, a winsome
lad with a lisp who is brought out of his shell by the notion of
playing a trumpet and marching in a band. Director Ball has given
Winthrop the chance to shine by doing backflips and walking on his
hands across the stage at one point.
Hannah Mae Sturges as the young Amaryllis sings a lovely duet with
Marian, nicely expresses her frustration in trying to be friends with
Winthrop, and she plays a mean "cross-hand piece" as well.
Another scene stealer is Casey Nicholaw as Marcellus Washburn, Hill's
accomplice. He dances a lively "Shipoopi," but is at his best in "The
Sadder but Wiser Girl."
Veteran Music Circus performer Lenny Wolpe is a marvelously droll
Mayor Shinn, whose malaprops and bluster make him the perfect
stereotypical small town mayor.
As his wife, Eulalie MacKecknie Shinn, Gina Ferrall is a delight. Her
ode to a Grecian urn or two is especially fun.
The School board--Michael Dotson, Bob Sutton, Matt Castle and Chris
Weikel--sing those great barbershop melodies and, with their
increasingly complementary costumes (ending with a white ensemble
trimmed in red, even down to the shoes), are wonderfully reminiscent
of that bygone era.
Brian Shepard and Mia Price as the lovers Tommy Djilas and Zaneeta
Shinn are cute and gawky and fantastic dancers.
Choreographer Bob Richard has assembled an energetic and talented
group of dancers and works well within the limitations of the small
Music Circus stage. Small numbers, such as "Sadder but Wiser Girl"
and "Pickalittle" are fun, but he shines in the bigger numbers like
"Iowa Stubborn," "Seventy-Six Trombones" and "Wells Fargo Wagon."
There is great difficulty in staging a show like "Music Man" in the
round. Much of the action does not lend itself to easily playing to
the entire house, and so we saw several scenes from the back side, but
Director Ball seems to have compensated for this by alternating the
direction in which the scenes are played--the gymnasium scene faces
one direction, the Paroo porch faces another, etc. When the action
lends itself to lots of movement, the set is a raised platform in the
middle of the stage, from which the action can rotate to face each
section of the house, in turn.
The sets by Michael Schweikardt are simple, but work well. Local
establishments are represented by signs which hang from the lighting
rig, the 4th of July celebration in the gymnasium becomes bunting
which is lowered to drape the upper portion of the stage, the
footbridge sets squarely in the middle of the stage and is easily
shuttled off by the hard-working tech crew.
"The Music Man" takes us back to the simple days when the town social
was the biggest event of the week, and when the arrival of a stranger
in town could set the town on its ear. You'll tap your toes and clap
your hands, and leave the theatre humming "76 Trombones." (But hum
softly so you don't disturb the curmudgeons in the neighborhood.)
Meredith Wilson's story of River City, Iowa and the effect of a
traveling salesman on small town life in early part of the 20th
century has been delighting audiences for decades and the current
production, directed by Leland Ball, does not disappoint. Ball's
direction makes use of every bit of space in the Music Circus tent,
imaginatively setting scenes in the aisles, giving the amazing Music
Circus tech crew the opportunity to rush onto the stage in the dark
and change the scenery. The end result is a high energy, fast moving
show which keeps the audience involved until the final notes.
Michael G. Hawkins commands the stage as Harold Hill, the con artist
who intends to bilk the town out of its money by selling them on the
idea of a boys band.
Sarah Tattersall is Marian, the Librarian who suspects Hill, but
succumbs to his charm, and to the difference he brings in the life of
her young brother, Winthrop. She has a clear soprano that soars in
numbers like "Goodnight, My Someone" and "My White Knight."
Michael Federan steals the show in his scenes as Winthrop, a winsome
lad with a lisp who is brought out of his shell by the notion of
playing a trumpet and marching in a band. Director Ball has given
Winthrop the chance to shine by doing backflips and walking on his
hands across the stage at one point.
Hannah Mae Sturges as the young Amaryllis sings a lovely duet with
Marian, nicely expresses her frustration in trying to be friends with
Winthrop, and she plays a mean "cross-hand piece" as well.
Another scene stealer is Casey Nicholaw as Marcellus Washburn, Hill's
accomplice. He dances a lively "Shipoopi," but is at his best in "The
Sadder but Wiser Girl."
Veteran Music Circus performer Lenny Wolpe is a marvelously droll
Mayor Shinn, whose malaprops and bluster make him the perfect
stereotypical small town mayor.
As his wife, Eulalie MacKecknie Shinn, Gina Ferrall is a delight. Her
ode to a Grecian urn or two is especially fun.
The School board--Michael Dotson, Bob Sutton, Matt Castle and Chris
Weikel--sing those great barbershop melodies and, with their
increasingly complementary costumes (ending with a white ensemble
trimmed in red, even down to the shoes), are wonderfully reminiscent
of that bygone era.
Brian Shepard and Mia Price as the lovers Tommy Djilas and Zaneeta
Shinn are cute and gawky and fantastic dancers.
Choreographer Bob Richard has assembled an energetic and talented
group of dancers and works well within the limitations of the small
Music Circus stage. Small numbers, such as "Sadder but Wiser Girl"
and "Pickalittle" are fun, but he shines in the bigger numbers like
"Iowa Stubborn," "Seventy-Six Trombones" and "Wells Fargo Wagon."
There is great difficulty in staging a show like "Music Man" in the
round. Much of the action does not lend itself to easily playing to
the entire house, and so we saw several scenes from the back side, but
Director Ball seems to have compensated for this by alternating the
direction in which the scenes are played--the gymnasium scene faces
one direction, the Paroo porch faces another, etc. When the action
lends itself to lots of movement, the set is a raised platform in the
middle of the stage, from which the action can rotate to face each
section of the house, in turn.
The sets by Michael Schweikardt are simple, but work well. Local
establishments are represented by signs which hang from the lighting
rig, the 4th of July celebration in the gymnasium becomes bunting
which is lowered to drape the upper portion of the stage, the
footbridge sets squarely in the middle of the stage and is easily
shuttled off by the hard-working tech crew.
"The Music Man" takes us back to the simple days when the town social
was the biggest event of the week, and when the arrival of a stranger
in town could set the town on its ear. You'll tap your toes and clap
your hands, and leave the theatre humming "76 Trombones." (But hum
softly so you don't disturb the curmudgeons in the neighborhood.)
Tuesday, June 19, 2001
Peter Pan
From the moment that Megan Houpt flies through the window of the Darling family nursery and onto the stage as Peter Pan, in the show of the same name currently being presented by Davis Musical Theatre Company, the audience sits up and takes notice. Houpt is wonderful as the boy who refused to grow up. She brings electricity to the role, and is able not only to walk and talk at the same time (and quite well), but also to sing and fly at the same time. She simply MAKES the production.
Peter Pan, closes DMTC’s 2001 season, and brings full circle 17 years of musical theatre in Davis. Seventeen years ago, Peter Pan was the first production done by this then-fledgling company, which now has 165 productions under its belt.
The current production is an example of DMTC at its best. Director Michael Miller, in his fourth production for the company, has assembled a very strong cast. In addition to Houpt, Rodger McDonald in the dual role of Mr. Darling (the father of Wendy, John and Michael), and Capt. Hook, the pirate out to get Peter Pan, is outstanding. He is a strong presence as Mr. Darling, but he excels as Hook, directing his pirate band in bumbling attempts to capture Pan, the Lost Boys, and the Indian Princess, Tiger Lily, yet terrified of the jaws of the crocodile who once ate the pirate’s hand and is always looking for a chance to finish the rest of the meal.
Michael Campbell as Smee, Hook’s right hand man, is very funny, as the delighted giggles from the youngsters in the audience will attest.
As the Darling children, Maggie Roesser (Wendy), Steven Garman (John) and Sarah Yablon (John) are wonderful. Roessner, in her DMTC debut, is a marvelous addition to the company. She and Houpt play well off each other. Yablon seems to be specializing in “pants” role early in her life. She was last seen as the young Tommy in “The Who’s Tommy.” She is adorable and completely convincing as a young teddy-bear toting young boy.
Vanessa Born is delightful to watch as Tiger Lily, particularly in the dance numbers, choreographed by Ron Cisneros. (Be advised that the Indian dialog is terribly dated and decidedly not politically correct. In an era where Disney Studios has refused to re–release “Song of the South” because of racial stereotypes, one questions the wisdom of bringing back this version of “Peter Pan”)
Others in the cast include Karen Day as Mrs. Darling and the grown up Wendy, Christina Day as Liza, Kelly Daniells as Jane, and enough actors of all ages as Lost Boys, Pirates, Indians, Trees, Animals and Shadow Dancers, to rival the Davis Children’s Nutcracker at the final curtain. There was some opening night nervousness and missed lines, but ones assumes that will improve through the run of the show.
Cisneros’ choreography is outstanding. Whether it’s Pirates dancing the tango or the tarantella or Indians doing what amounts to a close order drill, the dance numbers add immeasurably to the fun of the production.
Miller’s staging keeps the production moving at a fast clip, and also provides some stunning visual moments, such as one scene where the Indians are seated in a line across the top of a wall and down the steps, providing an notably artistic backdrop to the scene.
Costume design by Anna Johnson run the gamut from the plush red velvet of Hook’s costume through the rag-taggle clothes of the Lost Boys, to several animal suits. Nana, the nursemaid dog (played by Aaron Rogers) is wonderfully shaggy and huggable. Costumes for the lion (Scott Griffith), Ostrich (Heather Tinling), Kangaroo (Marc Valdez) and Bear (Wendy Young) are fun, though the ostrich bears a striking resemblance to a bald eagle. The best of the lot, however, is the crocodile. The marriage of costume and actor (Carrie Gifford) is reminiscent of the stage version of “The Lion King,” and both costumer and actor are to be congratulated.
Special mention should be given to Carrie Gifford, Ryan Gifford and Michael Miller, who are listed as “flight instructors.” Flying four actors around the stage at the same time can be a difficult and dangerous thing to do, but at least from the audience perspective, it all seemed to go off without problem. Miller has staged his flying sequences so that attaching and unattaching actors from the rigging is done as inconspicuously as possible (though it’s obviously not possible to entirely eliminate the sight of harnesses and cables)
Carol Callahan has created an imaginative set, which includes the Darling nursery, with a lovely brass bed for Wendy, and doghouse for Nana, and the Neverland forest, with cloth tree trunks which can be rolled up into the flies for a quick scene change to the pirate ship.
The small DMTC orchestra was again adequate in accompanying the production, but does make one wish for an orchestra pit.
When the Tinker Bell (clever use of a laser light) is in danger of dying, Peter Pan asks the audience to clap if they believe in fairies. The applause restores the fairy to life and all ends happily.
“Peter Pan” will make you believe in fairies. And in pirates, in Indians, and in little boys who never want to grow up.
Bring the kids and let yourself be transported back to Never-Never Land. It’s a trip that you will very much enjoy.
Peter Pan, closes DMTC’s 2001 season, and brings full circle 17 years of musical theatre in Davis. Seventeen years ago, Peter Pan was the first production done by this then-fledgling company, which now has 165 productions under its belt.
The current production is an example of DMTC at its best. Director Michael Miller, in his fourth production for the company, has assembled a very strong cast. In addition to Houpt, Rodger McDonald in the dual role of Mr. Darling (the father of Wendy, John and Michael), and Capt. Hook, the pirate out to get Peter Pan, is outstanding. He is a strong presence as Mr. Darling, but he excels as Hook, directing his pirate band in bumbling attempts to capture Pan, the Lost Boys, and the Indian Princess, Tiger Lily, yet terrified of the jaws of the crocodile who once ate the pirate’s hand and is always looking for a chance to finish the rest of the meal.
Michael Campbell as Smee, Hook’s right hand man, is very funny, as the delighted giggles from the youngsters in the audience will attest.
As the Darling children, Maggie Roesser (Wendy), Steven Garman (John) and Sarah Yablon (John) are wonderful. Roessner, in her DMTC debut, is a marvelous addition to the company. She and Houpt play well off each other. Yablon seems to be specializing in “pants” role early in her life. She was last seen as the young Tommy in “The Who’s Tommy.” She is adorable and completely convincing as a young teddy-bear toting young boy.
Vanessa Born is delightful to watch as Tiger Lily, particularly in the dance numbers, choreographed by Ron Cisneros. (Be advised that the Indian dialog is terribly dated and decidedly not politically correct. In an era where Disney Studios has refused to re–release “Song of the South” because of racial stereotypes, one questions the wisdom of bringing back this version of “Peter Pan”)
Others in the cast include Karen Day as Mrs. Darling and the grown up Wendy, Christina Day as Liza, Kelly Daniells as Jane, and enough actors of all ages as Lost Boys, Pirates, Indians, Trees, Animals and Shadow Dancers, to rival the Davis Children’s Nutcracker at the final curtain. There was some opening night nervousness and missed lines, but ones assumes that will improve through the run of the show.
Cisneros’ choreography is outstanding. Whether it’s Pirates dancing the tango or the tarantella or Indians doing what amounts to a close order drill, the dance numbers add immeasurably to the fun of the production.
Miller’s staging keeps the production moving at a fast clip, and also provides some stunning visual moments, such as one scene where the Indians are seated in a line across the top of a wall and down the steps, providing an notably artistic backdrop to the scene.
Costume design by Anna Johnson run the gamut from the plush red velvet of Hook’s costume through the rag-taggle clothes of the Lost Boys, to several animal suits. Nana, the nursemaid dog (played by Aaron Rogers) is wonderfully shaggy and huggable. Costumes for the lion (Scott Griffith), Ostrich (Heather Tinling), Kangaroo (Marc Valdez) and Bear (Wendy Young) are fun, though the ostrich bears a striking resemblance to a bald eagle. The best of the lot, however, is the crocodile. The marriage of costume and actor (Carrie Gifford) is reminiscent of the stage version of “The Lion King,” and both costumer and actor are to be congratulated.
Special mention should be given to Carrie Gifford, Ryan Gifford and Michael Miller, who are listed as “flight instructors.” Flying four actors around the stage at the same time can be a difficult and dangerous thing to do, but at least from the audience perspective, it all seemed to go off without problem. Miller has staged his flying sequences so that attaching and unattaching actors from the rigging is done as inconspicuously as possible (though it’s obviously not possible to entirely eliminate the sight of harnesses and cables)
Carol Callahan has created an imaginative set, which includes the Darling nursery, with a lovely brass bed for Wendy, and doghouse for Nana, and the Neverland forest, with cloth tree trunks which can be rolled up into the flies for a quick scene change to the pirate ship.
The small DMTC orchestra was again adequate in accompanying the production, but does make one wish for an orchestra pit.
When the Tinker Bell (clever use of a laser light) is in danger of dying, Peter Pan asks the audience to clap if they believe in fairies. The applause restores the fairy to life and all ends happily.
“Peter Pan” will make you believe in fairies. And in pirates, in Indians, and in little boys who never want to grow up.
Bring the kids and let yourself be transported back to Never-Never Land. It’s a trip that you will very much enjoy.
Sunday, March 04, 2001
Seeds
Everyone remembers Maj. Frank Burns, the pompous, pedantic medical officer played by Larry Linville, on the classic TV show M*A*S*H. Linville lost a battle to lung cancer last year, but when alive, he developed friendships with members of the Winters Community Theatre.
As a tribute to Linville, Winters Community Theatre was given the opportunity to present the world premiere of a comedy, “Seeds,” written by Linville and his wife Deborah Guydon Linville. The show opened on Friday night at the Winters Community Center, under the direction of Howard Hupe. The opening was attended by Deborah Guydon Linville, several family members, and Linville’s longtime friend, Gary Burghoff (Radar in M*A*S*H).
“Seeds” is a modern day comedy which deals with the subject of artificial insemination. At its best, with a somewhat faster pace, it has the potential to rival a bedroom farce, with people coming and going out of doors and windows, double entendres, and secret sexual liaisons.
At its worst, the dialog stretches the bounds of credibility. With some tightening, it might have been possible to shorten exchanges so that they had a ring of truth to them, but alas, that was not the case here.
There are, in truth, many funny situations, and many funny lines. But a lot of the dialog concerning the secret revelations which unfold throughout the evening, just don’t work.
The action takes place during one evening at the apartment of Thomas (Chad Frazier), who is about to introduce his soon-to-be significant other Andrea (Gina Wingard) to his mother. Thomas has planned the perfect evening--champagne, pate, caviar, and dinner at a very exclusive Chicago restaurant. Andrea, anticipating a special “dessert” after dinner, has bought a silken nighty and the couple are looking forward to advancing their relationship to the next level.
Plans are disrupted by the unexpected arrival of Herb Darwin (an excellent characterization by Scott Graf), an eccentric and newly retired aerospace engineer. Herb claims that as a man alone, facing his waning years, he realizes that he has no one special in his life, and so he is trying to locate any children he may have fathered when he was earning money selling sperm to the “Onan Institute.” He claims that Thomas is his son.
It’s difficult to know if the problems with the ensuing scenes, where Thomas expresses ire and vehemently denies the facts presented to him are the fault of the script, or of the many line flubs on opening night. Suffice to say that they don’t work.
The group awaits the arrival of Thomas’ mother, Gloria (Diane Taylor), confident she will help everyone to sort out the truth. But it appears that there is more to the story than even Herb revealed and concerns a summer of love and a couple of flower children named Sunshine and Earth Dog.
This being a comedy, in the end everything is sorted out and the twists and turns of the plot have smoothed out, leaving everyone to live happily ever after.
There are nice little touches throughout the script, such as Thomas’ intermittent telephone conversations with the doorman, Carleton (a reminder of the old Rhoda TV series), and Gloria’s membership in the Daughters of Upstanding Heritage (DUH). But if Winters was the “out of town” tryout for this production, it needs a bit more reworking before it’s ready for the big time.
Ken Grubaugh, Bob Taylor, Larry Jutus, Howard Hupe and Gary Schroeder have created a nice utilitarian apartment scene for Thomas, and Jerry Cushman’s sound design, especially regarding Thomas’s remote controlled ambience enhancer is very well done.
Seeds runs through March 11 at the Winters Community Center, 201 Railroad Ave., Winters.
As a tribute to Linville, Winters Community Theatre was given the opportunity to present the world premiere of a comedy, “Seeds,” written by Linville and his wife Deborah Guydon Linville. The show opened on Friday night at the Winters Community Center, under the direction of Howard Hupe. The opening was attended by Deborah Guydon Linville, several family members, and Linville’s longtime friend, Gary Burghoff (Radar in M*A*S*H).
“Seeds” is a modern day comedy which deals with the subject of artificial insemination. At its best, with a somewhat faster pace, it has the potential to rival a bedroom farce, with people coming and going out of doors and windows, double entendres, and secret sexual liaisons.
At its worst, the dialog stretches the bounds of credibility. With some tightening, it might have been possible to shorten exchanges so that they had a ring of truth to them, but alas, that was not the case here.
There are, in truth, many funny situations, and many funny lines. But a lot of the dialog concerning the secret revelations which unfold throughout the evening, just don’t work.
The action takes place during one evening at the apartment of Thomas (Chad Frazier), who is about to introduce his soon-to-be significant other Andrea (Gina Wingard) to his mother. Thomas has planned the perfect evening--champagne, pate, caviar, and dinner at a very exclusive Chicago restaurant. Andrea, anticipating a special “dessert” after dinner, has bought a silken nighty and the couple are looking forward to advancing their relationship to the next level.
Plans are disrupted by the unexpected arrival of Herb Darwin (an excellent characterization by Scott Graf), an eccentric and newly retired aerospace engineer. Herb claims that as a man alone, facing his waning years, he realizes that he has no one special in his life, and so he is trying to locate any children he may have fathered when he was earning money selling sperm to the “Onan Institute.” He claims that Thomas is his son.
It’s difficult to know if the problems with the ensuing scenes, where Thomas expresses ire and vehemently denies the facts presented to him are the fault of the script, or of the many line flubs on opening night. Suffice to say that they don’t work.
The group awaits the arrival of Thomas’ mother, Gloria (Diane Taylor), confident she will help everyone to sort out the truth. But it appears that there is more to the story than even Herb revealed and concerns a summer of love and a couple of flower children named Sunshine and Earth Dog.
This being a comedy, in the end everything is sorted out and the twists and turns of the plot have smoothed out, leaving everyone to live happily ever after.
There are nice little touches throughout the script, such as Thomas’ intermittent telephone conversations with the doorman, Carleton (a reminder of the old Rhoda TV series), and Gloria’s membership in the Daughters of Upstanding Heritage (DUH). But if Winters was the “out of town” tryout for this production, it needs a bit more reworking before it’s ready for the big time.
Ken Grubaugh, Bob Taylor, Larry Jutus, Howard Hupe and Gary Schroeder have created a nice utilitarian apartment scene for Thomas, and Jerry Cushman’s sound design, especially regarding Thomas’s remote controlled ambience enhancer is very well done.
Seeds runs through March 11 at the Winters Community Center, 201 Railroad Ave., Winters.
Tuesday, January 09, 2001
Our Town
Think back to a time before computers, a time before cell phones, a time before television. Think of a time when a date with your best girl was a soda at the drug store, and when the first kiss was a very big deal.
Think of Grover’s Corners.
Grover’s Corners, New Hampshire is the setting for Thornton Wilder’s classic play, “Our Town,” presented by Acme Theatre Company, under the direction of David Burmester.
The play consists of three acts, with three years between the first and second act and nine years between the second and third act.
The principal actor is the Stage Manager, who remains on stage the entire time explaining much of the action. He is aware of the present, and privy to both the past and the future. Jasen Oler handles the role of Stage Manager competently. He seems perfectly at home as he walks across the nearly bare stage, describing the town, painting the scene, and acting as a liaison between cast and audience.
In the first act we follow a typical day in Grover’s Corners, and meet some of its citizens, as they go about their daily business. George Gibbs (Chris Schmidt) and Emily Webb (Eleanor van Hest) are young adults, living next door to each other, best friends, going to school together, and sharing secrets, dreams, and homework tips, leaning out their respective bedroom windows.
Their mothers, Mrs. Webb (Emily Henderson) and Mrs. Gibbs (Eden Kennedy-Hoffman) spend a lot of time doing kitchen duty--preparing meals, stringing beans for supper, and making a home for their husbands and children, including George’s sister Rebecca (Alexis Beddard) and Emily’s brother Wally (James Henderson).
"Both of those ladies cooked three meals a day - one of 'em for twenty years and the other for forty - and no summer vacation. They brought up two children apiece, washed, cleaned the house ... and never a nervous breakdown. It's like what one of those Middle West poets said: You've got to love life to have life, and you've got to have life to love life... It's what they call a vicious circle,” says the Stage Manager.
The fathers, newspaper editor Mr. Webb (Pheelykx Guttenberg) and Doctor Gibbs (Nick Herbert) chat over the back fence and talk about the goings on in the town. We meet other citizens of Grover’s Corners--Howie, the Milkman (Steven Schmidt), Joe Crowell, the newsboy (Josh Nielson), and Constable Warren (Dylan Myles-Primakoff).
Act two is dedicated to marriage. We witness George and Emily falling in love and we are all invited to the wedding, which is attended by all the townspeople, including a very excited Mrs. Soames (Alaina Boys).
Act three takes place in the town cemetery. Emily has died in childbirth and is buried in the town's cemetery on a rainy, dreary day. There she is reunited with those friends and neighbors who have died before her, and who help her adjust to her new existence. Though Emily is granted one day to return to her old life, we watch her accept death as a natural extension of life and begin to disengage from life, as she finds peace in death.
One of Wilder’s requirements in staging “Our Town” is that the play must be done on a bare stage, with a minimum of props. In his notes to this production, Burmester expresses his desire to make this production different from Acme’s 1987 production, and so he turned to live sound effects. The sound technicians, Clarissa Lyons, Jessica Harris, Sarah Hartmeyer, Nick Herbert, David Markman, Rob Rogers, Steven Schmidt and Jake Stoebel have created a wonderful array of gate squeaks, bowl stirring, silverware clanking, and other sounds that you would find in daily life, but it unfortunately is one of those great ideas that doesn’t work in actuality. The sounds are very distracting and in some cases unnecessarily highlight a bit of pantomime that an actor may have forgotten.
But despite the distraction of the sound effects, Acme has once again presented a polished, professional production. In the end, its simple message teaches us the true value of life. As the Stage Manager says, "Whenever you come near the human race, there's layers and layers of nonsense .... We all know that something is eternal. And it ain't houses and it ain't names ... that something has to do with human beings."
Three more performances of “Our Town” remain--January 11, 12, and 13, 8 p.m. at the Veterans’ Memorial Theatre. Tickets available at the box office on the night of the performance.
Think of Grover’s Corners.
Grover’s Corners, New Hampshire is the setting for Thornton Wilder’s classic play, “Our Town,” presented by Acme Theatre Company, under the direction of David Burmester.
The play consists of three acts, with three years between the first and second act and nine years between the second and third act.
The principal actor is the Stage Manager, who remains on stage the entire time explaining much of the action. He is aware of the present, and privy to both the past and the future. Jasen Oler handles the role of Stage Manager competently. He seems perfectly at home as he walks across the nearly bare stage, describing the town, painting the scene, and acting as a liaison between cast and audience.
In the first act we follow a typical day in Grover’s Corners, and meet some of its citizens, as they go about their daily business. George Gibbs (Chris Schmidt) and Emily Webb (Eleanor van Hest) are young adults, living next door to each other, best friends, going to school together, and sharing secrets, dreams, and homework tips, leaning out their respective bedroom windows.
Their mothers, Mrs. Webb (Emily Henderson) and Mrs. Gibbs (Eden Kennedy-Hoffman) spend a lot of time doing kitchen duty--preparing meals, stringing beans for supper, and making a home for their husbands and children, including George’s sister Rebecca (Alexis Beddard) and Emily’s brother Wally (James Henderson).
"Both of those ladies cooked three meals a day - one of 'em for twenty years and the other for forty - and no summer vacation. They brought up two children apiece, washed, cleaned the house ... and never a nervous breakdown. It's like what one of those Middle West poets said: You've got to love life to have life, and you've got to have life to love life... It's what they call a vicious circle,” says the Stage Manager.
The fathers, newspaper editor Mr. Webb (Pheelykx Guttenberg) and Doctor Gibbs (Nick Herbert) chat over the back fence and talk about the goings on in the town. We meet other citizens of Grover’s Corners--Howie, the Milkman (Steven Schmidt), Joe Crowell, the newsboy (Josh Nielson), and Constable Warren (Dylan Myles-Primakoff).
Act two is dedicated to marriage. We witness George and Emily falling in love and we are all invited to the wedding, which is attended by all the townspeople, including a very excited Mrs. Soames (Alaina Boys).
Act three takes place in the town cemetery. Emily has died in childbirth and is buried in the town's cemetery on a rainy, dreary day. There she is reunited with those friends and neighbors who have died before her, and who help her adjust to her new existence. Though Emily is granted one day to return to her old life, we watch her accept death as a natural extension of life and begin to disengage from life, as she finds peace in death.
One of Wilder’s requirements in staging “Our Town” is that the play must be done on a bare stage, with a minimum of props. In his notes to this production, Burmester expresses his desire to make this production different from Acme’s 1987 production, and so he turned to live sound effects. The sound technicians, Clarissa Lyons, Jessica Harris, Sarah Hartmeyer, Nick Herbert, David Markman, Rob Rogers, Steven Schmidt and Jake Stoebel have created a wonderful array of gate squeaks, bowl stirring, silverware clanking, and other sounds that you would find in daily life, but it unfortunately is one of those great ideas that doesn’t work in actuality. The sounds are very distracting and in some cases unnecessarily highlight a bit of pantomime that an actor may have forgotten.
But despite the distraction of the sound effects, Acme has once again presented a polished, professional production. In the end, its simple message teaches us the true value of life. As the Stage Manager says, "Whenever you come near the human race, there's layers and layers of nonsense .... We all know that something is eternal. And it ain't houses and it ain't names ... that something has to do with human beings."
Three more performances of “Our Town” remain--January 11, 12, and 13, 8 p.m. at the Veterans’ Memorial Theatre. Tickets available at the box office on the night of the performance.
Monday, January 08, 2001
Olliver!
Charles Dickens’ classic Oliver Twist is hardly a story which lends itself to a sprightly musical. An orphan boy forced to slave in a workhouse until he gets sold to an undertaker, and who then runs away to join a band of thieves apprenticed to the crafty and cunning Fagin. It has poverty and child abuse and crime and murder. Not the typical stuff of musical theatre. And yet Lionel Bart’s adaptation has become one of the most beloved musicals of all time.
The elements that make this show work are the endearing children in the cast, strong principal characters, and upbeat musical numbers that keep the show moving along at a steady clip.
Unfortunately, there is nothing sprightly about Davis Musical Theatre Company’s production of Oliver!, which opened this weekend. The tempos are slow and the show, at nearly 3 hours, drags terribly. However, despite tempo problems, Director/Choreographer Jan Isaacson has created a good looking, imaginatively staged, creatively choreographed production.
The children’s chorus, which opens the show, is small, but for the most part well disciplined, showing a surprising number of good voices for a group so young. “Food, Glorious Food” was a testament to the amount of hard work that the children put in to get the dance numbers right.
Nine year old Ed Bianchi in the title role looks the perfect Oliver. He has a wonderful stage presence and the perfect look of an abandoned waif. He was hampered in Act 2 by being put in a bed on the upper level of the set so that his body was not visible to a good portion of the audience, and his voice was not able to project over the blankets that covered him, but when blocked appropriately he was a delight.
Steve Isaacson was restrained by a cervical collar, but it did nothing to hamper his performance. Except for lacking any attempt at a British accent (which most of the rest of the cast managed to carry off very well), Isaacson’s Fagin was a delightful mix of evil and whimsy, struggling with some long-forgotten principles and trying to decide between his principles and his inherent greed.
The talented Colin Sphar brings a cocky assurance to the role of the Artful Dodger, Fagin’s right hand boy. He is a good actor who moves well on stage and has a strong singing voice.
Equally impressive were Brent Null’s Mr. Bumble and Lexie DeRock’s Widow Corney. Both had strong clear voices and played off each other very well.
Others in the cast included Tim O’Laughlin in a Mr. Sowerberry, a characterization which was almost more “wolfman” than “undertaker,” Sarah Null as Mrs. Sowerberry, Helen Spangler as Nancy, Megan Houpt as Bet, Tommy Callahan as Bill Sikes (not “Sykes” as spelled in the program--this reviewer is sensitive to the proper spelling!), Ben Bruening in the dual roles of Noah and Mr. Brownlow and Noel Bruening as Old Sally.
Act II’s “Who Will Buy” singers -- Savannah Scott, Christa Garnett, Tim O’Laughlin, and Brian McCann -- were exceptionally strong.
Mark Allen has designed a two-level set which functions well as an orphanage, the “Three Cripples” public house, Fagin’s hideout, or Mr. Brownlow’s mansion with the hanging a a few simple pieces and placement or tables. The use of a fog machine at two points of the show seems a bit out of place. While the intent was obviously designed to create the sense of foggy London, the noise and nozzle of the hose were distracting.
There were twelve instruments listed for the off-stage orchestra, under the musical direction of Steve Isaacon (no conductor is listed in the program), though the sound would make one question whether all 12 instruments were playing at the same performance.
Oliver! is a good family show which children and parents alike will enjoy. Its shortcomings are few and are more than compensated for by its strengths.
The elements that make this show work are the endearing children in the cast, strong principal characters, and upbeat musical numbers that keep the show moving along at a steady clip.
Unfortunately, there is nothing sprightly about Davis Musical Theatre Company’s production of Oliver!, which opened this weekend. The tempos are slow and the show, at nearly 3 hours, drags terribly. However, despite tempo problems, Director/Choreographer Jan Isaacson has created a good looking, imaginatively staged, creatively choreographed production.
The children’s chorus, which opens the show, is small, but for the most part well disciplined, showing a surprising number of good voices for a group so young. “Food, Glorious Food” was a testament to the amount of hard work that the children put in to get the dance numbers right.
Nine year old Ed Bianchi in the title role looks the perfect Oliver. He has a wonderful stage presence and the perfect look of an abandoned waif. He was hampered in Act 2 by being put in a bed on the upper level of the set so that his body was not visible to a good portion of the audience, and his voice was not able to project over the blankets that covered him, but when blocked appropriately he was a delight.
Steve Isaacson was restrained by a cervical collar, but it did nothing to hamper his performance. Except for lacking any attempt at a British accent (which most of the rest of the cast managed to carry off very well), Isaacson’s Fagin was a delightful mix of evil and whimsy, struggling with some long-forgotten principles and trying to decide between his principles and his inherent greed.
The talented Colin Sphar brings a cocky assurance to the role of the Artful Dodger, Fagin’s right hand boy. He is a good actor who moves well on stage and has a strong singing voice.
Equally impressive were Brent Null’s Mr. Bumble and Lexie DeRock’s Widow Corney. Both had strong clear voices and played off each other very well.
Others in the cast included Tim O’Laughlin in a Mr. Sowerberry, a characterization which was almost more “wolfman” than “undertaker,” Sarah Null as Mrs. Sowerberry, Helen Spangler as Nancy, Megan Houpt as Bet, Tommy Callahan as Bill Sikes (not “Sykes” as spelled in the program--this reviewer is sensitive to the proper spelling!), Ben Bruening in the dual roles of Noah and Mr. Brownlow and Noel Bruening as Old Sally.
Act II’s “Who Will Buy” singers -- Savannah Scott, Christa Garnett, Tim O’Laughlin, and Brian McCann -- were exceptionally strong.
Mark Allen has designed a two-level set which functions well as an orphanage, the “Three Cripples” public house, Fagin’s hideout, or Mr. Brownlow’s mansion with the hanging a a few simple pieces and placement or tables. The use of a fog machine at two points of the show seems a bit out of place. While the intent was obviously designed to create the sense of foggy London, the noise and nozzle of the hose were distracting.
There were twelve instruments listed for the off-stage orchestra, under the musical direction of Steve Isaacon (no conductor is listed in the program), though the sound would make one question whether all 12 instruments were playing at the same performance.
Oliver! is a good family show which children and parents alike will enjoy. Its shortcomings are few and are more than compensated for by its strengths.
Brigadoon
"With true love anything is possible--even miracles,” says Mr. Lundie, the wise old philosopher of Brigadoon (played with much dignity by Tim O’Laughlin). And therein lies the message Davis Musical Theatre’s production of the Lerner and Loewe musical, currently delighting audiences at the Varsity Theatre, through January 28th.
Director Steve Isaacson has created a sprightly, sparkling production, which moves at a steady clip and draws the audience in from the opening strains of the backstage chorus.
Isaacson has assembled a strong cast headed by Jaime Tvrdik as Tommy Allbright, the American who stumbles across the magical Scottish town of Brigadoon on the one day in 100 when it comes to life. Tvrdik, who bears an uncanny resemblance to David Letterman, is making his DMTC debut and is welcome addition to the company.
Tommy falls in love with the village lass Fiona McLaren (wonderfully played by Amanda Duran). Their duets, some of the more memorable Lerner & Loewe music (“It’s Almost Like Being In Love” and “The Heather on the Hill”) are outstanding.
Comic relief is provided by Tommy’s heavy-drinking pal Jeff Douglas, played by DMTC veteran Ben Breuning and by Meg Brockie, the lusty wench who sets her tam-o-shanter for him. What Jan Isaacson, as Meg, lacks vocally she makes up for in enthusiasm and energy, though she probably would have been better off not attempting a Scottish accent.
(For the most part, the accents used by the rest of the cast sounded authentic to an American ear and were carried consistently throughout the show.)
Supporting players were generally excellent. Dena Lozano is a sweet Jean McLaren, preparing for her wedding to Charlie Dalrymple (Seth Arnopole). Arnopole has a steady tenor, though his “Bonnie Jean” could have used a bit more volume.
Chris Garcia is the Hapless Harry Beaton, who threatens to leave Brigadoon and cause the town to disappear forever. His fight with Tommy stretches credibility a bit (Tommy can knock him down several times, but apparently can’t reach his arm to hold on to him long enough for the others to help bring him back to town), but it’s a minor point.
Dave Mauck as Angus MacGregor, Bruce Wallace as Archie Beaton, and Cliff Wood as Sandy each give strong performances (and special recognition should go to Brian McCann who, while not given a character name in the program, has several small solos and is outstanding).
A decided highlight of this production is the choreography by Amanda Duran. Program notes indicate that this is Duran’s first attempt at choreography and the professional results she has achieved would indicate that she has a real talent for the job. The dances were imaginative and the dancers well drilled. Particularly noteworthy was the sword dance, performed by Chris Garcia, Cliff Wood and Marc Valdez.
The DMTC orchestra was in fine form, and the addition of bagpiper Liz Steuber for the funeral of Harry Beaton was particularly effective.
Jean Henderson’s costumes give the right taste of an 18th century Scottish village, and the parade of tartans was a colorful display.
Set design was by Ron Easley and lighting design by Mark Allen.
At the end of Brigadoon’s day, Tommy must decide if he’s willing to risk all to stay with Fiona, or return to his own life and his fiancee (Noel Breuning) in New York and give her up forever. "It's the hardest thing in the world to give up everything...but sometimes it's the only way to get everything," advises Mr. Lundie. Tommy’s ultimate decision proves indeed that “with love all things are possible.”
Director Steve Isaacson has created a sprightly, sparkling production, which moves at a steady clip and draws the audience in from the opening strains of the backstage chorus.
Isaacson has assembled a strong cast headed by Jaime Tvrdik as Tommy Allbright, the American who stumbles across the magical Scottish town of Brigadoon on the one day in 100 when it comes to life. Tvrdik, who bears an uncanny resemblance to David Letterman, is making his DMTC debut and is welcome addition to the company.
Tommy falls in love with the village lass Fiona McLaren (wonderfully played by Amanda Duran). Their duets, some of the more memorable Lerner & Loewe music (“It’s Almost Like Being In Love” and “The Heather on the Hill”) are outstanding.
Comic relief is provided by Tommy’s heavy-drinking pal Jeff Douglas, played by DMTC veteran Ben Breuning and by Meg Brockie, the lusty wench who sets her tam-o-shanter for him. What Jan Isaacson, as Meg, lacks vocally she makes up for in enthusiasm and energy, though she probably would have been better off not attempting a Scottish accent.
(For the most part, the accents used by the rest of the cast sounded authentic to an American ear and were carried consistently throughout the show.)
Supporting players were generally excellent. Dena Lozano is a sweet Jean McLaren, preparing for her wedding to Charlie Dalrymple (Seth Arnopole). Arnopole has a steady tenor, though his “Bonnie Jean” could have used a bit more volume.
Chris Garcia is the Hapless Harry Beaton, who threatens to leave Brigadoon and cause the town to disappear forever. His fight with Tommy stretches credibility a bit (Tommy can knock him down several times, but apparently can’t reach his arm to hold on to him long enough for the others to help bring him back to town), but it’s a minor point.
Dave Mauck as Angus MacGregor, Bruce Wallace as Archie Beaton, and Cliff Wood as Sandy each give strong performances (and special recognition should go to Brian McCann who, while not given a character name in the program, has several small solos and is outstanding).
A decided highlight of this production is the choreography by Amanda Duran. Program notes indicate that this is Duran’s first attempt at choreography and the professional results she has achieved would indicate that she has a real talent for the job. The dances were imaginative and the dancers well drilled. Particularly noteworthy was the sword dance, performed by Chris Garcia, Cliff Wood and Marc Valdez.
The DMTC orchestra was in fine form, and the addition of bagpiper Liz Steuber for the funeral of Harry Beaton was particularly effective.
Jean Henderson’s costumes give the right taste of an 18th century Scottish village, and the parade of tartans was a colorful display.
Set design was by Ron Easley and lighting design by Mark Allen.
At the end of Brigadoon’s day, Tommy must decide if he’s willing to risk all to stay with Fiona, or return to his own life and his fiancee (Noel Breuning) in New York and give her up forever. "It's the hardest thing in the world to give up everything...but sometimes it's the only way to get everything," advises Mr. Lundie. Tommy’s ultimate decision proves indeed that “with love all things are possible.”
Thursday, September 28, 2000
Beauty and the Beast
It’s a tale as old as time: She’s the daughter of the crazy old town inventor, ridiculed by the townsfolk for her bookishness and her dreams of finding her prince charming. He’s a prince with a curse on his head, hiding his hideous form away in a creepy old castle, feared by the townsfolk because he’s “different.” The two outcasts find each other, fall in love, and live happily ever after.
The touring company of the Tony award-winning “Beauty and the Beast,” directed by Robert Jess Roth, opened Wednesday night at the Sacramento Community Center. This big, bold, opulent production had the audience, adults and children, totally captivated. Roth has managed to tell the simple love story with just enough glitz to keep it moving crisply and always entertaining, but never detracting from the message of seeing truth beneath physical appearance, or discovering the redemptive power of love.
“Beauty and the Beast” is a technician’s dream, from the lavish sets by Stanley A. Meyer which flew in from above, rolled in from the wings, swiveled on turntables or just hung there looking every bit like the real thing, to the lighting design by Natasha Katz, which included a marvelous moon-and-stars backdrop. And then there were the special effects--candles which ignited at a moment’s notice, sparkles, flashes, strobe lights, a headless kid who didn’t develop legs until the finale, and a transformation from Beast to Prince that would have done David Copperfield proud.
Danielle Bossardet is delicious as Belle, the spunky heroine, who, to save her father’s life, agrees to live in the castle of the Beast forever. Greg Norman as the Beast is fierce and then endearingly tender as his love for Belle grows.
Edward Staudenmayer, as the town hunk, Gaston, the muscle-bound fool who is determined to marry Belle, swaggers onto the stage like a combination of Jethro Clampet and Little Abner. He’s the villain you love to hate, and as male chauvenists go, none can hold a candle to this Gaston.
His hapless foil, Maurice (Ron Lee Savin) was a delight, with a body made of rubber as he is routinely whacked about the stage by Gaston, enhanced by the great sound effects design by Jonathan Deans. Each amplified “whack” is a reminder that this is really a cartoon, effectively brought to life on the stage.
The supporting players are a marvelous collection of cartoonesque characters. Cogsworth the fussbudget clock (Ron Bagden) and Lumiere, the Candlestick holder (Jay Russell) nearly steal the show with their antics and groaners like “You’ve cut me to the wick...” They are balanced nicely by Janet McEwen, a Debbie Reynolds-like Mrs. Potts, the teapot.
There are some gems in the smaller rolls, particularly Louisa Kendrick as Babette, the feather duster, and Monica M. Wemitt as Madame de la Grande Bouche. Ivy Fox, Amber Stone and Tia Marie Zorn as the three silly girls swooning for Gaston are likewise delightful.
The score by Alan Menken and lyrics by the late Howard Ashman, from a book by Linda Woolverton, will be familiar to anyone who has seen the Disney animated feature that was the basis for this show. There are six new songs added for the stage, with lyrics by Tim Rice, plus another song (“Human Again”) with lyrics by Ashman, which was cut from the movie.
Choreography by Matt West is a delight. It’s not easy to design for dancing pieces of furniture, but West does well and the familiar “Be Our Guest” is a show-stopper. Lesser known musically, “Gaston,” a drinking song with intricate moves involving beer steins, is absolutely fabulous.
Costumer Ann Hould-Ward won a Tony for her designs for “Beauty and the Beast” and it was richly deserved. Of particular interest are the increasingly intricate costumes for the servants-turned-household objects, as they come closer to permanently becoming objects.
This is a show which will amuse and delight children and adults alike, and at its end you will believe that miracles do happen, people can live happily ever after, and that inner beauty can tame the beast.
The touring company of the Tony award-winning “Beauty and the Beast,” directed by Robert Jess Roth, opened Wednesday night at the Sacramento Community Center. This big, bold, opulent production had the audience, adults and children, totally captivated. Roth has managed to tell the simple love story with just enough glitz to keep it moving crisply and always entertaining, but never detracting from the message of seeing truth beneath physical appearance, or discovering the redemptive power of love.
“Beauty and the Beast” is a technician’s dream, from the lavish sets by Stanley A. Meyer which flew in from above, rolled in from the wings, swiveled on turntables or just hung there looking every bit like the real thing, to the lighting design by Natasha Katz, which included a marvelous moon-and-stars backdrop. And then there were the special effects--candles which ignited at a moment’s notice, sparkles, flashes, strobe lights, a headless kid who didn’t develop legs until the finale, and a transformation from Beast to Prince that would have done David Copperfield proud.
Danielle Bossardet is delicious as Belle, the spunky heroine, who, to save her father’s life, agrees to live in the castle of the Beast forever. Greg Norman as the Beast is fierce and then endearingly tender as his love for Belle grows.
Edward Staudenmayer, as the town hunk, Gaston, the muscle-bound fool who is determined to marry Belle, swaggers onto the stage like a combination of Jethro Clampet and Little Abner. He’s the villain you love to hate, and as male chauvenists go, none can hold a candle to this Gaston.
His hapless foil, Maurice (Ron Lee Savin) was a delight, with a body made of rubber as he is routinely whacked about the stage by Gaston, enhanced by the great sound effects design by Jonathan Deans. Each amplified “whack” is a reminder that this is really a cartoon, effectively brought to life on the stage.
The supporting players are a marvelous collection of cartoonesque characters. Cogsworth the fussbudget clock (Ron Bagden) and Lumiere, the Candlestick holder (Jay Russell) nearly steal the show with their antics and groaners like “You’ve cut me to the wick...” They are balanced nicely by Janet McEwen, a Debbie Reynolds-like Mrs. Potts, the teapot.
There are some gems in the smaller rolls, particularly Louisa Kendrick as Babette, the feather duster, and Monica M. Wemitt as Madame de la Grande Bouche. Ivy Fox, Amber Stone and Tia Marie Zorn as the three silly girls swooning for Gaston are likewise delightful.
The score by Alan Menken and lyrics by the late Howard Ashman, from a book by Linda Woolverton, will be familiar to anyone who has seen the Disney animated feature that was the basis for this show. There are six new songs added for the stage, with lyrics by Tim Rice, plus another song (“Human Again”) with lyrics by Ashman, which was cut from the movie.
Choreography by Matt West is a delight. It’s not easy to design for dancing pieces of furniture, but West does well and the familiar “Be Our Guest” is a show-stopper. Lesser known musically, “Gaston,” a drinking song with intricate moves involving beer steins, is absolutely fabulous.
Costumer Ann Hould-Ward won a Tony for her designs for “Beauty and the Beast” and it was richly deserved. Of particular interest are the increasingly intricate costumes for the servants-turned-household objects, as they come closer to permanently becoming objects.
This is a show which will amuse and delight children and adults alike, and at its end you will believe that miracles do happen, people can live happily ever after, and that inner beauty can tame the beast.
Friday, September 22, 2000
Best of Broadway
Glitz! Glamour! Tap dancers! Kids! A cast of over 200. What else could it be but Best of Broadway's musical extravaganza, "Lights on Broadway," opening last weekend to a near capacity audience in the Bert Chappell Theatre on the Hiram Johnson High School campus.
Now in its 28th season, Best of Broadway was the brainchild of Producer/Director David L. MacDonald, who saw it as a way to raise money for a local boys' home. Twenty-eight years later, MacDonald is still running what has become an annual event. It's "amateur" in the purest sense of the term--people doing something for the love of it--but there's nothing "amateurish" about this production.
From the opening, "Staying Alive," the start of a three-number tribute to disco, to the finale, with Mardi Gras revelers singing on the stage, in the boxes, in the aisles, and passing out necklaces to the audience, this is a non-stop delight. There is never a dead spot and the parade of local performers, which included the current reigning Miss Sacramento, Sherilyn Peek, is an impressive tribute to the talent in the Sacramento area.
MacDonald has chosen this year's material from some lesser known Broadway shows, giving the audience a chance to become more familiar with such works as "The Fix," "The Boy from Oz," "Hot Shoe Shuffle," and "Swing," along with old favorites like "Oklahoma," "The King and I" "South Pacific" and Carousel." In Act 2 a condensed version of "The Hunchback of Notre Dame" was performed, ending with a lovely rendition of "This I Pray" sung by Kalynn Dodge.
While all of the principals were excellent, there were some outstanding performances. Randy Solario appeared in several numbers, but was best in "I've got to be a Rug Cutter" and "Go to Rio" (with the equally delicious Kathryn Skinner). Lisa Teeple brought a Betty Boop-like coquettishness to "How Lucky Can You Get." Joe Moss was the perfect "Song and Dance Man." Lynda Williams overcame some mic problems to give full voice to "Alleluia." Cheryl Debose brought down the house with "Sweet Georgia Brown." Eleven year old Christopher Carlson (late of the cast of the touring company of "Les Miserables") was an audience favorite with his "Bigger Isn't Better," from Barnum.
Just when you think surely the local talent bank has been exhausted, out comes an ensemble of some 70 children, all dressed in sequins and tap shoes, to perform "Don't Be Anything Less" from "Snoopy." The children were disciplined, professional, amazingly talented and showed the result of lots and lots of rehearsal under the direction of choreographer Gina Cox and choral director Wendy Frampton Holly. Keep an eye on the smallest little blonde in the center...she's adorable and every bit the professional.
"Lights on Broadway" is a tour de force for costume coordinators Gayle Battaley and Heather Strickler. There were sequins galore, fur, feathers, tuxes in black, white and blue, and even a tribute to "Cats," with those wonderful feline costumes. Six people are listed on the program as "backstage monitors" (under coordinator Judith Malkasian). One can only imagine the scene, as there were a number of very quick costume changes for large numbers of people.
Choreographers Diana Ruslin and Terri Taylor-Solario keep the action moving, with dance numbers that are interesting and varied, from disco to swing to tap to samba.
Dan Kern has created a simple but effective set which evolves from a disco bar to a cathedral to a mardi gras party with the simple change in draping of curtains or placement of lamps. A rose window is added to the balcony for "The Hunchback of Notre Dame" scenes, nicely back lit by lighting designer Dion Cook (who added a hint of twinkling candles in the interior of the "cathedral.") A separate fence piece is wheeled on stage for the "Cats" tribute.
Almost as much fun as the action on stage is the performance of sign language interpreters Christie Lindsay and Carol McConnell. Watching these women at work makes one understand how it is possible for the hearing impaired to actually feel the beat of the music and enjoy the rhythm of the production.
Production Coordinator is Mary Taylor, and Music Direction is by Mark Stivers, who conducts the 4 piece offstage band.
Performances are held at the Bert Chappell Theatre on the Hiram Johnson High School campus, 65th St. at 14th Ave. in Sacramento on Fridays, Saturday and Sundays through September 30. Ticket prices are $20 for adults and $15 for seniors and students. Tickets may be purchased by phone or in person via the Best of Broadway Box Office at 4010 El Camino Ave., Monday- Friday, 10 a.m. to 6 pm. or through any tickets.com outlet. Call (916) 974-6290 or visit the web site at www.bestofbroadway.org for more information.
Now in its 28th season, Best of Broadway was the brainchild of Producer/Director David L. MacDonald, who saw it as a way to raise money for a local boys' home. Twenty-eight years later, MacDonald is still running what has become an annual event. It's "amateur" in the purest sense of the term--people doing something for the love of it--but there's nothing "amateurish" about this production.
From the opening, "Staying Alive," the start of a three-number tribute to disco, to the finale, with Mardi Gras revelers singing on the stage, in the boxes, in the aisles, and passing out necklaces to the audience, this is a non-stop delight. There is never a dead spot and the parade of local performers, which included the current reigning Miss Sacramento, Sherilyn Peek, is an impressive tribute to the talent in the Sacramento area.
MacDonald has chosen this year's material from some lesser known Broadway shows, giving the audience a chance to become more familiar with such works as "The Fix," "The Boy from Oz," "Hot Shoe Shuffle," and "Swing," along with old favorites like "Oklahoma," "The King and I" "South Pacific" and Carousel." In Act 2 a condensed version of "The Hunchback of Notre Dame" was performed, ending with a lovely rendition of "This I Pray" sung by Kalynn Dodge.
While all of the principals were excellent, there were some outstanding performances. Randy Solario appeared in several numbers, but was best in "I've got to be a Rug Cutter" and "Go to Rio" (with the equally delicious Kathryn Skinner). Lisa Teeple brought a Betty Boop-like coquettishness to "How Lucky Can You Get." Joe Moss was the perfect "Song and Dance Man." Lynda Williams overcame some mic problems to give full voice to "Alleluia." Cheryl Debose brought down the house with "Sweet Georgia Brown." Eleven year old Christopher Carlson (late of the cast of the touring company of "Les Miserables") was an audience favorite with his "Bigger Isn't Better," from Barnum.
Just when you think surely the local talent bank has been exhausted, out comes an ensemble of some 70 children, all dressed in sequins and tap shoes, to perform "Don't Be Anything Less" from "Snoopy." The children were disciplined, professional, amazingly talented and showed the result of lots and lots of rehearsal under the direction of choreographer Gina Cox and choral director Wendy Frampton Holly. Keep an eye on the smallest little blonde in the center...she's adorable and every bit the professional.
"Lights on Broadway" is a tour de force for costume coordinators Gayle Battaley and Heather Strickler. There were sequins galore, fur, feathers, tuxes in black, white and blue, and even a tribute to "Cats," with those wonderful feline costumes. Six people are listed on the program as "backstage monitors" (under coordinator Judith Malkasian). One can only imagine the scene, as there were a number of very quick costume changes for large numbers of people.
Choreographers Diana Ruslin and Terri Taylor-Solario keep the action moving, with dance numbers that are interesting and varied, from disco to swing to tap to samba.
Dan Kern has created a simple but effective set which evolves from a disco bar to a cathedral to a mardi gras party with the simple change in draping of curtains or placement of lamps. A rose window is added to the balcony for "The Hunchback of Notre Dame" scenes, nicely back lit by lighting designer Dion Cook (who added a hint of twinkling candles in the interior of the "cathedral.") A separate fence piece is wheeled on stage for the "Cats" tribute.
Almost as much fun as the action on stage is the performance of sign language interpreters Christie Lindsay and Carol McConnell. Watching these women at work makes one understand how it is possible for the hearing impaired to actually feel the beat of the music and enjoy the rhythm of the production.
Production Coordinator is Mary Taylor, and Music Direction is by Mark Stivers, who conducts the 4 piece offstage band.
Performances are held at the Bert Chappell Theatre on the Hiram Johnson High School campus, 65th St. at 14th Ave. in Sacramento on Fridays, Saturday and Sundays through September 30. Ticket prices are $20 for adults and $15 for seniors and students. Tickets may be purchased by phone or in person via the Best of Broadway Box Office at 4010 El Camino Ave., Monday- Friday, 10 a.m. to 6 pm. or through any tickets.com outlet. Call (916) 974-6290 or visit the web site at www.bestofbroadway.org for more information.
Sunday, September 10, 2000
Chess
Each game of chess
Means there’s one less variation to be played
Appropriate lyrics for a show which has seen more variations than most. In 1980, lyricist Tim Rice developed the concept in a 5-page synopsis, exploring how the Cold War affected the lives it touched, much the same way chess pieces are moved about on a chess board
Rice’s synopsis was expanded and with music written by Benny Andersson and Bjorn Ulvaeus (both of ABBA), was first recorded as a “concept album” in 1984. The first staged production did not occur until 1986. There have been several rewrites, including an ill-fated 3 hour production which ran for only 68 performances on Broadway.
The version which was first presented in Chicago in 1990 is a splendid opener to the Davis Musical Theatre Company’s 16th season. Directed by Steve Isaacson, the production gives us pre-Glasnost stereotypes of good guys and bad guys, with a chess board as the battlefield.
Costume designer Jean Henderson sets the stage by dressing her good guys (the Americans) all in white and her bad guys (the Russians) in black, with red ties. The ensemble are in black or shades of gray.
The story follows two chess grandmasters--the boorish, self-centered American champion and his Russian challenger--through two matches, one in Bangkok and one in Hungary--during the last throes of the Cold War. The plot does not follow smoothly, from one scene to the next, so crisp diction is a must for understanding all the elements. Regretfully, this was not always the case in Saturday night’s performance.
The action begins in 1956 Budapest, where Gregor Vassy (Doug Ackerman, impressive in his DMTC debut), is hiding with other refugees, and teaching his young daughter Florence (Julia Spangler) to play chess. He arranges for Florence to be sent to safety in America, but breaks a chess piece in two, giving her half and keeping half for himself, as his promise that they will one day be reunited.
The scene shifts to 1985 Bangkok and a press conference for the two competitors in an impending international chess competition. The American, Freddie Trumper (played to the hilt by Jeremiah Lowder, in his DMTC debut) acts like an obnoxious jerk, irritating his opponent, Anatoly Sergievsky (Troy Thomas), and embarrassing his assistant, the now grown-up Florence (Andrea Eve Thorpe).
Tempers flare at the chess match itself and Freddie storms out after accusing Anatoly of somehow cheating. In attempting to smooth things over, Florence arranges for a meeting between Freddie and Anatoly. Freddie instead goes out on the town and gets drunk (“One Night in Bangkok”). When Freddie doesn’t arrive for the meeting, Florence realizes she has feelings for Anatoly and Freddie, arriving late, catches her in Anatoly’s arms. Anatoly apologizes and Freddie agrees to accept his apology but only because a fan has offered him $100,000 to continue the match. He turns abusive to Florence, who moves out of his suite.
In the middle of the match, Anatoly decides to defect to the west, aided by Freddie’s press agent, Walter (Clifton Wood). He takes Florence with him and when questioned by reporters, justifies his decision by explaining thatmy land’s only borders lie around my heart (from “Anthem,” beautifully sung by Troy Thomas).
Act two finds us in Budapest where we are asked to suspend disbelief and accept the fact that a Russian defector could safely travel behind the Iron Curtain only 3 months later to continue a chess match. For some reason which is not made clear, Walter, who aided Anatoly to defect, and who is really working for the CIA, is now working with Anatoly’s former assistant, KGB agent Molokov (Tim O’Laughlin) to convince Anatoly to return to Russia. In an attempt to pressure him, they arrange a meeting with Anatoly’s wife, Svetlana (Charlotte Mraz). Svetlana and Florence meet alone and admit that neither can give Anatoly all that he needs. They sing the hauntingly beautiful duet, “I know him so well,” a high point of the evening.
Anatoly is given many reasons for returning to Russia and must choose between his love for Florence and his love for his family. As he makes his decision, we realize that even international chess players are the pawns of their nation's diplomatic corps, security services, and marketing analysts.
The small DMTC orchestra does a superb job under the direction of Mark Ottinger II. Choreography by Tucker Tye Davis (who also plays the Arbiter) is particularly good in the Bangkok nightlife scene. The ensemble is strong, especially in the second act’s opening Hungarian folk song.
The set, designed by John Ewing, is a simple raked black and white chessboard, with the addition of neon signs (some even written in Thai) brought in for “One Night in Bangkok.”
Chess runs weekends through October 1 at the Varsity Theatre.
Means there’s one less variation to be played
Appropriate lyrics for a show which has seen more variations than most. In 1980, lyricist Tim Rice developed the concept in a 5-page synopsis, exploring how the Cold War affected the lives it touched, much the same way chess pieces are moved about on a chess board
Rice’s synopsis was expanded and with music written by Benny Andersson and Bjorn Ulvaeus (both of ABBA), was first recorded as a “concept album” in 1984. The first staged production did not occur until 1986. There have been several rewrites, including an ill-fated 3 hour production which ran for only 68 performances on Broadway.
The version which was first presented in Chicago in 1990 is a splendid opener to the Davis Musical Theatre Company’s 16th season. Directed by Steve Isaacson, the production gives us pre-Glasnost stereotypes of good guys and bad guys, with a chess board as the battlefield.
Costume designer Jean Henderson sets the stage by dressing her good guys (the Americans) all in white and her bad guys (the Russians) in black, with red ties. The ensemble are in black or shades of gray.
The story follows two chess grandmasters--the boorish, self-centered American champion and his Russian challenger--through two matches, one in Bangkok and one in Hungary--during the last throes of the Cold War. The plot does not follow smoothly, from one scene to the next, so crisp diction is a must for understanding all the elements. Regretfully, this was not always the case in Saturday night’s performance.
The action begins in 1956 Budapest, where Gregor Vassy (Doug Ackerman, impressive in his DMTC debut), is hiding with other refugees, and teaching his young daughter Florence (Julia Spangler) to play chess. He arranges for Florence to be sent to safety in America, but breaks a chess piece in two, giving her half and keeping half for himself, as his promise that they will one day be reunited.
The scene shifts to 1985 Bangkok and a press conference for the two competitors in an impending international chess competition. The American, Freddie Trumper (played to the hilt by Jeremiah Lowder, in his DMTC debut) acts like an obnoxious jerk, irritating his opponent, Anatoly Sergievsky (Troy Thomas), and embarrassing his assistant, the now grown-up Florence (Andrea Eve Thorpe).
Tempers flare at the chess match itself and Freddie storms out after accusing Anatoly of somehow cheating. In attempting to smooth things over, Florence arranges for a meeting between Freddie and Anatoly. Freddie instead goes out on the town and gets drunk (“One Night in Bangkok”). When Freddie doesn’t arrive for the meeting, Florence realizes she has feelings for Anatoly and Freddie, arriving late, catches her in Anatoly’s arms. Anatoly apologizes and Freddie agrees to accept his apology but only because a fan has offered him $100,000 to continue the match. He turns abusive to Florence, who moves out of his suite.
In the middle of the match, Anatoly decides to defect to the west, aided by Freddie’s press agent, Walter (Clifton Wood). He takes Florence with him and when questioned by reporters, justifies his decision by explaining that
Act two finds us in Budapest where we are asked to suspend disbelief and accept the fact that a Russian defector could safely travel behind the Iron Curtain only 3 months later to continue a chess match. For some reason which is not made clear, Walter, who aided Anatoly to defect, and who is really working for the CIA, is now working with Anatoly’s former assistant, KGB agent Molokov (Tim O’Laughlin) to convince Anatoly to return to Russia. In an attempt to pressure him, they arrange a meeting with Anatoly’s wife, Svetlana (Charlotte Mraz). Svetlana and Florence meet alone and admit that neither can give Anatoly all that he needs. They sing the hauntingly beautiful duet, “I know him so well,” a high point of the evening.
Anatoly is given many reasons for returning to Russia and must choose between his love for Florence and his love for his family. As he makes his decision, we realize that even international chess players are the pawns of their nation's diplomatic corps, security services, and marketing analysts.
The small DMTC orchestra does a superb job under the direction of Mark Ottinger II. Choreography by Tucker Tye Davis (who also plays the Arbiter) is particularly good in the Bangkok nightlife scene. The ensemble is strong, especially in the second act’s opening Hungarian folk song.
The set, designed by John Ewing, is a simple raked black and white chessboard, with the addition of neon signs (some even written in Thai) brought in for “One Night in Bangkok.”
Chess runs weekends through October 1 at the Varsity Theatre.
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