The King and I

Rodgers and Hammerstein’s “The King and I,” directed by Steve Isaacson and choreographed by Michael Miilar, was the show that closed out Davis Musical Theatre Company’s run at the Varsity Theatre in 2005. A beautiful new production, directed and choreographed by Jan Isaacson, is opening DMTC’s 27th season.

Right off the bat, I give failing marks to the audience, most of whom rudely talked among themselves throughout the overture. Even though the lights in the theater were not turned down until the end, the orchestra, which was quite good, deserves better than this!

The sets, by Steve Isaacson, are based on the design by Juan Ramos (who also played the King in that 2005 production). They are gorgeous, particularly the King’s bedroom, which is spectacular. The combination of the warm colors in the set and the warm lighting design (by Isaacson and Dannette Vassar) makes for a very inviting setting on which to place the story.

In previous productions of this musical — a subtext to the story of Anna Leonowens, the widow who comes to Siam with her young son to become teacher to the children of Siam’s beloved King Mongkut — there’s a sense of sexual tension, as the relationship between Anna and the King develops. This is particularly evident in the jealousy the king shows toward Anna’s friendship with British Envoy Sir Edward Ramsey (Gabriel Jacobo) and the dance between the King and Anna following the banquet held in Ramsey’s honor.

The decision to cast an older actress as Anna removes that sexual tension and leaves the way open to explore the professional relationship between the protagonists. Chris Cay Stewart has a lovely voice and beautifully portrays the relationship between herself and the King’s court (especially the children), and the on-again, off-again friendship with the King. Her age also makes for a more poignant and beautiful reminiscence as she sings “Hello, Young Lovers,” remembering her marriage to her husband, Tom.

Mark Suarze is a strong, vibrant King, straddling the fence between long-held cultural beliefs and his desire to move Siam into the modern age. He is powerful in his emotional numbers, particularly “A Puzzlement,” where he questions what he knows, what he should know and what he knows nothing about, but should.

Anna’s son, Louis, is played by William Chan, a talented young actor who could give lessons to many in the cast about projection, as his dialog was crystal-clear at all times. Sadly, that could not be said of Larry Lipman, playing the captain of the ship that brought the Leonowens to Siam. I never heard a word he said, and he also seemed to stumble over his lines as well.

Lenore Sebastian plays Lady Tiang, the King’s First Wife and the mother to Prince Chulalongkorn (Horace Gonzales), who is heir to his father’s throne. Sebastian is a wise and loving wife and that voice of hers is as warm and delicious as melted butter.

The lovers Tuptim (Lydia Smith), gift of the King of Burma to the King of Siam, and her escort Lun Tha (Kevin Foster), were very sweet. Smith has a lovely voice in her lower register, but loses it somewhat in her higher notes. Foster, however, has an amazing voice and showed it at its best.

Adam Sartain is an imposing Kralahome, the principal guard of the King, wary of anything that might upset either his boss or the long-held traditions of the court.

Tuptim’s theatrical performance of “The Small House of Uncle Thomas” was a real highlight of the evening and was danced beautifully by Shannon Mo, Kimmie Ruanto, Allison Ruanto, Rachel Pinto, Natalie Mo and Anthony Swaminathan. Jenny Plasse, who plays “poor Eliza,” deserves special notice, as she was quite good.

Of course, “The King and I” would not be as popular were it not for the King’s children, each one cuter than the other: Jenny Chen, Naomi Debello, Amaralyn Ewey, Cedric Hughes, Emma Kehr, Lily Linaweaver, Elena Lipman, Natalie Mo, Jihan Moon, Jimin Moon,Keri Ruanto, Kimmie Ruanto and Anthony Swaminathan.

DMTC’s 27th season is off to a good start.

It's a Grand Night for Singing

If you want a good-looking, Broadway-worthy cabaret show, get someone with Broadway experience to create it for you.

Mindy Cooper - director for Sacramento's Cosmopolitan Cabaret's 'It's a Grand Night for Singing' - has brought her Broadway experience to Sacramento.

Cooper choreographed Broadway's 'Dracula: The Musical,' and 'Wrong Mountain,' and also directed the Mondavi Center's beautiful 'Oklahoma!' a few years back.

'A Grand Night for Singing' has a classy feel to it.

The simple set, designed by Jamie Kumpf, has enough pillars and platforms combined with cool-colored lighting by Sally Slocum and a winsome cast. Add Chris Schlagel at a grand piano, and you have a production that's undeniably appealing.

The show is a melange of songs from 11 Rodgers and Hammerstein musicals, from the very well-known ('Oklahoma!,' 'The King and I' and 'Sound of Music') to the lesser known ('Flower Drum Song' and 'State Fair') to the rarely heard ('Cinderella,' 'Me and Juliet' and 'Pipe Dream'). If you are a Rodgers and Hammerstein fan, 'It's a Grand Night' is your cup of tea.

The songs are presented in random order - there must have been a scheme in the mind of Walter Bobbie, who conceived the program back in 1993, for putting songs together in a certain format. But for the audience, that reason must have escaped them in the enjoyment of the rhyme (while all the while scrambling about in your brain trying to place the current song with a certain show).

(Fans of the Citizens Who Care annual concert - this year a tribute to Peggy Lee - probably will miss Stephen Peithman's narration, which helps put songs in perspective and gives interesting background information.)

Lisa Ferris, Ryan Drummond, Melissa Wolfklain, Justin Michael Duval and Jill Van Velzer did a generally good job, with some outstanding moments, such as Wolfklain's 'I'm in Love with a Wonderful Guy,' which was adorable, and Duval's emotional 'Love Look Away.'

Some songs gave a bit of a shock to see presented in a totally different setting, such as 'Maria' from 'Sound of Music,' which we know as the song the nuns sing about a difficult postulant becoming, instead, the frustrations of a lover about his girlfriend.

Or 'Honey Bun' - originally a camp song sung by soldiers putting on a funny play for each other - turned into a sensual spoof with a girl actually playing the girl part instead of a guy in drag. The air band which accompanied it was very funny.

The three women also give a strange turn to 'Many a New Day' and 'Wash that Man Right Out of My Hair,' that we are accustomed to being bright cheery upbeat numbers, but in this production become more sensual.

The show ends with gorgeous harmonies in 'I Have Dreamed.'

I suspect this is a show that will appeal more to those of us 'of a certain age.' In fact, at the matinee performance we attended, you could count on the fingers of one hand those who did not have gray hair (or no hair). But if you enjoy Rodgers and Hammerstein's music and want to spend a pleasant couple of hours listening to it, this is a good place to do it.

Carousel

It's amazing how much really bad stuff happens in theater that nobody notices because of the pretty music.

Davis Musical Theatre Company opened Rodgers & Hammerstein's 'Carousel' on Friday, and I must have been listening more closely this time: I was appalled by the line, 'Can someone hit you really hard, but you hardly feel it at all?'

This from the daughter who has just been slapped by her ghost-dad, reminding her mother of the slap she had received from her husband, before his death. If the tunes are memorable and the clambake fun, we don't notice that the authors have just made spousal and child abuse somehow 'romantic.'

But that's neither here nor there in reviewing DMTC's delightful production, directed and choreographed by Jan Isaacson.

Matt Provencal plays Billy Bigelow, a ne'er-do-well carnival barker who falls in love with Julie Jordan (Karina Summers), a local factory worker. Provencal is a newcomer to DMTC, and he's quite a find. He has a wonderful voice, and he partners well with Summers, a DMTC veteran.

Billy's soliloquy, pondering the monumental prospect of becoming a father, is particularly good.

Summers gives Julie a quiet, gentle, loving presence that carries her from infatuation with Billy, despite his abusive treatment of her, to raising his daughter as a single parent following his death.

The rapid development of the relationship between Billy and Julie shines a spotlight on how different things were in turn-of-the-20th century America, where girls were 'loose' if they even talked with a fella without a friend around to chaperone.

Both Billy and Julie lose their jobs over an innocent conversation, and end up getting married instead. Go figure!

Julie's friend, Carrie Pipperidge, is played by Eimi Stokes: just as adorable and endearing as she could be. Carrie has her cap set on Mr. Snow (Jason Hammond), and the two go on to marry and have seven little Snows. Stokes lights up the stage whenever she appears, and her energy is infectious.

Hammond's Mr. Snow is suitably pompous and quietly domineering in his relationship with Carrie, and he makes an absolutely perfect 19th century head of the household.

Deborah Douglas Hammond, whose character seemed somehow out of place in an earlier DMTC production of 'The Cat in the Hat,' comes into her own as the motherly Nettie, who takes Julie under her wing following Billy's death. Hammond sings the showstopping 'You'll Never Walk Alone,' and does so beautifully.

Lydia Smith is a lovely Louise, Billy's 15-year-old daughter, whom we first meet dancing on the beach in a beautiful ballet number choreographed by Isaacson. Louise is a combination of Julie's gentle soul and Billy's spunk, and Smith brings her to life quite convincingly.

Nathan Mack is more slimy than menacing as Jigger, the guy who convinces Billy to rob the mill owner, to get money for the baby Billy has just discovered he has fathered.

Marguerite Morris plays Mrs. Mullins, who owns the carousel for which Billy works. Isaacson has written additional dialogue for the character, which brings her relationship with Billy full circle, and is a nice addition to the script. Morris, without a song to sing in this show, embodies the crusty Mullins and does a nice job with her.

Jean Henderson has created a beautiful array of costumes, all nicely befitting the era. I particularly liked the soft, muted colors and textures she used for Julie, and the contrast with the bold, bright colors and crisp textures for Carrie, visually expressing the personalities of each.

Jen Berry's scenic design works well, and includes a working carousel for the opening scene. There's also a particularly nice dock scene, as everyone gets ready for the first clambake of the season.

At a bit over three hours, this is a long show, but it's filled with familiar tunes like 'If I Loved You' and 'June Is Busting Out All Over,' in addition to 'You'll Never Walk Alone.'

If you concentrate on the music, the dancing, the costumes and the clambake - and overlook the plot's negative parts - 'Carousel' makes for an enjoyable evening.

Oklahoma!

Saturday evening's Mondavi Center audience had the opportunity to witness a bit of Broadway.

No, it wasn't an actual traveling Broadway show, but a UC Davis production of Rodgers and Hammerstein's 'Oklahoma!' that easily would have been at home on a New York stage.

The production's professional quality is due not only to a talented cast, but also to a host of behind-the-scenes contributors, starting with director/choreographer Mindy Cooper, a former Broadway dancer, choreographer and director. Cooper keeps the direction lively, entertaining and spirited, with nary a dead or a slow spot from start to finish.

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. This quarrel definitely takes a back seat to the story of cattleman Curly McLain, who is in love with Laurey Williams, who lives on a farm with her Aunt Eller and the hired man, Jud Fry. Jud has his eye on Laurey; she, in turn, is sweet on Curly.

Tristan Rumery is a perfect Curly. He's tall and lanky, and has the look of a young cowman. He's ill at ease around Laurey (Emma Goldin), but their camaraderie is easy and teasing, and their unspoken love is obvious. Rumery, one of the production's few nonstudents, has a beautiful voice; he sets the tone for the entire show with his opening number, 'Oh, What a Beautiful Morning.'

Goldin has a strong, melodic soprano, and she fills Laurey with the glow of an adolescent in the flush of her first love. She is flirtatious but vulnerable, and a little afraid of all these new sensations.

Allison Minick isn't afraid at all as the hormone-charged Ado Annie, who falls for anybody who will 'talk pretty' to her ('I Can't Say No!'). Minick is delightful.

Annie sets her sights on a traveling peddler, Ali Hakim (Timothy Orr), who makes the mistake of flirting with her and now is stuck with a girl who mistakes his sweet talk for a desire to marry. Orr is wonderful in this role, and he shines in one of the show's lesser-known songs ('It's a Scandal! It's an Outrage!').

The heart of 'Oklahoma!' is Laurey's Aunt Eller (Hope Mirlis), around whom most of the farm activity centers. Mirlis is a feisty Eller, dancin' up a storm with the farmhands, but also present to deliver wise advice when anybody needs it.

The story's dark side comes from the farmhand Jud (Brett Duggan), a loner who lives in a shack down by the smokehouse, where his unrequited love for Laurey can fester. Duggan, a professional comedian in real life, becomes larger than life here: grim and menacing. In his 'Lonely Room,' we glimpse the depths of his anger at those who have kept him on the outside all his life.

Jon Shaffer is adorable as Will Parker, a wide-eyed kid just returned from Kansas City, where he has seen marvelous things that he's eager to share ('Kansas City'). He's not too bright: a man who rides bucking broncos in order to win $50 so he can marry the girl of his dreams ... and then spends all the money on gifts for her, instead of bringing home the cash.

The dance numbers, choreographed by Cooper and Joe Bowerman, are genuine high points. There's nothing quite like seeing an ensemble of cowboys dancing up a storm, or twirling a pretty gal around the big hole in the stage where the orchestra sits.

It's worth noting that traditional productions of 'Oklahoma!' employ substitute dancers for Laurey and Curley during a dream ballet sequence, but here Goldin and Rumery do their own dancing. This adds a special element to the show.

Special mention must be made of lighting designer Tony Shayne, whose Oklahoma skies are breathtaking in spots, and scenic designer Josh Steadman, who creates a perfect farmhouse, and whose seamless set changes are of professional quality.

Costume designer Nancy Pipkin gives a good sense of the era, and the shocking pink on Ado Annie enhances her character nicely.

This 'Oklahoma!' is an outstanding production, and seeing the year's 'big show' on the Mondavi stage is a particular treat.

The Sound of Music

The ladies rule, in the Davis Musical Theatre Company's production of 'The Sound of Music.' The women in the cast far outshine the men in this sparkling show, which is directed by Jan Isaacson.

A company with a small house can use the entire theater in many scenes, and Isaacson does this quite well, starting with the opening Gregorian chant by the nuns of Nonnberg Abby: They file in from the back of the theater, chanting on their way down the stairs and through the audience, and finally onto the stage.

The curtains then open, to reveal postulant Maria sitting on her beloved mountain. The scenery - designed by Steve Isaacson - is lovely, and perfectly conveys a sense of the mountains.

Kate Hight is outstanding as Maria. She has a lovely voice and a fresh earnestness to her character; just watching her makes us want to smile. She's particularly good during her scenes with the von Trapp children, for whom she takes a temporary job as governess.

Marguerite Morris is wonderful as the Mother Abbess, who sends Maria to the von Trapp home, hoping she'll discover whether she has a true vocation. Morris is at her best, of course, in the signature 'Climb Every Mountain,' for which she receives a well-deserved ovation.

The delightful '(How Do You Solve a Problem like) Maria' is sung with Sister Margaretta (Eimi Stokes), Sister Berthe (Mary Young) and Sister Sophia (Laura Sitts). Stokes is particular charming, and has an irrepressible personality.

The von Trapp children are essential to the popularity of this Rodgers and Hammerstein classic, and Isaacson's experience as director of DMTC's young performers program really shows, both in her selection of seven outstanding young actors, and in her direction of the group. Individually and collectively, they're all quite good.

Liesl, who is '16 Going on 17,' is played by Moriah Haworth; she has a winning voice and beautifully expresses the joy of new love, and the heartbreak of its loss.

Kendyl Ito plays Brigitta, who seems never to have an unexpressed thought.

The others are Rami Rashmawi, as Friedrich; Jasmin Mould, as Louisa; William Chan, as Kurt; Ani Carrera, as Marta; and Rose Moylan as the adorable youngest, Gretl. The group sings well together, and down to the youngest they're all professional on stage.

Emily Cannon-Brown plays Elsa Schraeder, the woman who hopes to wed Capt. von Trapp (Giorgio Selvaggio) until she realizes that his feelings for Maria are more than that of an employer for an employee. Cannon-Brown also is a strong performer, and has a lovely voice.

Sadly, the men in the cast don't fare as well. Selvaggio has a big voice, but even the sprayed-on gray hair can't make him look old enough to have fathered seven children. He looks more like Liesl's brother than her parent. This might have been overlooked if Selvaggio appeared more comfortable on stage, but - alas - he doesn't.

Herb K. Schultz fares a little better as Max Detweiler, the opportunistic entrepreneur who is determined to befriend both Austrians and Germans as the war approaches, and to exploit whomever he can for his own good. Schultz is OK but not outstanding.

As Rolf, the young man who delivers telegrams and steals Liesl's heart, Matthew Kohrt is the best of the male actors; sadly, his role is small.

This is one of the better-looking DMTC shows, with each scene clearly demonstrating the work that went into it. This show's dedication to quality also is revealed by the size of the orchestra, with 18 musicians listed in the program. That's more than I remember seeing for any previous DMTC show.

Jeanne Henderson's costumes are wonderful, and the wedding dress for Maria is a knockout, with a train that covers half the length of the stairs, as she descends through the audience on her way to the stage. (This dress was a donation to DMTC many years ago.)

Despite a few shortcomings, this 'Sound of Music' is well worth the price of admission. Hight's performance as Maria is worth the price of admission; after including all the other good things about this production, it definitely won't disappoint DMTC's fans.

Oklahoma!

The Davis Musical Theater Company has closed out its first full season at the new Hoblit Performing Arts Center with a sparkling, energetic production of the classic “Oklahoma!” produced by Jan and Steve Isaacson, Directed and staged by Michael Manley, with musical direction by Steve Isaacson and Choreography by Dian Hoel.

“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 “Sound of Music,” changed the face of musical theater history when it debuted in 1943, for telling an emotional story through music, lyrics and dance as had never been 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.

One dare not look too closely at the “plot” of this musical, for there is little there. At a time where we have come to follow heavy themes like “Les Miserables” or “Evita” or “Titanic,”, the story of a boy and a girl, their friends and a lunch box social is not exactly likely to provoke much psychological introspection.

The story is set in the Oklahoma territory, in 1907, the days just before statehood, and touches ever so lightly on the ongoing feud between farmers and cattlemen, though that definitely takes a back seat to the story of Curly, a cattleman, in love with Laurey, who lives on a farm with her Aunt Eller and the hired man, Jud Fry, the dark character who has his eye on Laurey, while Laurey has her eye on Curly.

Brennen Cull heads a strong cast in the role of Curly while Claire Lawrence is Laurey. Cull and Lawrence are just wonderful together. Both are blessed with strong, clear voices. The sparks fly when they argue, making the chemistry when they are emotionally together believable.

Mary Young is the perfect Aunt Eller, and you just haven’t lived until you’ve seen Young as a gun-totin’ senior citizen.

Jaime Tvrdik gives Jud Fry a sympathetic persona that we don’t often see (Steve Isaacson, doing the role decades ago, had that same touch). Fry is desperately in love with Laurey, but doesn’t know how to treat a woman and frightens her more than anything else.

Lauren Miller is an adorable hormone-charged Ado Annie, who falls in love with any guy who sweet talks her. Miller’s Annie is at the same time coy, flirtatious, and sometimes the stereotypical blonde airhead and she carries it off beautifully.

Hoping to save $50 so he can marry Annie is Will Parker (Brad Bong). Will and Annie are intellectually matched, and Bong gives a strong performance, imbued with a simple innocence, which works because he is as cute as he is talented.

Robert Bugg is Ali Hakim, the peddler whose eye is also set for Annie, though not in quite the same way as the lovestruck Will. Eddie Albert played this role in the 1955 movie and Bugg’s performance is every bit as good.

Dian Hoel and Ryan Adame are “Dream Laurey” and “Dream Curly” in the Act 2 ballet.

The DMTC Orchestra is under the direction of Kate Jansen and is one of the better orchestras I’ve heard since DMTC moved into its new theater.

Costumes are by Jeanne Henderson, who has created a beautiful rainbow of colors for both the women and for the men. Henderson works so hard at making her costumes authentic, that it is a bit of a puzzlement to know why she puts Laurey in bib overalls in the opening scene. Though Claire Lawrence is cute as a button in them, the effect is jarring, seems contrary to the period, and contrasts negatively with all the frills and lace of her friends, or the utilitarian work skirt of Aunt Eller.

Jennifer Bonomo did the scenic design, including a beautiful rolling hill scene at the back. It is unfortunate that more care was not taken to make sure that the pieces of the wood lined up, as the gaps where the pieces did not meet properly were distracting.

Dannette Vasser, however, has done a beautiful job of lighting, especially the lovely sunrise which opens the show.

The Davis Musical Theater Company has settled into its new home and things are all coming together. This is the first show that didn’t feel “almost, but not quite ready” on opening night. There wasn’t even a crowd in the lobby waiting for the doors to open, 5 minutes before the publicized start of the performance.

With things finally coming together so nicely, it bodes well for an exciting 2006-2007 season.

Showboat

In 1926, Edna Ferber wrote a story entitled "Show Boat." Rogers and Hammerstein brought the story to the stage as a musical in 1927 and since that time, like the "Old Man River" celebrated in one of the show's better known songs, the story has just kept rolling along. It was one of MGM's most beloved musicals when it was brought to the screen in 1951. In 1993, Hal Prince revived the show in Toronto and it made its way to Broadway in 1994, where it once again became a big hit.

Behind the fun and frivolity, Show Boat is a show with messages about such provocative dramatic subject matter as alcoholism, spousal abandonment, and miscegenation.

The success of this show begins with a strong cast. So many songs have become American classics that it is imperative that any production have the talent to present them. In this, Davis Musical Theatre, ending its current season with the Hal Prince production, has succeeded very well.

DMTC co-founder, co-producer, musical director, set designer and light designer Steve Isaacson is also at the boat's helm as Capt'n Andy. Isaacson is always a delight to watch on stage and he does not disappoint in this production.

As his long-suffering, but never silent, wife Parthy, Mary Young turns in another solid performance, doing the things that she has come to do so well.

Kelly Mustain, as their daughter Magnolia, in love with a ne'er-do-well riverboat gambler, is a delight. She looks every inch the innocent maiden, is a wonderful actress and has a beautiful, clear voice. She is one of the high points of the evening.

Newcomer Tevye Ditter plays the handsome Gaylord Ravenal, looking somewhat Abraham Lincoln-esque with his stovepipe hat atop his already tall frame. Ditter has a wonderful voice, which didn't quite hit its stride until the second act, but he is a lucky find for DMTC.

The tragic figure of the piece is the mulatto, Julie Laverne, the torch singer passing for white, whose secret is revealed to the local police by disgruntled suitor Pete (Marc Valdez). Julie has two of the show's most famous songs to sing--"Can't Help Lovin' That Man of Mine" and "Bill" and Marguerite Morris gives both powerful performances. Morris, who is also credited with musical direction, is a wonderful Julie.

JD Diefenbacher is Joe, one of the most visible and memoriable characters in American theatre history. Diefenbacher (another newcomer and valuable find for DMTC) doesn't quite have the vocal range to give consistent strength to the lower ranges of "Old Man River," but one cannot fault his rendition. He has a booming basso and is a powerful presence.

As his wife, Queenie, Deborah Douglas, newcomer to Davis (and hopefully new regular for DMTC) is a delight--a multi talented woman who can act and sing up a storm.

In reviewing "Grease" recently, I mentioned that Amber Jean Moore was obviously a talented actress but we only got glimpses of her talent. The promise of "Grease" is fulfilled in "Show Boat." As the singer/dancer Ellie May, Moore is a knockout and the stage lit up whenever she appeared. Her dancing partner Frank (Laurent Lazard) was a nice complement and one wonders if the character came from New Orleans with that charming French accent!

With all this talent, it is unfortunate that the pace of the show lagged. With a delayed start and a nearly 2 hour first act, the ending time was 11:30 and that makes for a very long evening. Director Jan Isaacson has done some good work in presenting this show, but there definitely needs to be work done on timing to turn this "slow boat" into a "Show boat."

There are some inventive bits of scenery (I loved the revolving door in Act 2, which served as a vehicle to show the passage of time). Given DMTC's limited budget, set designer Isaacson has created a serviceable Show Boat, nicely complemented by Jean Henderson's beautiful costume design.

Stephanie Skewes gets kudos for choreography. I wish there had been program credit for the delightful male dancer, frequently partnered with Ellie when Frank wasn't around. He was terrific.

The DMTC 17 piece orchestra had a nice tone with all that brass, though quality was inconsistent throughout the show as, unfortunately, frequently happens with community theatre orchestras.

"Show Boat" is not perfect, but it has a lot going for it. I'm certain that as the company settles into the run, the pace will pick up and it will be a good, solid show. The talented cast makes it definitely worth checking out.

Carousel

A cast of hundreds! Well...dozens. But when the curtain opened on the Davis Musical Theatre production of Rodgers and Hammerstein's "Carousel," it seemed like hundreds. Director Jan Isaacson and set designer George Soffos put together a carnival atmosphere, complete with belly dancers and a real carousel. Combined with a lovely mix of costumes by Jean Henderson, and the beautiful Carousel Waltz played by the 9-piece backstage orchestra it was a visual delight.

"Carousel," first seen on Broadway in 1945, was the second collaboration of Richard Rogers and Oscar Hammerstein who had, two years before, given the world "Oaklahoma!" It was "Carousel" which solidified the colaboration and established the duo as an institution of American theatre.

With such familiar songs as "You'll Never Walk Alone," "If I loved you" and "June is bustin' out all over," the show is a sure-fire audience pleaser.

The DMTC production is filled with strong voices and marks the debut of some wonderful new performers to the DMTC family.

Heading the list is Frank Salamone as Billy Bigelow, the ne'er do well carnival barker who falls in love with Julie Jordan, a local factory worker. Salamone is a powerful presence on stage, though the apparent age disparity between himself and Amy Schoedel (Julie) affected the chemestry between them. He also had some difficulties staying on pitch in spots, which may have been a case of opening night jitters.

Schoedel, in her sixth season with DMTC, has a lovely clear soprano and was an endearing Julie, innocent in her infatulation with Billy, devoted even in the face of his abusive treatment of her, and steadfast in the raising of their daughter as a single mother, after Billy's death.

Andrea St. Clair as Julie's friend Carrie Pipperidge is a real DMTC find. She is making her debut with the company and was a delight to watch on stage, both as the love-struck young girl preparing to marry her Mr. Snow and, with the passage of time, as the older mother of 10.

Matt Dunn, as Mr. Snow, is returning to DMTC after a 3 year absence and was a welcome addition to the cast. He was also choreographer for "Carousel" and has created a number of complex dance numbers so skillfully, that it is difficult to distinguish the non-dancers from the trained dancers.

The ever dependable Ben Bruening played Jigger, who convinces Billy to rob the mill owner to get some money for his expected baby. Bruening was effective as the villain and deserved the good natured hisses he received at the curtain call.

Catherine Hagan returns to DMTC to play the maternal Nettie Fowler, who takes Julie under her wing after Billy's death. She handles her big moment, the emotional "You'll Never Walk Alone" quite nicely.

Julie & Billy's young daughter, Louise was competently played by Stephanie Skewes.

Sets for this production were minimal--sometimes almost non-existent (a very long scene with only a bench on stage), but one forgives such lapses in a company which is saving its pennies to build it's very own new theatre (set to open in time for next season).

At nearly three hours, this is a long show, somewhat extended by a fairly slow pace, which may pick up as the show contiues its run and the actors become more comfortable in their roles. But DMTC fans will not be disappointed. The faces of the small children singing out "You'll Never Walk Alone" with the adults in the final scene is a wonderful indication of how much love has gone into this production and how much effort everyone has put into it.

Sound of Music

At the curtain call for "The Sound of Music," which inaugurated Davis Music Theatre's 17th season, there were cheers and lots of flowers for the performers. The audience of friends, relatives, and long-time supporters were celebrating what DMTC does best: give local actors and actresses the chance to do what they love most. DMTC epitomizes the word "amateur" in its best sense: People who perform for the love of it.

And what's not to love in this popular musical by Rodgers and Hammerstein? The familiar tunes are those many have grown up with--"My Favorite Things," "Do-Re-Mi," "Climb Ev'ry Mountain," "Edelweiss," and of course the title song.

"The Sound of Music," directed by Jan Isaacson, with musical direction by husband Steve, is a family affair. It features Wendy Young as Maria, the young postulant who leaves the convent to become governess for a family of motherless children. In her long history with DMTC, Young, who has been performing since age 7, played Liesl in a previous production of this same show. She has now grown into a mature young woman and was a warm and affectionate Maria.

Also in the cast is Wendy's mother, Mary Young as the blustery Sister Berthe, who struggles to find the answer to "how do we solve a problem like Maria?" Young has long been a favorite of DMTC audiences.

The Bruening family is represented by Ben, as an energetic Max Detweiller, the opportunistic entrepreneur who is determined to exploit the singing Von Trapp children for his own benefit.

Ben's wife, Noelle has several small roles, including the "Danke Lady," winning second place at the Salzburg musical festival. Her enthusiastic acceptance is very cute.

Two of the von Trapp children are played by real life brother and sister, Edward (Kurt) and Amber (Gretl) Bianchi. (the other children are Melody Davi as Liesl, Steven Garman as Friedrich, Maggie Roesser as Louisa, Julia Spangler as Brigitta and Ariel Pytel as Marta. Amber's mother, Jeannie, also plays the Baroness Elberfeld)

The von Trapp children are perennial crowd pleasers, and this group works together quite well, even if their harmonies aren't always right on.

Colby Salmon plays Rolf, the young Nazi torn between his love for Liesl and his dedication to the Fatherland. Colby's father Chris also appears on stage as one of the "Nazis/Party Guests" and also plays in the orchestra along with several other Salmons. (There are about as many Salmons in this production as there are von Trapps).

Reprising his role from the 1989 production, Warren Harrison is the rigid, widowed Georg von Trapp, a retired officer in the Imperial Navy. Since his wife died, von Trapp has strictly run his house like a militaristic, humorless naval ship - there is no time for play and his regimented children function like a troop of automaton-sailors. He learns from Maria what it is to be a father

Laura Parkes is outstanding in the supporting role of Elsa Schrader, who has her cap set for Georg until she realizes his obvious affection for the young Maria. This is Parkes' return to the theatre after a long hiatus, and one hopes this is the start of a long association with DMTC.

Dannette Bell, in the small role of Frau Schmidt, the housekeeper, is charming.

Janet McNeil, in her DMTC debut, gives a notable performance as the Mother Abbess, whose affection for Maria leads her to send the young girl off from the convent to find the will of God regarding her true vocation.

Cheryl Barker is making her on-stage debut as Sister Margretta, after years of playing piano in several DMTC orchestras.

The chorus of nuns has been well trained and brings back memories of Catholic school days and singing Gregorian chant. Their habits could be a little more uniform to make the picture complete, but one can't fault their singing.

Costume design is by Jean Henderson and one does have to wonder why the von Trapp children appear at the Salzburg Music Festival wearing the same clothes made from curtains which so upset their father in Act 1. But overall, Henderson has given us a good looking show--and Elsa's party gown is a knockout.

Sets by Steve Isaacson are minimal in spots, but the stained glass window for the convent was very impressive.

The notable thing about this production is the enunciation. Without exception every single performer could be heard and understood throughout the theatre. In these days of amplified performances, this is a rarity.

The expanded 19 piece DMTC orchestra, under Isaacson's direction, was excellent, and greatly added to the production.

Amateur groups don't always have the most trained voices or advanced acting skills but there's a quaint innocence and sincerity that lies at the heart of enjoyable theatre experiences. The connection between audience and performers at "The Sound of Music"'s opening night proves that this enduring musical will continue to draw large audiences. It's a wonderful show for children. And it is in the very best tradition of amateur theatre.

Stars: 3