Sherlock Holmes: The Final Adventure

Sherlock Holmes is dead. Or so Dr. Watson announces at the beginning of “Sherlock Holmes: The Final Adventure,” now playing at the Woodland Opera House in a production directed by Bob Cooner.

The play written by William Gillette and Arthur Conan Doyle, adapted by Steven Dietz, combines two of Doyle’s short stories, “A Scandal in Bohemia” and “The Adventure of the Final Problem,” tosses in a few elements that tie the two stories together, and gets rid of the famous detective in the end.

Maybe.

Cooner has an all-star cast for this Holmes mash-up, starting with Simon Hunt in the title role. Hunt reminded me throughout of NCIS’ “Ducky” (David McCallum), in both appearance and mannerisms, as he rattled off volumes of relevant and irrelevant bits of trivia, or drawing conclusions about a person from the smallest detail (“A Frenchman or Russian could not have written that. It is the German who is so uncourteous to his verbs.”)

The actor had some opening-night stumbles over words and some problems with quick costume changes, but he gave us a believable Holmes, intent on his pursuit of his nemesis Moriarty (Rodger McDonald), a pursuit in which he is determined to engage, even if it leads to his own death.

As for McDonald, was there ever a more deliciously malevolent villain? A single look is enough to chill the blood and the sneer just added to the effect. McDonald looks like he is enjoying every single moment.

Scott Martin was an outstanding Dr. Watson, Holmes’ faithful sidekick who follows his friend’s instructions to the letter, no matter how strange they may be. Watson kept the action rolling, with his narration that filled in bits of Holmes’ life that had taken place offstage.

Irene Adler (Alexandra Ralph Evans) is an opera singer who has caught Holmes’ eye, though he is loath to reveal his feelings for her when he discovers she is the ex-girlfriend of the King of Bohemia (Jason Hammond). Adler is intent on blackmailing the King with a compromising photo on the eve of his wedding to another woman and the King has come to Holmes to retrieve the incriminating evidence.

Director Cooner makes an unfortunate decision in the opening scene, where Holmes is listening to a recording of Adler. The volume is much too loud and distracts terribly from the dialog of that scene.

Evans is a beautiful diva and adds a spark to all of her scenes with Holmes. Hammond brings humor to the show as the dim-witted King

Rounding out the cast are Dana Sattel as James Larrabee, who marries Adler, Patricia Glass as his sister Madge (both in cahoots with Moriarty) and Steve MacKay as “Sid Prince (and others).”

Set and lighting design are by John Bowles, who has created a beautiful library for Holmes, which takes up half of the stage, with other pieces brought in for other scenes, while the library stays in place for most scenes.

The final scene, of the waterfall that supposedly is the site of the demise of Holmes and Moriarty, is a bit of a disappointment. While the rocks leading to the waterfall are fine, the falls itself are merely represented by a dim shaft of light and no real sense of a waterfall.

Denise Miles’ costumes seem to be accurate to the period and Adler’s opera gown is beautiful.

This is not really a whodunnit nor is it exactly a comedy, though it has elements of both. What it is is a polished, intelligent, fast-paced production that will delight any theatergoer.

White Christmas

There is an old saying, “If it ain’t broke, don’t fix it.” Whoever decided to bring one of the most popular Christmas movies, “White Christmas,” to the stage did not follow that saying.

My criticism is of the musical itself, not of the Woodland Opera House production, which is excellent. The stage show does not allow for character development, and uses unbelievable situations. For example, it is “loathe at first sight” for Betty and Bob and it only takes overhearing a song lyric for Betty to turn around and fall madly in love with him.

The show also introduces songs not in the movie, which add little, don’t advance the plot and make a long show even longer; it clocks in at about three hours.

However, all that said, director Jeff Kean has done a beautiful job with what, according to audience reaction, was a very popular musical.

It is difficult to step into the shoes of such iconic performers as Bing Crosby, Rosemary Clooney, Danny Kaye and Vera Ellen, but Kean has found a quartet that do quite well. Scott Woodard, as Bob Wallace, is a crooner in the classic sense and has a smooth likability. Matt Kohrt, as Bob’s partner Phil Davis, is a talented hoofer with a pleasant demeanor who works well with Woodard.

Catherine Nickerson, as Betty Haynes, is new to the Opera House; she has a lush voice and can belt out a torch song with the best of them. Her sister Judy, as played by Kirsten Myers, is as cute as a button and is a good match in the dancing department for Kohrt.

As she did in the recent “Sound of Music,” Nancy Agee steals the show as Martha Watson, who helps run the inn in Vermont where the four performers find themselves. An old song-and-dance woman with a heart of gold, “Motormouth Martha” lights up the stage whenever she opens her mouth.

Steve Cairns gives a solid performance as Henry Waverly, the general “who stopped being a general” and is trying to make a go of it in this Vermont inn.

Devon Hayakawa plays little Susan Waverly, the general’s granddaughter. She is precocious and talented and does a great rendition of “Let Me Sing and I’m Happy.”

Chris Taloff, as Ezekiel, the slow-moving, slow-talking stage hand, turns what appears to be a genuine broken arm into something that makes his character even funnier.

Allison Ruanto and Kara Sheldon are the oversexed chorus girls, Rita and Rhoda, who spend most of their time giggling.

This is a lushly costumed show, with costumes designed by Denise Miles. The women’s fashions for the “Sisters” number are particularly beautiful, and Agee is a stand-out in her red lamé dress for the finale.

Sets, on the other hand, are just utilitarian. With so many scenes requiring different sets, set designer John Bowles had to sacrifice detail for ease of movement (and gets credit for fairly quick set changes).

Choreographer Staci Arriaga has given us some outstanding production numbers, much more complicated than one is used to seeing in a community theater. Woodland is fortunate, indeed, that its classes for young people include tap dancing, because the tap numbers, particularly the show-stopping “I Love a Piano” are simply outstanding.

The nine members of the ensemble — Eva Sarry, Kimmie Ruanto, Spenser Micetich, Julia Stapp, Crissi Kessler, Jenny Lillge, Erik Catalon, Shane Wright and Eric Alley — work so well throughout the show that they deserve having their names included.

Music director James C. Glica-Hernandez’s orchestra appears to be 12 strong, though only nine are mentioned in the program. The fuller orchestra gives a professional sound to the production.

With the Opera House all spruced up in Christmas finery, draped with greenery and lights and full of holiday cheer, this is a great way to treat the family to a Christmas classic. It hits high marks on so many points that it’s a real keeper.

Sound of Music

“The Sound of Music,” currently at the Woodland Opera House, under the direction of Angela Frost Baltezore, may just be the best community theater production of this beloved classic that I have ever seen.

Everything from the actors to the orchestra under the direction of James C. Glica-Hernandez to the lovely costumes by Laurie Everly-Klassen, down to the sets by John Bowles and even the speed and efficiency of the backstage crew changing the scenes was first-rate.

And what’s not to like about “The Sound of Music”? This popular Rodgers and Hammerstein musical story of the von Trapp family has more familiar tunes than most musicals. Nearly every single one of them is familiar to everyone in the audience, including ”Do Re Mi,” “My Favorite Things,” “Climb Ev’ry Mountain,” “Edelweiss” and, of course, the title song. If you don’t leave the theater humming at least one of them, you must have slept through it all.

The audience could tell from the very first scene, with nuns gathered on the stairs to the stage singing in bell-clear Gregorian chant, that we were in for something special.

Crissi Cairns Kessler is the earnest young postulant, wanting so much to become a nun; the loving governess who teaches her young charges how to sing, and reminds them about having fun; the woman learning about love for the first time, melting the heart of a military man. Kessler’s winsome personality and beautiful voice are just the frosting on the cake.

Michael Maples is a stern and distant Georg von Trapp, using brusqueness to mask the pain of losing his wife. His children must answer to whistle calls and their only exercise is marching. As Maria works her magic on him, he softens and allows himself to love his children as they are.

The children themselves are wonderful. Director Baltezore has found a group of seven professional young actors, each of whom was talented and disciplined, down to adorable little 5-year-old Anneli Spieler (Gretl), who squirmed a bit toward the end, but who never missed a cue or failed to sing with her siblings.

Emily Jo Seminoff was a lovely Liesl and Christian Salmon as Friedrich hits a high note that was nothing short of amazing. Abby Miles (Louisa), Campbell Salmon (Kurt), Hayley Harrison (Brigitta) and Casey Wathen (Marta) also were perfect in their roles.

Rodger McDonald owns the stage whenever he appears and his Max Detweiler was strong and memorable. He’s a fabulous asset to any production.

Elizabeth Nilsen is sufficiently “upper crust” as Elsa Schraeder, a woman who has her cap set for Georg, but who isn’t sure she’s ready to be mother to seven children. She’s not the most likable character in the story and Nilsen effectively manages to be both beautiful and icy.

But the most memorable character of the evening had to be Nancy Agee as the Mother Abbess, whose guidance helps Maria discover God’s plan for her. Agee has a professional voice and could easily play this role in a professional production. Her “Climb Ev’ry Mountain” was the high point of the evening and when she hit that last high note, it truly sent chills down my spine.

Though this entire production is wonderful, it would be worth seeing if only to hear Agee.

Others in the cast included Mollie Smith as Sister Berthe, Ryan Wathen as Sister Margaretta, Stephanie Blackwell as Sister Sophia and Matthew Kohrt as Rolf, the telegram delivery boy in love with Liesl.

Melissa Dahlberg makes the most of her tiny role as the second-prize winner at the music festival.

Everly-Klassen’s costumes were beautiful, particularly the children’s concert costumes and Maria’s honeymoon dress (as well as her wedding dress).

John Bowles’ set works wonders on the tiny Opera House stage, and including the aisle of the house itself was a wonderful idea. The abbey’s stained-glass windows were beautiful and the painted backdrop of the Alps gave the perfect setting to the outdoor scenes.

This is a not-to-be-missed production, if you are fan of “Sound of Music.” Even if you think you have already seen it, this production makes it worth seeing again.

The Wizard of Oz

It's a brave thing to take an iconic movie such as “The Wizard of Oz” and put it on the stage, especially when the script is almost verbatim what people know from the movie.

But the Woodland Opera House has created a delightfully enchanting production, directed and choreographed by Jason Hammond (who also designed the sets), with musical direction by Jeff Poppings.

Danielle Hansen is not only a wonderful actress and singer, but she managed to stay in character, and not miss a note or a word of dialog while all the while dealing with a Toto who was determined to upstage everyone, and even attack a couple of the other actors.

Hansen handled Bella the pup skillfully, taking her offstage when her barking threatened to drown out everyone else, and still gave us a Dorothy who was sweet, innocent and full of hope and wonder. Congratulations, Danielle — it was a memorable performance.

Dorothy's companions on her travels around the land of Oz could not have been better cast. Matthew Kohrt as the Scarecrow is thin and floppy and his dancing was every bit as delightful as Ray Bolger's in the film.

Eric Alley, in his “dream role,” is a noble Tin Man, with a big voice and a big heart in his empty chest.

Erik Catalan, sharing the stage with his daughter, Munchkin Naomi, is just plain fun as the Cowardly Lion.

Angela Frost Baltezore is returning to the Opera House stage after a 35-year hiatus (during which time she managed to win 15 Elly awards for performances elsewhere) to play both Aunt Em and Glinda, both roles played well.

Patricia Glass, last seen in Woodland's “Noises Off,” is the Wicked Witch of the West and has great fun chewing up the scenery, though her performance is not enough to scare the little children in the audience.

Dennis Updegraff does an OK job as Uncle Henry, but he really pulls out all the stops as the Oz Guard.

James C. Glica-Hernandez emerged from the orchestra pit to play only his second on-stage role in 20 years, yet acquits himself well as Professor Marvel and The Wizard of Oz.

Members of Woodland's Young People theater program do an outstanding job as Munchkins and those who have larger roles, particularly Riley Spieler as the Munchkin Mayor and Bailey Robinson-Bermester as the Coroner, give highly polished performances.

Hammond's choreography is perfect, especially in “Ding Dong, the Witch is Dead” and “The Jitterbug.”

The scenery is brightly colored and cleverly designed to give the impression of magical entrances and costume changes ... and it worked beautifully, particularly in transforming an overalls-clad farm girl to a pinafore-wearing Oz girl.

Not surprisingly, Laurie Everly-Klassen's costumes were wonderful. It must be such fun to design a show that has so much fantasy about it.

There are a few special effects that work better on film (such as the exposition of the Wizard), but basically most come off quite well. I loved the departure of the balloon.

Small children in the opening night audience loved the show. Adults loved the show. For those familiar with the movie, it will be fun to hear the songs as they were originally written, complete with the verse that precedes the better known choruses. It was also fun to have “The Jitterbug,” cut from the movie, included.

If Bella learns to stop attacking her fellow actors and to listen instead of barking all the time (or leaping up on Dorothy to get a treat) this will be a much more enjoyable show, but kudos to the cast and crew for dealing with her in such a professional way.

Miracle on 34th Street

My very favorite Christmas movie ever is “Miracle on 34th Street,” written for the movies in 1947 by Valentine Davis. It starred Maureen O'Hara, John Payne, a very young Natalie Wood and Edmund Gwenn as Kris Kringle (Gwenn won the Oscar that year for best actor in a supporting role).
There have been three remakes for television, a movie remake for the big screen and a Broadway musical version in 1963.
In or around 2006, Will Severin, Patricia DiBenedetto Snyder and John Vreeke adapted the story for the stage and that stage adaptation is this year's holiday offering by the Woodland Opera House, under the direction of Jeff Kean.
There is a danger in adapting a familiar film to the stage, that being that while you can do short scenes that dissolve into other short scenes rather seamlessly in a movie, on a stage, brief scenes in one setting followed by a brief scene in another involve complicated set changes.
Even though director Kean has costumed his set crew with colorful Santa hats and uses sets on wheels that move in and out quickly, it still sometimes has the feel of “say a couple of lines, wait, say another couple of lines and wait again” while the sets are being changed.
It's an unavoidable problem that Kean sometimes manages to occasionally solve by having two characters stand on one side of the stage without a set while two other characters stand on the other side. Only a pool of light indicates there is a change of scene.
Setting aside the choppiness of the action in a show that has more than 30 scenes, the overall production is certain to delight audiences.
Jeff Nauer is a wonderful Kris Kringle, hired by Macy's when its parade Santa Claus (Matthew Taul) shows up drunk to work. Kris is later hired to be the in-store Santa and causes an uproar when, in the spirit of Christmas, he sends the parents of children to different stores when they are unable to find their child's desired toy at Macy's.
Kris' immediate boss is Doris Walker (Jen Smuda-Cotter), an embittered woman who is out to teach her daughter Susan (Ani Carrera) the realities of life and refusing to allow her to believe in fantasies such as Santa Claus.
Doris' neighbor Fred Gailey (Matthew Moore) is trying to help the little girl have a more normal childhood, especially when he offers to let the homeless Kringle stay with him.
The adult actors give good performances, and Ani Carrera is perfect in the role of a too-wise-for-her-age child who just really wants to believe in Santa Claus.
There are excellent performances in smaller roles, particularly Charley Cross as Mr. Macy, and Steve Cairns, who plays the multiple roles of Mr. Gimble, Charlie Halloran and prosecutor Mara, determined to have Kris committed to a psychiatric hospital.
Spencer Alexander is the perpetually blustery Mr. Shellhammer (the real character's name, and presumably no relation to Woodland Opera House education director Angela Shellhammer).
Bruce Lohse is suitably judge-like in his portrayal of Judge Harper, who must decide Kris' fate and who runs the risk of telling all children everywhere that there really is no Santa Claus.
Kean's sets are ingenious, whether they are rolled on or flown in, often one being rolled on while the other is halfway up into the rigging. When finally in place, they work beautifully.
Laurie Everly-Klassen has put together a large collection of costumes very true to the 1940s, giving a completely authentic look to each scene.
“Miracle on 34th Street” drags a bit, but only because of the structure of the script, not because of the contributions of those involved. It is still a delightful couple of hours and should be a lot of fun for everyone who attends.
Bring tissues. After all these years, I still get misty-eyed at the ending!

All Shook Up

In order to enjoy the Woodland Opera House production of 'All Shook Up' - directed by Bobby Grainger, with music direction by Richanne Baldridge - it's necessary to forget all about the inane plot and dialogue.

It can be summed up pretty simply: 'Footloose' meets 'Mamma Mia.'

This musical, based on the songs made famous by Elvis Presley, tells of a town where the mayor (Nancy Agee) has passed the Mamie Eisenhower Decency Act, which means no public demonstrations of affection ... and absolutely no dancing or rock 'n' roll.

Cue a surprise visitor: a motorcycle-riding, guitar-playing, hip-shaking stud named Chad (Lafras le Roux), who is guaranteed to shake, rattle and roll things up. Repressed feelings start popping out all over the place.

Playwright Joe DiPietro borrowed liberally from Shakespeare's 'Twelfth Night' and 'As You Like It' for his plot, which involves women dressing as men to woo the guys they desire, and love letters sent by way of intermediaries. You'll also detect hints of 'Hamlet' and 'Romeo and Juliet,' along with the notion of music being the food of love.

Try to follow this:

Dennis (Elio Guiterrez) is in love with Natalie (Amber Jean Moore), who is in love with Chad (Lafras le Roux), who is in love with Miss Sandra (Whitney-Claire Roeder), who is in love with Ed ... who actually is Natalie disguised as a man, to become friends with Chad. Natalie's father, Jim (Jeff Nauer), also is in love with Miss Sandra; Sylvia (Priscilla Harris) is in love with Jim.

Then there's the mayor's son, Dean (Eric Alley), who falls for Sylvia's daughter, Lorraine (Megan Sandoval). Not to mention Sheriff Earl (Steve MacKay), who has been in love with the mayor for years.

Sadly, all reference to The Bard ends with these borrowed plot elements. Happily, intelligent dialogue isn't necessary when you have good performances and fun dancing.

The performances and dances are great fun, from the opening number - 'Jailhouse Rock,' which I'm guessing occurred in some youth facility (unfortunately, I was seated at the back of the house and couldn't understand all the dialogue) - to the last bit of 'Burning Love.'

Le Roux's hips snap so smartly that we almost hear them click into place whenever he swivels his pelvis. His performance has enough Elvis to keep that image in mind, but Le Roux also has his own style, which works well for the character.

Amber Jean Moore is Natalie, a grease-monkey gal who 'never met a motorcycle I couldn't fix.' She falls for Chad and adopts the disguise of 'Ed' in order to be close to him. Moore is the epitome of a young girl with her first really big crush.

At the same time, Guiterrez's Dennis is the perfect nerd: helplessly and hopelessly in love with Natalie, who barely knows he exists, other than as a good friend.

Sandoval is a real standout as Lorraine, the daughter of the local café owner. Saldoval is irresistible, and we can't take our eyes off her when she's onstage.

As Lorraine's mother, Harris is less effective as an actress, but she brings the house down when she sings. Harris has a long history in gospel music, and it shows.

Alley is a surprise as Dean, who initially appears to be a stereotypical military school student. His reserve melts when he falls in love with Lorraine, and decides that 'It's Now or Never.'

Choreographer Gino Platina's dance numbers are excellent, and even include a tap number.

Laurie Everly-Klassen has done a nice job of dressing the cast in typical 1950s styles, and the real stand-out is Lorraine's poodle skirt.

If you liked Elvis and his music - or lively dancing and 1950s music in general - this show is for you.

Noises Off

If Michael Frayne's 'Noises Off' isn't the funniest play ever written, it's definitely in the top five.

And the production at the Woodland Opera House, directed by Bob Cooner, may be one of the funniest versions of an already hilarious comedy.

This very physical farce traces the actions of a hapless British touring theater company, in three acts: from final dress rehearsal of a play called 'Nothing On,' to a performance a month later and then another two months after that.

A lot of sardines are involved.

The play requires impeccable, split-second timing, incredible agility, a breakneck pace and - even for an American cast - a proper British accent.

The Opera House production gets high marks on all points. This particular cast is a cut above most others, thanks to the degree of intensity and electricity from everyone: energy that practically leaps off the stage, from start to finish.

The production begins with the dress rehearsal for a play, 'Noises On,' which is opening the next day. Bob Roe is perfect as this show's director, Lloyd Dallas, who sits in the audience and despairs of ever getting things right in 24 hours.

Martha Omiyo Kight plays Dotty Otley, an aging actress who has invested heavily in this show: not only because she wants one last hurrah, but also because there seems to be something between her and a fellow actor.

Kight is delightful as the appropriately named Dotty. She has huge, expressive eyes that serve her character well, especially when she looks around, somewhat lost, trying to remember where she should be, what she should be doing ... and what her lines are.

Craig Howard is brilliant as actor Garry Lejune, who never seems to finish a sentence, but gets his meaning across with body language in hilarious fashion.

Amelia Van Brunt plays the ditzy blonde, Brooke Ashton. Her performance is worthy of Suzanne Somers, both as Brooke and as her character, Vicki. She spends much of the time wandering around in a pink bustier, which complements her nicely.

Jim Lane is the equally ditzy Selsdon Mowbray, and it should be noted that this character's ditziness is augmented by the spirits he secrets around the stage. I've seen Selsdon played many ways, and Lane's rather vague 'not quite there' interpretation is spot-on.

Patricia Glass is Belinda Blair, the company's peacemaker. She knows everybody's secrets, and works tirelessly (against all odds) to keep things calm and organized.

Matthew Abergel is the mild-mannered Frederick Fellowes, susceptible to nosebleeds at the mere mention of violence. Despite this, he manages to experience several pratfalls throughout the evening.

Andrea Guidry's stage manager, Poppy, shines in Act 2, which is almost more mime than recited lines. This middle act takes place during a matinee performance one month later, as seen from backstage, when the cast has been together long enough that interpersonal relationships are starting to interfere with their work. Guidry is suitably harried by the actors' antics, while struggling with her own personal problems.

We also see more of Tim (Matthew Dan Sattel), the company's 'Lord High Everything Else,' who builds (and repairs) the set, runs errands, serves as the bookkeeper, works backstage with Poppy, and in his spare time understudies all the male roles. Tim's Scottish burr adds to his character's appeal.

By Act 3, the tour has fallen apart and everyone just tries to survive the final performance ... which they barely do. It's hard to know whether Act 2 or Act 3 is funnier.

In both cases, a lot of sardines are involved.

Congratulations are due set designer Jeff Kean, for creating a beautiful, rock-solid set that looks huge, but can rotate from the Act 1 living room scene to the Act 2 backstage scene - and back again - even on the tiny Opera House stage. It's a marvel.

This performance, definitely one of Woodland's better shows, isn't to be missed.

The Best Christmas Pageant Ever

'The Best Christmas Pageant Ever' has the feel of something you'd expect to see in the local school multipurpose room, rather than the Woodland Opera House, and - at only 90 minutes long, including a 15 minute intermission - that may reflect its anticipated audience.

But thanks to the deft hand of director Jeff Kean and a talented cast, the show is a fun addition to the annual line-up of holiday entertainment.

The scene is set by young Beth Bradley (Amy Miles), as she describes the new family in town: 'The Herdmans were absolutely the worst kids in the history of the world. They lied and stole and smoked cigars - even the girls - and talked dirty and hit little kids and cussed their teachers and took the name of the Lord in vain and set fire to Fred Shoemaker's old broken-down toolhouse,'

The six Herdman kids are the school bullies. They beat up kids before school and steal their lunches, or take their money. Everybody is afraid of them.

The young actors playing the Herdmans are just great. Horace Gonzalez is appropriately sullen as the oldest son, Ralph. Elisa Marks is the bleached-blond Imogene, who has a surprising reaction at an emotional moment. Sam Kyser is Claude, and William Black is Ollie; Ani Carrera steals every scene as the youngest, Gladys, who has the greatest defiant pout you'd ever want to see.

The Herdmans decide to go to church because they hear that snacks are served at Sunday School. And then they discover the annual Christmas pageant.

Because of an injury, the longtime director, Mrs. Armstrong (Armida Wahl), is unable to direct the play. The task falls to Beth's mother, Grace Bradley (Julie Greene), with the reluctant assistance of her husband, Bob (Charley Cross), who really only wants to stay home in his bathrobe and watch TV.

Grace quickly discovers that she may be in over her head, although she's determined to make this the best Christmas pageant ever.

Imogene beats out Alice Wendleken (Ashley Vall) for the role of Mary, the role Alice usually plays. Vall is wonderfully whiny and petulant.

Nobody wants to be an angel because Gladys bites people, and thinks the proper salutation for the shepherds is 'Shazam!' Nobody else wants to be around her.

The predictable ending is strongly foreshadowed when Grace discovers that the Herdmans haven't heard the Christmas story, and so reads it for them out of her Bible.

We never see any actual rehearsal taking place for the pageant, although chaos and mayhem fills the stage, and the dress rehearsal never happens because nobody seems to have any costumes.

Despite all this, somehow things come together for a surprisingly poignant finale. The gifts of the Maji may bring a tear to the most cynical of hearts.

'The Best Christmas Pageant Ever' is based on a 1972 book by Barbara Robinson, which was adapted into a television movie in 1983. The infamous Herdmans go on to appear in two subsequent books by Robinson.

Kean's set design is lovely, bathing the entire theater in lights, and including some beautiful stained glass window effects.

Laurie Everly-Klassen costumes includes an angel who wears a little ducky robe 'because her mother was out of white sheets,' and Gladys' grimy robe is held together by a man's tie.

Children will love this show, and it's short enough - and active enough - to hold the attention of even the youngest theatergoers.

Taming of the Shrew

There may be gender disagreements about whether William Shakespeare’s most controversial play, “The Taming of the Shrew” is a comedy or a tragedy. Speaking for the feminine side, I tend to favor the latter option!

In this mysogenistic look at the battle of the sexes, one woman is sold off by her father to the highest bidder while her sister is forced into a troubled marriage where her husband deprives her of food and drink in order to break her spirit. There are plenty of lines on women knowing their place. Kate’s long, final speech protesting obedience to her husband is a notorious example.

Productions of this play often set the action in times other than Elizabethan and may twist plot elements so that in the end Katherine has the upper hand and we see that all of her subservience is her own way of manipulating her husband.

In the Woodland Opera House production, director Rodger McDonald has taken a more traditional approach, setting the play back in Elizabethan times (though a brief sequence at the beginning shows a company of actors preparing for the start of the play, which lets us know that the time is really today and the actors are actually doing a play, which may soften the ultimate conclusion)

It’s a sumptuous looking show, with cleverly designed sets, which turned and rotated to represent several different locations, designed by the multi-talented Jeff Kean (who also happens to play role of Petrucchio).

Laurie Everly-Klassen, the “Designing Haberdasher,” has created a beautiful assortment of period costumes.

Bevin Bell-Hall, in her Opera House debut gives a wonderful performance as Katherine. She has a fiery temper and a lot of physical stuff to, which she does beautifully.

Kean’s Petrucchio stands up to Kate with a steel resolve and detached emotions. He sets out to woo her, marry her and then tame her. He cares nothing for the warnings about her disposition. All he wants is the large dowery that accompanies the marriage. There were probably a lot of women in the audience who wanted to kick him in the shins, which only proves the effectiveness of his characterization.

Jeff Nauer is Kate’s domineering father, Baptista, who refuses to allow his youngest daughter, the blonde, flirtatious Bianca (Analise Langford-Clark) to marry until a groom is found for her bad-tempered older sister. Langford-Clark plays the sweet little lady role to the hilt, flirting with her many suitors and giving a hint to a spark within her too, though much more deeply hidden than it is in Kate.

The young rich Lucentio (Brent Randolph) finds himself smitten with Bianca. He trades places with his servant, Tranio (Dan Sattel), and disguises himself as a poor teacher to gain an excuse to be in Bianca’s company, while Tranio, posing as Lucentio attempts to convince Baptista to let him marry his younger daughter. Randolph is a tall, gentle Lucentio, who swoons in the company of Bianca and easily wins her love.

Sattel is outstanding as Tranio, full of energy and a focal point whenever he was on stage.

As Bianca’s older would-be suitors, Steve Mackay as Hortensio and David Buse as Gremio are wonderfully silly, though Buse seems a bit over the top at times.

Bobby Grainger as Petruchio’s manservant Grumio is an outstanding physical comedian, very funny and, with Sattel, give some of the best second banana performances in this production.

Others in the cast include Shanna Lyn Dickerson as the widow who ultimately marries Gremio, Genevieve Whitman as “Biondella” (a female version of the traditional Biondello, manservant to Lucentio), Michael Smuda as Vincentio, Andy Hyun as Curtis, Philip Pittman as Tailor, and Dan Beard as Pendant.

If you can set aside the obvious problems with Shakespeare’s thinking about the relationships between men and women, this is a fun production, though husbands will be well advised that it’s best not to try Petrucchio’s game plan at home!

High School Musical 2

It was obvious, from the cheers that greeted 'High School Musical 2' even before the show began, that the Woodland Opera House had a real hit on its hands.

The audience of mostly high school-age people - and, one assumes, parents of the actors - clapped loudly for every musical number, laughed enthusiastically at all the jokes, and gave the show a standing ovation.

The production unquestionably deserved it. The cast is composed of talented actors who sing well (most of the time), dance energetically and breathe life into a script that is perhaps one of the dumbest I've ever experienced.

But, I kept reminding myself, I had to look at this from an adolescent's viewpoint. That helped significantly.

'High School Musical 2' takes up where the first play left off, as the main characters, now facing summer vacation, realize that they need jobs.

The evil and uber-wealthy Sharpay Evans (Danielle Hansen), who seemed to undergo a bit of a redemption at the end of the previous play, has sharpened her claws again and once more set her cap for the school hunk, Troy Bolton (Eric Catalan).

She therefore arranges for him to have a job at her father's luxurious country club, where she hopes to steal his affections from his girlfriend, the wholesome Gabriella Montez (Shannon Kendall).

Not realizing that his new boss will be Sharpay's father, Troy enthusiastically accepts the job during a phone conversation, without any interview whatsoever, and even arranges for all his friends to obtain employment as well (suspension of disbelief No. 1).

And so the action shifts to the country club, and the battle is on.

Hansen, in her Woodland Opera House debut, makes a perfect Sharpay. She even looks eerily like Emily Jo Seminoff, who played the role two years ago in the local production of 'High School Musical' (and who, with her mother MJ Seminoff, directs this sequel).

Hansen prances about the stage with her minions - 'The Sharpettes': Andee King, Jo Black and Kara Sheldon - like the little princess she's supposed to be, and successfully becomes the girl we love to hate.

Catalan, who made an impression as Troy's friend Chad in the previous production, has moved into the role of Troy and does a very good job. His angst-ridden 'Bet on It' - during which he tries to decide whether turning his back on his values, in order to get a college scholarship, is worth it - is one of the show's highlights.

Kendall, a senior at Sacramento State University, gives a wholesome, freshly scrubbed look to Gabriella, the girl who tries to keep Troy grounded. Kendall has a lovely voice and has the sort of presence that holds our attention whenever she's on stage.

Back in 2007, while reviewing the local production of the first 'High School Musical,' I noted, 'Worth watching in the chorus is young Casey Camacho, who has no speaking lines and is merely one of the crowd, but is so enthusiastic about his role that he stands out.' Two years later, Camacho has come into his own as Jack Scott, the high school DJ who also becomes the emcee for all the resort events. He's a real firecracker, and it's good to see him in such a prominent role.

Alex Cesena plays Mr. Fulton, the resort's long-suffering, over-the-top general manager; Cesena is integral to the production.

Allison Ruanto and Alyssa Garcia give energetic performances as Gabriella's best friends, particularly during the dance numbers.

Choreographers Emily Jo Seminoff and Tyler Warren have done yeomen's jobs while creating several energetic musical numbers, and the cast pulls them off quite well.

While the songs are forgettable, the visuals on stage are fetching, particularly during a lively take on 'Humuhumu-nukunukuapaua'a' (which bears little resemblance to the familiar Hawaiian tune) and 'I Don't Dance.'

Did I like this show?

Well ... no.

But my dislike had everything to do with the brainless script and nothing whatsoever to do with the production, which is sparkling and will delight every adolescent in the audience.

The bad news?

The kids leave the resort at the end of the summer to return for their final year of high school, and yes, 'High School Musical 3' is waiting in the wings...

Fools

The village of Kulyenchikov is lost in a magical spell that has left its residents simpletons in Neil Simon's odd fable, 'Fools,' which continues through Feb. 8 at the Woodland Opera House.

The play, directed by Rodger McDonald, is described as 'a comic fable based on the traditional Russian folk tale, 'The Village of Idiots.' '

I can't remember seeing another play that I hated so much in the first five minutes, and the thought of sitting through two entire acts was unpleasant. This wasn't the Neil Simon we know and love. The dumb jokes and repetitive slapstick comedy made me groan. (How many times is forgetting how to open a door funny?)

From the subdued audience response, I assumed other patrons were having the same reaction.

But something happened as the play progressed. I began to chuckle, and soon everyone around me was laughing as well, as we became accustomed to the plot line and grew to know the characters.

McDonald's direction - and the skilled actors, who respected their characters - made them not only believable, but lovable. They were completely immersed in their fantasy stupidity.

The residents of Kulyenchikov literally live in 'blissful ignorance.' They know they're stupid, and have become content with it. It would be nice, for example, even to remember one's name; the shepherdess 'Something-something Snetsky' (Jean Swearingen) knows her last name, but never can remember her first name(s).

Or where she left her sheep.

Of course, none of the villagers really care all that much.

The unwitting outsider to enter this world is Leon Tolchinsky (Ben Moroski), a teacher who has been hired by the town doctor to try teaching his daughter. As it happens, if one person in the town can be taught, the spell will be broken.

Unfortunately, the teacher has only one day to make the attempt; if he can't teach her, then he, too, will come under the town's curse. Many teachers have tried, and all have fled before the end of the 24 hours, to avoid becoming fresh victims of the curse.

Moroski is a lot of fun to watch. As something of a Jon Cryer/Jerry Lewis clone, Moroski is appropriately befuddled at the townspeople, and gradually learns to accept the effects of the curse and adapt to it. But he also falls under the spell of the beautiful Sophia (Angela Read) and decides to stay with her, no matter what.

He's prepared to give up his love of learning, and the pride in his body of knowledge, if that must happen.

But he's also determined to teach her something ... even if Sophia sees no value in learning. Why should she learn that one plus one equals two, if Leon already knows it and can tell her? And why would she need to know in the first place?

Read has a marvelous ethereal demeanor: beautiful but blank, while still engaging enough to win the heart of the idealistic teacher.

Angela's parents, Dr. Zubritsky (Bobby Granger) and his wife Lenya (Shanna Sperry), are delightful, as they try to help each other like any married couple. She loses her train of thought; he tries futilely to guess what she meant to say.

Justin Kelley is great as the villain, Gregor Yousekevitch, who is determined to wed the beautiful Sophia himself. Indeed, he proposes to her every day.

Jessica Neufeld plays Yenchna, a mute who knows a secret that will help Leon. Her charade is just great.

The cast also includes Dan Beard as the Magistrate, Alan Smuda as Slovitch, and Bridget Maguire as Mishkin, the postman who has a special delivery for Leon. It might change everything. Or not.

'Fools' is a surprise: one that grows on you, thanks to the talented cast. If you need a good laugh, this show is highly recommended.

A Tuna Christmas

Those quirky citizens of Tuna, the third-smallest town in Texas, have returned to the Woodland Opera House, to share their Christmas Eve celebrations with us in a show appropriately titled 'Tuna Christmas.'

Thurston Wheelis and Arles Stuvie are back at the microphones at radio station OKKK, ready to dispense all the local and world news:

'In international news today, Christmas violence flares, leaving thousands dead in Mag ... Mada ... Madg ... I can't even pronounce the name of the place. They're foreigners, so never mind.'

There's DiDi Snavely, who manages Didi's Used Weapons Emporium ('If we can't kill it, it's immortal'), and who is running her annual holiday sale - 'Wouldn't you rather shoot somebody, than watch 'em run off with your new toaster oven?' - and has a rather unusual collection of decorations for her shop's Christmas tree.

Elmer Watkins is inviting everyone to the local Klan's annual Christmas party and skeet shoot: 'Our theme this year is The Whitest Christmas Ever.'

As always, Bertha Bumiller is at her wit's end about her children and threatening to 'put on that Andy Williams album' if they don't shape up.

Sullen daughter Charlene and son Stanley, the town delinquent, are both in the town's production of 'A Christmas Carol' ... by 'Charlie Dickens.' Charlene is taken with the director, Joe Bob Lipsey - who is a bit 'odd' - while Stanley is hoping the production will help him finally get off parole, so he can leave town.

All Stanley wants from Santa is 'a bus ticket out of this black hole.'

But the production may not take place at all, if penny-pinching Dixie Dewberry has her way. The theater hasn't paid the electric bill, and she's threatening to pull the plug on the power, so the show can't go on.

Meanwhile, a town phantom is running around vandalizing the decorations of the homes vying for best Christmas displays, such as putting Fruit of the Looms on the figures in the nativity display belonging to Vera Carp, the town snob.

Sweet Aunt Pearl may know more about the phantom than she's saying, but she's busy looking for a weapon to kill the birds in her front yard.

'I haven't had a gun in my house since I accidentally killed my second husband,' she admits.

The Smut Snatchers of the New Order are trying to get 'Silent Night' banned, because they aren't sure people should sing about 'round young virgins.'

And so it goes...

In addition to all the favorite characters from Jaston Williams, Joe Sears and Ed Howard's first play, 'Greater Tuna,' 'Tuna Christmas' adds new characters, such as Lipsey and waitresses Inita Goodwin and Helen Bedd, among others.

All 22 characters are played by two wonderfully talented actors, the Woodland Opera House's Jeff Kean and the Sacramento-based Runaway Stage Company's Bob Baxter. Both are reprising their roles from the Woodland Opera House's 2001 production of 'Greater Tuna.'

With the help of bouffant hair pieces, a variety of colorful costumes - designed by Laurie Everly Klassen - some interesting set pieces that hide half of the body here and there, and an incredible crew, the actors accomplish the transitions from one character to another so smoothly that the audience isn't aware of what certainly must be organized pandemonium backstage.

The entire crew deserves recognition: Chris Medina, Joseph Franklin, Charene Lauritzen, Ryan Mannie, Dana Smuda, Michael Smuda, Curtis Stupp and Chris Taloff.

Dave Hushbeck is the sound designer, a crucial job in this production.

Kean is credited with set design, which the program notes is based on the original show's production design.

It allows for characters to disappear in one door and emerge seconds later out another as a different character, for curtains to hide parts of the body that are moving into place behind a counter, and so forth.

While the play has a semblance of story from beginning to end, it's really more of a collection of vaguely related skits.

So, gather up your funny bone and head to the Woodland Opera house for a good chuckle and a few guffaws, to get you in the proper mood for the coming holiday season.

Tuna Christmas

Those quirky citizens of Tuna, the third smallest town in Texas, are back at the Woodland Opera House to share their Christmas Eve celebrations with you.

Thurston Wheelis and Arles Stuvie are back at the microphones at radio station OKKK ready to dispense all the local and international news (“In international news today, Christmas violence flares, leaving thousands dead in Mag... Mada... Madg... I can't even pronounce the name of the place. ...they’re foreigners, so never mind”)

There’s DiDi Snavely, who runs Didi’s Used Weapons Emporium (“If we can’t kill it, it’s immortal), and who is running her annual holiday sale (“wouldn't you rather shoot somebody than watch'em run off with your new toaster oven?”) has a very unusual collection of decorations for her shop’s Christmas tree.

Elmer Watkins is inviting everyone to the local klan’s annual Christmas party and skeet shoot. “Our theme this year is The Whitest Christmas Ever.”

Bertha Bumiller is once again at her wits end about her children and threatening to “put on that Andy Williams album” if they don’t shape up.

Sullen daughter Charlene and son Stanley, the town delinquent, are both in the town’s production of “A Christmas Carol” (by “Charlie Dickens”). Charlene is taken with the director, Joe Bob Lipsey (who is a bit “odd”), and Stanley is looking to the production to help him finally get off parole so he can leave town. (All he wants from Santa is “a bus ticket out of this black hole.”)

But the production may not take place at all, if penny-pinching Dixie Dewberry has her way. The theater hasn’t paid the electric bill and she’s threatening to pull the plug on the power so that show can’t go on.

In the meantime, there is a town phantom running around destroying the house decorations of the homes vying for best Christmas decorations, such as putting Fruit of the Looms on the figures in the nativity display of Vera Carp, the town snob.

Sweet Aunt Pearl may know more about the Phantom than she’s saying, but she’s busy looking for a weapon to kill the birds in her front yard. (“I haven't had a gun in my house since I accidentally killed my second husband.”)

The Smut Snatchers of the New Order are trying to get “Silent Night” banned because they aren’t sure people should sing about “round young virgins.”

In addition to all the favorite characters from Jaston Williams, Joe Sears and Ed Howard’s first play, “Greater Tuna,” “Tuna Christmas adds new characters, such as Lipsey and the waitresses Inita Goodwin and Helen Bedd, among others.

All twenty-two characters are played by two wonderfully talented actors, the Woodland Opera House’s Jeff Kean and Bob Baxter, from Runaway Stage Company, reprising their roles from the 2001 production of “Greater Tuna.”

With the help of bouffant hair pieces, a variety of colorful costumes (designed by Laurie Everly Klassen), some interesting set pieces which hide half of the body here and there, and an incredible crew (all of whom deserve recognition)–Chris Medina, Joseph Franklin, Charene Lauritzen, Ryan Mannie, Dana Smuda, Michael Smuda, Curtis Stupp and Chris Taloff--the actors accomplish the transition from one character to another so smoothly the audience is not aware of what must certainly be organized pandemonium backstage.

Dave Hushbeck is the sound designer, a job which is crucial in this production.

Jeff Kean is credited with set design, which the program says is based on the original production design. It allows for characters to disappear in one door and emerge seconds later out another as a different character, for curtains to hide parts of the body that are moving into place behind a counter, etc.

While there is a semblance of a story from beginning to end, it is more a collection of kinda sorta related skits.

Gather up your funny bone and head to the Woodland Opera house for a good chuckle and a few guffaws to get you in the proper mood for the coming holiday season.

A Tuna Christmas (Feature article)

Some twenty-five years ago, some friends called me to tell me about a show they had just seen.

“You HAVE to see this show,” they started, giggling instantly at the memory.

They tried to tell me about the show, but each time, broke out into paroxysms of laughter. I still wasn’t sure what the show actually was, but I knew that it was so funny that my friends were rendered all but speechless ... and so I went to see the show.

It played at a little theater in San Francisco and it had the strange title, “Greater Tuna.” And it was, indeed, very funny.

Twenty-five years later, most theatrically aware people have heard about “Greater Tuna.” It has become a little theater phenomenon and, in fact, by 1985, it was the most produced play in the United States, with schools, colleges, community and professional theaters all anxious to add the hit comedy to their repertoire.

In 2001, Jeff Kean, Artistic Director of the Woodland Opera House and Bob Baxter, Producing Director of Runaway Stage Company, brought “Greater Tuna” to Woodland. The show became the most popular and best attended non-musical production the Opera House had done to that time.

Now the two men are returning with “A Tuna Christmas,” the second in the “Tuna” saga, as its holiday offering (there are two more shows, “Red, White and Tuna” and “Tuna Does Vegas”).

“I’m slapping myself in the head constantly, saying ‘what in the world are you doing?’” laughed Kean

“Greater Tuna” came into existence when creators Joe Sears and Jaston Williams were asked to provide entertainment for a friend’s party. Drawing on their mutual histories in little Western towns, they created a skit in which they delivered news reports from a reactionary radio station in a profoundly conservative market. When their little broadcast from station "OKKK" proved enormously popular, they decided to develop it into a play.

A friend, Ed Howard, collaborated on the script, directed the two actors, and drained his savings account for the $10,000 to mount the production which opened in Austin, Texas in the fall of 1981.

The response was immediate and strong: People loved the show, loved it enough to warrant a second run in December. That run extended into February, during which time it was seen by a critic from “Variety,” who raved about the show in the national press. Within a couple of months, “Greater Tuna” was booked for runs in Hartford, Conn., and in New York. Just over a year after it first opened in Austin, “Greater Tuna” was playing off-Broadway, where it ran a year.

Sears and Williams continue to tour the country with productions of one of the four plays and, in fact, the rights to “A Tuna Christmas” only became available in California and Texas a couple of years ago.

“Greater Tuna” is an hilarious comedy about Tuna, Texas' third smallest town, where radio station OKKK is the best place to get the news, the Lion's Club is too liberal, a local pastor wants to pull books such as “Roots” off the library shelf (“because it only tells one side of slavery”), and Patsy Cline never dies.

The eclectic band of over twenty citizens who live in this tiny town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

“What does it say about us that when guys dress up as girls everyone loves it?” asked Kean “A hundred years ago it was funny for men to dress as women, and it’s still funny today” he said, adding, “I am one ugly woman. It’s a good thing I was born a man.”

Though Kean is known locally mostly for his work in set and lighting design, he started life as an actor. (“I started at age 15, as a mugger in a play.”) But he quickly realized that the real fun for him was in working behind the scenes.

“I realized what the life of a professional actor would be and it didn’t appeal to me. I didn’t like that the pinnacle of your career is doing the same role over and over again. Just imagine doing the same role year after year and when show closes you’re back on unemployment again.”

So he got his degree in design and has been much happier since. “You get a lot of variety. Every 4-5 weeks the show changes.”

But every now and then he gets the acting bug.

The 2001 production was not Kean’s first association with “Greater Tuna.” He had directed a production of it when he was in graduate school at the University of North Carolina at Greensborough. He knew what a funny play it was and when he ran into Bob Baxter at an Elly awards presentation in 2001 he had a crazy idea that he could bring the show to Woodland – and play the roles played by Jaston Williams.

Baxter remembers their discussion “He asked if I ever did anything outside my own theater,” he remembers. “I said ‘Of course – what did you have in mind?”

Kean told Baxter about the “Greater Tuna” script and asked if he would consider it. Baxter had never heard of the show, but there was, at the time, a production running at Garbeau’s Dinner Theater, which he went to see. He loved it and could easily see the prospects of the two men working together. He agreed to do the show with Kean.

Bob Baxter is one of the founders of Runaway Stage Company founded twelve years ago by five state workers who did theater at night. Their first production was an original melodrama, produced at the Eagle Theater in Old Sacramento. When the production was a success, the Railroad Museum, which owns the Eagle Theater, invited the group to continue to do the show on an ongoing basis.

“The five of us met at a Lyons Restaurant to think up a name for our company,” Baxter explained. They chose “Runaway Stage Productions” because of the association with the Railroad Museum. Though they have now moved into the 24th Street Theater, they kept the original name because of its brand value.

Baxter has been the Producing Director since the company began, but also acts on a regular basis as well. “I perform quite a bit, when a role comes up that I’m suited for and I can’t find anybody else to do it. I enjoy performing. I’m an equity actor and a Screen Actors Guild actor and have worked professionally over the years, but now it’s about performing for the love of it.”

Getting two very busy men, running theaters more than twenty miles apart, to rehearse a very demanding two-person show was quite a challenge, but they were up to the task. “We both have our own companies to run and trying to find time to work together is interesting,” said Baxter, though he admitted that “If you want to get something done, ask the busiest person.”

It has been seven years since that successful “Greater Tuna” production, but the rights to “Tuna Christmas” have only recently become available in California. Many of the characters from the original show, such as Didi Snavely (who owns the Didi’s Used Weapons Emporium), Vera Carp (acting leader of the Smut-Catchers of the New Order), and the DJs Arles Struvie and Thurston Wheelis reappear in “Tuna Christmas,” though there are some new characters as well.

In the interim there have been some physical changes to the acting duo. Baxter, who played the hefty roles originally created by Jaston Sears has dropped 60-65 pounds. (“I just decided that the feeling of being hungry is not a bad thing. It’s a new philosophy I adopted. My body changed with that and I guess the mental does focus on what the physical needs to do.”)

“He’s lost so much weight that the dynamics have changed and we’ve had to pad his costumes,” said Kean, who noted that the roles call for one character to be thin and the other to be heavy. “We’ve had to change one line of dialog,” he added.

“I have to wear a fat suit for one character now,” says Baxter, adding that “we have fake bosoms that we use for the female characters, but the bosoms are sewn into the costumes.” Both praise the expertise of costumer Laurie Everly-Klaussen for making it all possible.

Kean and Baxter have allotted two weeks just for rehearsing costume changes, which must be done sometimes in as little as 15-20 seconds. There will be two sets of three costume changers, one set for each actor, in addition to other backstage help. “It’s necessary for things to go smoothly,” said Baxter “You have to walk on stage confident what you’re doing as an actor. You throw on a costume, look down and see what character you’re doing and go on side and go out and perform.”

Kean feels that “A TunaChristmas” is a more interesting script than “Greater Tuna.” “There will be those moments when we walk out and look silly, but I think people will come to appreciate the characters more. There’s a bit of pathos in the whole thing. The writers really do love Texas. They’re from Texas and these are their people and they understand them. They’ve known these people and have developed these characters over many years.”

What’s next after “A Tuna Christmas”? Will the Kean-Baxter duo bring us “Red, White and Blue Tuna” next July? Kean is doubtful. “I’m getting a little long in the tooth,” he says.

Damn Yankees

Rodger McDonald has a fiendishly good time in the Woodland Opera House production of 'Damn Yankees.'

McDonald plays Mr. Applegate, otherwise known as the Devil, who manipulates the action in this sparkling musical, directed by Bobby Granger.

Mr. Applegate is called to Earth by long-time Washington Senators fanatic Joe Boyd (Steven Read), who says he'd sell his soul to see his beloved baseball team win the pennant just once. Enter Mr. Applegate - a great entrance, by the way - who promises not only to give the Senators a winning season, but to allow Boyd to be the man who makes it all happen.

Joe suddenly is transformed into youthful heavy-hitter Joe Hardy (Tim Stewart).

McDonald does such a wonderful job in this role that one wants to check under all that hair, to see if maybe he's hiding a couple of little horns. His satanic persona is assisted by Laurie Everly Klassen's black-and-red costume design, and Jeff Kean's delicious lighting effects.

'Damn Yankees' has a number of familiar songs, such as 'Heart' and 'Whatever Lola Wants,' but opens with the misogynistic 'Six Months Out of Every Year.' This song implies that women have no interest in baseball, but simply sit around the kitchen in aprons, complaining, waiting for their husbands to emerge from baseball season and take notice of them again.

I know many women who would take offense at that portrayal.

But remember that this show - with book by George Abbott and Douglass Wallop, and music and lyrics by Richard Adler and Jerry Ross - was written in the 1950s, and so we can take it as a quaint historical perspective.

Read, emerging only recently after a 30-year absence from the stage, gives a credible performance as Joe Boyd. He's a little shaky in his portion of the lovely song, 'Goodbye Old Girl,' but delivers a moving and tender reprise during his reunion with his wife, Meg (Kathi Davi), at the play's conclusion.

Tim Stewart steps out of the shadows to become the transformed Joe Hardy. Stewart is sensational, with a voice that fills the Opera House and an eagerness that makes his Joe a fresh-faced, likable ball player. Yet he's also able to pull off the underlying sadness of the man who lives inside him, who still misses the relationship he had with his 'old girl.'

Laura Lothian is mesmerizing as Lola, whom Applegate calls from Hades to seduce his young protégé, after Joe starts to waver in his commitment to sell his soul for a winning season. The lithe and winsome Lothian looks great in all those slinky outfits, and she manages to be both evil and sympathetic.

Brian McCann, also listed as the show's vocal director, is outstanding as Van Buren, the team manager. Although familiar to Davis Musical Theatre Company patrons, McCann is making his debut appearance at the Woodland Opera House; he's a great addition to the company.

Jori Gonzales also is making her WOH debut as Gloria Thorpe, a sports reporter who suspects there's something not quite right about Joe Hardy, and is determined to uncover the truth about the Senators' newest star player.

Kathi Ichtertz is quite good in the small role of Miss Weston.

Other standouts in this uniformly strong cast include Jessica Larrick as 'Sister' and Kathleen Flint as 'Doris,' two women who go ga-ga over Joe Hardy; and baseball players Erik Catalan (Henry), Tyler Russell Warren (Sohovik), Dan Masden (Smoky), Andrew Leathers (Vernon) and Justin Kelly (Bouley).

Gino Platina's choreography is first-rate. The ball players, in particular, display a range of athletic abilities that draw applause from the audience.

The show is set in several different locations, and the confines of the Opera House stage do not lend themselves to the kind of spectacular effects one usually expects from Kean's set design. The ball park, the locker room and the manager's office are quite good; the Boyds' home and the wall outside the ball park are disappointing, but they still work well.

'Damn Yankees' is an outstanding show, with lots of good, wholesome fun. And the original script has been given some interesting enhancements that bring the story up to date in an entertaining manner.

Tom Sawyer

Few stories could be more perfect for a good, old-fashioned family musical than Mark Twain's 'Tom Sawyer.'

Ken Ludwig thought so, when he conceived the idea and adapted the novel. Don Schlitz thought so, when he wrote the music and lyrics.

And Amy Vyvlecka thought so, when she agreed to direct the show to debut this year's Woodland Opera House Theater for Families season. The energetic production delights on many levels, despite some shortcomings in the Ludwig/Schlitz book.

While all the familiar stories are present - the whitewashed fence, the friendship with Becky Thatcher, the specter of Injun Joe, Huck and Tom attending their own funeral, and so forth - they all feel more like sorta connected vignettes than a single, smoothly flowing storyline.

The music is enjoyable but forgettable.

Although Twain never gives his Tom a specific age, the character is this play is a bit older than one's traditional mental image of the lad; this choice was made by Ludwig and Schlitz, so they could add a budding romantic relationship - and a love song, 'To Hear You Say My Name' - between Tom (Casey Camacho) and Becky Thatcher (Kara Sheldon).

The play's central relationship therefore is between Tom and Becky, rather than Tom and his best friend Huckleberry Finn, which changes the feel of the original story.

All that said, Vyvlecka's production is charming, largely due to a cast of good - and some outstanding - actors.

Asking a 14-year-old to carry a show is a tall order, but Camacho, a Woodland High School ninth-grader, is up to the task. He has it all: He sings and moves well, and has great energy and charisma on stage; you just want to smile while watching him. He bursts onto the stage during the opening number, 'Hey, Tom Sawyer'; with very few exceptions, he's in almost every subsequent scene.

Huck is played by UC Davis student Elio Gutierrez, but the age difference between the two actors isn't apparent. Gutierrez is an equally strong presence: He has his own moment in the sun with 'I Can Read!,' which he sings with the Widow Douglas (Katie Ichtertz), who has taken the homeless boy under her wing and given him a sense of family for the first time.

The song is a genuine highlight, and will leave you thinking of 'The Rain in Spain,' from 'My Fair Lady.'

Nancy Agee is a lovely Aunt Polly, often exasperated with the mischievous Tom but able to show her affection for him in 'Angels Lost.' She sings this duet with Judge Thatcher (Wayne Raymond) after Tom and Becky get lost on a school outing through nearby caves, and are presumed dead.

Alex Stapp is nicely smug as Tom's annoyingly perfect younger half-brother, Sidney. Kirk Parrott is tall and menacing as Injun Joe, while Chris Taloff turns in a good performance as attorney Lanyard Bellamy. Eric Alley is lovable as the perpetually inebriated Muff Potter.

Vyvlecka's simple set design works wonderfully. By flying in a roof, she can indicate a church or a school. When assisted by Jeff Kean's inventive lighting design, she creates a wonderful graveyard whose boundaries extend beyond the edges of the stage. It's one of the most impressive (yet simplest) scenes in the play.

Dim lighting and a suggestion of stalactites hanging from the top of the stage beautifully convey the interior of a cave, without having to go overboard on set pieces.

Vyvlecka and Tyler Warren share credit for choreography; the moves are simple and occasionally repetitious, but they allow untrained dancers to look comfortable and experienced, thereby adding to the energy on stage.

The small, five-piece pit orchestra works well for accompaniment.

'Tom Sawyer' is far from being the newest 'great American musical,' but this Woodland Opera House production is a lot of fun. It's certain to delight young and old alike.

Brigadoon

Bagpiper Elizabeth Shull greeted patrons arriving at the Woodland Opera House, playing “Scotland the Brave,” and setting the stage for the trip back to 18^th century Scotland before anyone even entered the theater.

The Lerner & Loewe classic, “Brigadoon,” directed by Chesley award winner Bob Cooner, opened for a five-week run and, despite a disruptive toddler running back and forth, talking, and crying in the balcony at Sunday's matinee performance, the production was, in most areas, a success.

Brigadoon is the story of two disgruntled Americans lost in the Scottish highlands, who discover a strange village, learn of its miracle and discover the power of love.

Scott Reese (as Tommy Albright) and Michael Lie Murphy (as Jeff Douglas) are a bit stiff on stage, especially early in the show, but Reese has a wonderful voice and does justice to the role of the young man searching for meaning in his life.

Gina Marchitiello, as Fiona MacLaren, however, is absolutely marvelous as the sister of bride-to-be Jean (Laura Franklin), and a woman who is still “waiting for her dearie” and wondering if she will ever find love. Marchitiello has a beautiful, strong voice and brings a yearning wistfulness to her character. She alone is worth the price of admission.

The opening choral number, beautifully sung, was sung mostly in the dark. If this was by design, it was not a good one. Too many of the townsfolk who only have a brief moment for solo lines were unable to be seen at all. One hopes it was a lighting error at this performance.

As Tommy and Jeff try to figure out what sort of town they have stumbled upon, they meet many of the townsfolk, including Meg Brockie (Marcy Goodnow), a lusty, boisterous lass who quickly gloms onto Jeff and drags him off to her shack where, presumably, some hanky panky eventually takes place. Goodnow gives the role all the gusto that it requires and is great fun to watch in action.

Archie Beaton (Mark Fejta) is the town tailor whose son Harry (Justin Kelley) is in love with Jean and angry about her upcoming marriage to Charlie Dalrymple (Tim Dunlap). Kelley is dark and brooding and dances a mean sword dance, along with Kevin Little, Jon Shaffer and Shane Wright.

Dunlap is a likable Charlie, with a good voice and good chemistry with his bride-to-be, Jean. Laura Franklin is a wonderful dancer, and a less wonderful actress, but the role of Jean requires more dancing than acting, so it works well for her. Her wedding ballet was beautiful.

Jeff Nauer is Andrew MacLaren, father of Jean and Fiona who displays a strong voice in the chase scene, where all the men of the town chase after Harry, who has decided to leave Brigadoon, bringing an end to “the miracle.” (Sadly, the role of Angus is not listed in the program and so I don't know who sang that role, but he had a wonderful voice.)

(Traditionally, there is a funeral scene following Harry's death, and I assumed the bagpiper would be joining the group on stage, but the funeral procession was dropped in this production.)

Jim Lane is just wonderful as the wise Mr. Lundie, the man who holds the secret of “the miracle” (and check those genuine muttonchops!)

This is such a good looking production (scenic design by Jeff Kean) and such care is taken with the Scottish accents, and the sword dance that it is appalling that no consideration whatsoever was taken to make the costumes authentic. As a person of Scottish descent, I know that the plaid of a tartan indicates the clan to which a person belongs. To see the three MacLarens, for example, standing side by side, each wearing vastly different tartans was jarring and it was even more jarring during the parade of the clans at the start of Act 2, when there was no cohesiveness whatsoever. There are even mis-matched tartans, one design at the top of a dress, another for the skirt. Laurie Everly Klassen is too good a designer to make such an egregious error.

Music for this production is provided by pianists Sam Schieber and Chris Schlagel, who are so good one does not notice the lack of a full orchestra.

This is a production with some problems, but the good far outweighs the bad and should provide an entertaining couple of hours for anybody who comes to see it. (Please leave your small children at home!)

Imaginary Invalid

Warning: Attending a production at the Woodland Opera House any time between now and February 10 could be hazardous to your health. I’m serious. I will not be responsible for anybody who suffers convulsions of laughter, splitting of sides, or inability to breathe because of laughing.

The Opera House is presenting a madcap production of Moliere’s classic “The Imaginary Invalid,” translated and adapted by James Magruder and directed by Rodger McDonald, who also plays the title role.

The fun starts as the audience enters the opera house, along with costumed actors, who take their places in the box seats, and along side members of the audience and interact with each other and audience members.

A Nurse Maid, Jenn Smuda-Cotter begins the production with a speech comparing “classic” playwrights Wm. Shakespeare and Moliere and then all hell breaks loose with perhaps the most energetic opening you are likely to see on stage.

The members of the cast are anticipating the arrival of Argan, “the imaginary invalid” and the nonsense begins.

There are not enough superlatives to describe the Rodger McDonald’s Argan, the hypochondriac to end all hypochondriac who revels in reciting the ailments of and treatment of his bowels. Moliere takes lowbrow humor and raises it to new heights, and this translation uses just about every euphemism for the act of emptying one’s bowels as one can find. McDonald handles the slapstick humor beautifully and has a catalog of facial expressions that seems endless.

Amy Vyvlecka is Toinette, Argan’s servant, whose caustic relationship with her master is dependent on the chemistry between the two actors, and it’s a chemistry which works well in this instance. Toinette is the person in the house who really runs things, who knows everybody’s secrets, how to keep them and how and when to reveal them. Vyvlecka is delightful to watch, a real pro at work. She is the character that everyone seems to trust, thus she is enlisted to help Angelique (Marissa Gamble), Argan’s eldest daughter in winning Argan’s permission to marry the love of her life, Cleante (Ben Moroski).

Argan has betrothed his daughter to the son of his doctor, Dr. Diafoirus (Phillip Pitman), Thomas Diafoirus (Mark Garbe), a man repulsive to Angelique, but chosen by her father because, as he freely admits, he wants to be sure to always have a doctor in the house. Garbe beautifully handles the role of the bumbling simpleton trying to remember the flowery speeches his father has written for him, but failing miserably, while his personal mannerisms are grossly distasteful to just about everyone.

Gamble is adorable and spends most of the show lip-locked with Moroski. The two perform an impromptu “opera,” when Cleante poses as a music teacher in order to spend time with his love. In the “opera,” they are able to speak their love to each other, hoping Argan will not be aware of what is transpiring. Moroski is also very funny, with the woebegone look of a lovelorn loon, as he sighs for the love of his lady.

Argan’s second wife, Beline, is played by Anne-Marie Trout. The gold-digging Beline has married the miserly Argan to get his money after his death, but flutters about him like a dutiful wife. He calls her “Mommy” and she speaks baby talk to him until her duplicity is revealed. Trout is very funny and plays the exaggerated Beline to perfection.

Franchesca Jimenez as Louise, Argan’s youngest daughter, is cute as a button and has little to do in Act 1, but gets her chance to shine in Act 2, and shine she does as she feigns terror at her father’s anger.

The hilarity and nonsense of Act 1 is dulled a bit in Act 2, where Moliere takes the chance to present his views of the medical profession of the day (perhaps with good reason, since the playwright died shortly after “Imaginary Invalid” opened!). Jeff Nauer gives a solid performance as Argan’s brother, Beralde, but gets the unhappy task of delivering much the “serious” material and doesn’t get a lot of laughs, because there are none to be had.

However the show ends with a zany ceremony, arranged by Beralde and headed by Smuda-Cotter, and all ends happily.

The feel of this production is greatly enhanced by the fabulous costumes of Laurie Everly-Klassen and wigs of Klassen, Chris Medina, Rachel Klassen.

This a sparkling gem, from first to last. As the Nurse Maid states at the outset, Moliere doesn’t get as much attention as Shakespeare. Based on this Woodland Opera House production, it’s hard to understand why.

A Christmas Story

There are certain elements of a show which are sure-fire crowd pleasers: a beloved story, preferably with a holiday theme, and a cast that includes cute kids.

Based on the loud applause, the audience filled with families, and the raves I heard expressed when leaving the Woodland Opera House following its current production of “A Christmas Story,” by Philip Grecian, based on the stories of Jean Shepherd, this show is indeed a real crowd pleaser.

Unfortunately, it’s possible to be a crowd pleaser in spite of problems with the production.

The problems begin at the beginning with the narration of William Powers as the adult Ralph, who is remembering a very special childhood Christmas. Powers had difficulty with his lines throughout the show, often stumbling over them, repeating, them, or seeming to forget them. He improved significantly as the show progressed, but even when he did remember his lines, his delivery seemed stilted.

As the adult Ralph narrates, we follow the young Ralphie Parker (Drew Thomsen), the boy whose one dream for Christmas was an official, Red Ryder, Carbine-action, 200-Shot, Range Model, Air Rifle. Ralphie fantasizes meetings with Red Ryder himself and campaigns to convince his parents to get him the rifle for Christmas, though his mother (Jeannie Pytel) poo-poo’s the idea with every mother’s perennial excuse, “You’ll put your eye out.”

Drew Thomsen certainly looks the part. With his big glasses and innocent expression, you feel the boy’s longing for the perfect Christmas present. Unfortunately much of his dialogue was unintelligible as he tended to rush his lines. I also blame director Bobby Grainger for the failure of what should have been one of the biggest scenes in the play. We have watched Ralphie go through hopes, prayers, and all sorts of tricks to convince his parents that he should be given the wonderful rifle. Yet, when he has given up all hope of receiving it, and then opens the box which contains the rifle he desires so strongly, he is expressionless. There is no surprise, no excitement, no joy, no nothing. One of the biggest anti-climactic moments you’re likely to see on a stage. Having seen what Thomsen can do in his Elly-nominated performance in “Boxcar Children,” I know he is capable of much better.

Most of the rest of the children in the cast are from one family. William Black plays Randy, Ralphie’s little brother who likes to hide under or behind furniture. When his mother dresses him up to go outside, he looks like a character out of South Park.

Emma Black is Schwartz, friend and classmate of Ralphie. Since Schwartz is never out of jacket and cap, it’s not obvious that the actor is actually a girl and she plays a convincing boy.

Sara Black is Esther Jane Alberry, who has a crush on Ralphie. She’s adorable and succeeds in communicating much without saying much.

Jordan Black is the bully Scut Farkas. Her height gives the perfect size differential to make her convincing as a bully, and I always thought the career path she follows (which we learn from the narrator) seems ideally suited to someone who grew up as a bully!

The last two children in the cast are Sam Kyser as Flick, who makes a memorable image getting his tongue stuck to the icy metal pole in the school yard, and Jocylyn Favors as Helen, another classmate.

Mark Fejta is “The Old Man,” Ralphie’s father, and is very funny. He has some nice physical shtik and does it well. Jeannie Pytel plays an typical 50s wife, who lets her husband take the limelight, but who is really the central figure in the family. The parents’ various scenes in Ralphie’s fantasy are particularly good.

Regina Stafford plays Ralphie’s teacher who does a fabulous Margaret Hamilton impression in one scene.

The Act 2 visit to Santa scene may have been one of the best in the show and the setting for it was very imaginative.

Jeff Kean and Doug Keowen have created a fun set with indoor and outdoor scenes ingeniously designed.

I wish that this had been a better production since so many elements were good, but when pulled together just didn’t work as well as it should have, though the improvement in Act 2 gives hope for a better Act 1 in future performances.

The Music Man

I can only assume that someone slipped some adrenalin into the punch backstage during the intermission on opening night of Woodland Opera House’s production of “The Music Man.” The difference between Act 1 and Act 2 was striking.

When we left the theater at the end of the show, we noticed that all of the cast photos were hanging on the board, as usual, but there were no labels identifying who was who. This led me to believe that the problem opening night was that the production, directed by Angela Shellhammer with musical direction by Laura Snell, just wasn’t as ready as everyone hoped it would be.

All the elements for an excellent show are in place. It’s visually stunning, with one glaring exception. The choreography by Shellhammer and Eva Sarry is creative and technically well executed. The performers all have impressive credentials and some were excellent on opening night, but not all. There is a nice pit band, though someone in the horn section needed to brush up a bit on “the think system” before the next performance.

Everyone was working very hard, but there was just a terrible lack of energy in Act 1. Oh they worked their little tails off, but “Music Man,” Meredith Wilson’s paean to small town America, circa 1912, is a snappy show with a lot of sizzle and Act 1 had neither snap nor sizzle.

Rodger McDonald makes a great Harold Hill, the swindler who makes his living selling non-existent boys’ bands. He has a strong voice and wonderful chemistry with Gina Marchitiello as Marian Paroo, the town librarian. Unfortunately McDonald had an inordinate number of dropped lines and bungled lyrics. He covered nicely, but the fluffs were noticeable.

Marchitiello has a lovely voice and was spot-on throughout. Her Marian strikes just the right balance between indignant, suspicious librarian and the woman whose heart softens as she gets to know Harold.

Her mother, Mrs. Paroo, was played by Nancy Agee, who created a likeable character who is pushing her daughter into a relationship with the stranger in town.

Jeff Nauer was outstanding as Marcellus Washburn, Harold’s old accomplice, now living a “straight” life with a sweet girlfriend (Jessica Larrick as Ethel Toffelmier). His “Shipoopi” at the start of Act 2 set the stage for the energized act to follow.

Particularly endearing was Samuel Stapp as the shy, lisping Winthrop, whose life is turned around by Harold and the anticipation of the boys’ band.

Abby Miles was cute as Amarylis, who is sweet on Winthrop, but who teases him anyway. Her duet with Marian was charming.

Casey Camacho played the town “bad” kid, Tommy Djilas and did a wonderful job, as did Kendra Evans as Zanetta Shinn, his girlfriend and the mayor’s oldest girl.

Mayor and Mrs. Shinn need to be larger than life. The mayor is a pompous blowhard with the eloquence of George W.Bush and his wife Eulalie Mackecknie Shinn should take center stage whenever she appears. Unfortunately, whether due to actor decisions or stage directions Stephen Kauffman and Nancy Streeter did not fill the bill. Kauffman’s halting, befuddled delivery actually managed to kill each laugh twice. A line like “I don’t think I could be clearer if I was a buttonhook in the wellwater” usually gets laughs, but when you stop after “buttonhook,” there is no laugh. Nor is there a laugh after you add “in the wellwater.” It just doesn’t work, but most of the mayor’s lines were delivered in that manner.

Streeter gave a fine performance, but it didn’t do credit to Eulalie. For example, when all the women are arguing about who is going to tell Harold a bit of gossip, Eulalia should roar “I’ll tell!” not interrupt in normal tone of voice. Eulalie knows she’s a figurehead and she needs to act like one.

The barbershop quartet of Harry Baertschi, Kent Borrowdale, Wayne Raymond and Jim Newlove improved as the show progressed.

The costumes for the show were outstanding, as one has come to expect from costumer, Laurie Everly-Klassen. So it seemed very strange that anvil salesman Charlie Cowell (Andrew Hyun) was put in a skin-head wig which flapped about on his neck, fooled no one and was only a distraction.

Past experience with Woodland Opera House has led me to believe that this show really just needed a couple of more rehearsals. It’s hard to do a bad “Music Man” and this is basically a very good show. As it settles into the run, I’m sure the wrinkles will get ironed out (and the skin head wig glued down more securely).