Singin' in the Rain

 

With no theatrical productions at all in 2020, it appears that Woodland Opera House actors spent the pandemic year studying and improving their dancing.  The dancing and choreography (by Darryl Strohl-DeHerrera) for their production of “Singing in the Rain,” directed by Rodger McDonald, which opened on Friday, were the highlights of the show.

While the Woodland Opera House is back to 100% capacity, currently the Yolo County Health Department requires face coverings for all of patrons regardless of vaccination status. And for an added layer of protection, Opera House staff will take the temperature of all theatre attendees upon their entry. Masks and hand sanitizer are available to anyone in attendance at each theatre event.  The actors on stage also wear clear plastic masks, which don’t hamper their speaking or singing but do cut down on the romantic scenes (hugging instead of kissing!)

This is a lovely production, with no real “set” per se, but beautiful projections in the background. Written originally as a film, not a stage show, “Singin’ in the Rain” is the stage version of the 1952 movie by Comden and Green, with Gene Kelly, Donald O’Connor and Debbie Reynolds.

It is the story of the end of silent movies and the start of the talkies. After the success of “The Jazz Singer,” the money-hungry head of the studio, R.F. Simpson (Rodger McDonald), decides that his next silent movie, “The Dueling Cavalier,” should be converted into a musical talkie, titled “The Dancing Cavalier,” a vehicle for his two biggest names, Don Lockwood and Lina Lamont, the “Brangelina” of their day.

Erik Catalan is a solid Lockwood with many musical numbers, the best of which is the title song, in which he sings while “rain” falls all across the stage, filling the stage with puddles, but not getting any clothes wet. It’s a great effect by Mike Cartwright,.

Patricia Glass is perfect as Lina, the obnoxious star with a voice like fingernails on a blackboard. She’s the perfect silent film star–can’t sing, can’t dance, act. She is convinced that there is a romance between her and Lockwood, who, in reality, can’t stand her.  Charlotte French is very funny as the vocal coach trying to teach her how to speak correctly (“I can’t stand him!”).

In this show, Lina has her own solo, “What’s Wrong with Me,” which is not in the film.  Glass does a great job of singing it badly!

The very polished Kirsten Myers is Kathy Selden, the actress wannabe whom Lockwood convinces to become Lina’s voice when it is apparent that there is no way Lina is going to make it in talkies. Her trio with Don and Cosmo, “Good Morning” is great fun.

Lockwood’s old vaudeville partner and perfect fall guy, Cosmo Brown is wonderfully played by Eddie Voyce, whose “Make ’Em Laugh” is one of the most fun numbers of the night. It’s a complex piece that he performs well.

There is good support from the rest of the cast, like Gil Sebastian as Roscoe Dexter, the director of Don and Lina’s films, Katherine Fio as Lina’s friend Zelda, and Barbara Goodman as gossip columnist Dora Bailey.

The action is not always as crisp as it might be, but still such a fun evening, and a great way to bring live performances back to the theater.

Of Mice and Men

 

Stop what you’re doing right now. Immediately go the phone and call the Woodland Opera House to get tickets for director Gil Sebastian’s production of John Steinbeck’s classic “Of Mice and Men.” It will be the best gift you give yourself this month — or perhaps this year.

Steinbeck’s Pulitzer-Prize-winning novella was first published in 1937 and was also presented on stage that year, a movie following in 1939. Over the many productions of this story, there have been many actors playing the roles of George and Lennie, two migrant field workers in California during the Depression, and many of them have been as good as John Ewing (George) and Jason Hammond (Lennie), but I suspect none have been better.

Ewing and Hammond have nailed the roles, Ewing the quick-witted man who has been Lennie’s guardian and protector for most of their lives. Though Lennie frustrates him, it is their mutual dream of having their own place where they can “live off the fat of the land” that keeps them both going.
Hammond’s program bio says he has wanted to play this role since he was in the eighth grade — and it’s easy to see why. He completely embodies the character. Lennie is a large, powerful man with the mind of a child. He loves soft things but has no concept of his strength. He lives for George’s story about their future life, which he asks him to repeat throughout the play, especially the part about tending to rabbits.

Hammond’s scene in the second act, where he knows he has “done something bad” is heartbreaking.
Ewing and Hammond are surrounded by an equally strong cast. Paul Fearn plays Candy, an aging ranch hand who has lost one hand in an accident and knows that his time on the ranch is limited. He begs George to let him be a part of the house dream.

Chad Fisk is Slim, the mule skinner, who seems the only good member of the crew. He and George become friends.

Curley (Patrick Jordan) is the boss’s son, a man with a quick temper who is fiercely jealous of anyone who looks at his bride (Jadi Galloway), identified only as “Curley’s wife.” Galloway’s character is already bored at the ranch and just wants someone to talk to, though she gives a seductive eye to everyone. Steinbeck considered her “not a person, she’s a symbol. She has no function, except to be a foil — and a danger to Lennie.”

David Guria, Jr. has the small role of Crooks (named for the crook in his back), who must live in his own small house because he is not able to live with the white ranch hands. Guria’s Crooks is bitter and cynical, but realistic, yet is fond of Lennie.

Others in the cast are Steve Mackay as The Boss, Scott Reese as Carlson (who kills Candy’s dog because he is old and stinky), and John Haine as Whit.

It is a shame that musicals get large audiences while excellent plays like this one don’t. “Of Mice and Men” is definitely an outstanding production and should be seen by anyone who appreciates good theater.

Sister Act

“Sister Act,” the new show at the Woodland Opera House, directed by Jason Hammond, is an absolute delight from start to finish.

Based on the 1992 Whoopi Goldberg movie, the stage show adds music by Alan Menken with lyrics by Glenn Slater. The musical turns the story-with-music movie into a musical-with-story stage show. I missed some of the story of the nuns venturing out of the convent and into the community, but the musical numbers are so much fun, it makes up for it.

Woodland has amazing talent in the cast. Deborah Hammond is Deloris Van Cartier, a lounge singer under the thumb of her gangster boyfriend Curtis (David Ewey), who witnesses a murder he commits. Fearing her life is in danger, Deloris reports to police officer “Sweaty” Eddie (Erik Catalan), who remembers Deloris from high school and hides her in a local convent under the name Sister Mary Clarence.

Hammond is magnificent with a strong voice, captivating personality and quick comedic timing. Each of the 10 numbers in which she is featured is wonderful. Over the course of the two-hour show, she goes through a transformative process that makes her reevaluate her priorities.

The role of Mother Superior has been expanded from the movie version, and how lucky we are for that. Lenore Sebastian is vocally every bit Hammond’s equal. Mother Superior is frustrated with having to hide a woman of whom she does not approve, who is such a disruption to her quiet convent. Her anguished “I Haven’t Got a Prayer,” trying to ask God for guidance, was a standout.

To give her something to do, Mother Superior puts Sister Mary Clarence in the tone-deaf choir, a group so discordant it has driven parishioners away. With the addition of a real musician, the choir shapes up quickly and becomes so popular the church is filled again, though Mother Superior is shocked by the modern twist to some of the beloved hymns.

But Monsignor O’Hara (David Cross) is pleased with the popularity of the choir, which has removed the danger of having to close the church for lack of congregation.

Sister Mary Patrick had a somewhat larger role in the movie, but Judith Boreham still brings her personality out beautifully, and Jadi Galloway, as the postulant Sister Mary Robert, is shy and retiring, but when she comes out of her shell, she displays a wonderful, rich voice. Her “The Life I Never Led” was quite poignant.

Catalan also has a powerful voice and his Act 2 costume gets the biggest laugh of the night (kudos to Denise Miles and Kathy Dixon).

Gangsters Joey (Spencer Alexander), Pablo (Miles Meckling) and TJ (Michael Davis Smith) get laughs in “Lady in the Long Black Dress,” as they describe how their manly charms will affect the nuns and help them find Deloris.

With Deloris safe, the show ends gloriously, with the nuns in Vegas-worthy habits, receiving a well-deserved tumultuous standing ovation

Stepping Out

 

The Woodland Opera House, which now has its own dance program, has shown off its dancing skills in several recent shows and now it has decided to feature them.

“Stepping Out,” by Richard Harris, takes place in a church basement, with a group of women and one man learning how to tapdance. The class has been invited to take part in a big charity show and they must learn a choreographed routine or be made a laughing stock.

Sadly, it was very difficult to hear most of the dialogue. I thought it might be that I was sitting in the back row (though that should not have been a problem), but when I checked with friends sitting in row five, they said the same thing and overheard people at intermission talking about the show being unintelligible: “I had an acute feeling of being cheated when it seemed as if half the audience could hear and respond to the dialogue, while the rest of us had no idea what was so funny. Such a loss.”
However, intelligible or not, this is a fun play and the finale is well worth it.

Harris was encouraged to write “Stepping Out” after his wife returned from a dance class and pitched the idea as a possible play.

He went to his local village hall and saw a bunch of misfits attempting to make sense of a tap class — and “Stepping Out” was born. The play was a hit in London and a musical version, based on the play, was made in 1991, starring Liza Minnelli and Shelley Winters. The Woodland production is not the musical.

Director Bob Cooner has chosen a wonderful assortment of types for his cast, and they are a perfect look for the group of “misfits” Harris was attempting to describe.

Instructor Mavis (played by Jenny Plasse), a down-on-her-luck former professional dancer, has her hands full managing the range of personalities and skill levels of her motley crew while at the same time dealing with her gruff, outspoken accompanist Mrs. Fraser (played by Nancy Agee). Mavis is doing her best to remain upbeat despite the lifestyle change and unexpected shock news.

The dancers reveal their strengths and insecurities as they step out of their comfort zones to make meaningful connections with each other, but we don’t really learn a lot about any of the characters, just the briefest bits of information that make one long to know more about their backstory.

Andy (Analise Langford-Clark), for example, insists on a long-sleeved leotard and always clutches something to her body when not dancing. We never hear definite evidence of an abusive husband, but it seems clear that she is hiding bruises.

It would be nice to know more about the quiet nurse Lynne (Nicolina Akraboff) who says she comes to class because it’s the only thing she does for herself. She obviously cares a lot about her job, since the death of one of her patients is so upsetting for her.

Also having difficulty with grief is Geoffrey (Darryl Strohl-DeHerrera), the only man in the group, who is trying to deal with his wife’s death and is uncomfortably embarrassed at the thought of appearing in public.

Charlotte French is Dorothy, the most awkward and uncoordinated of the group (other than Geoffrey) but desperately trying to learn the steps. It’s a great role for French, who is actually quite a good dancer (you have to be a fine dancer to make your dancing look so bad). In the role of the older woman in the group, she is very funny.

Deborah Hammond is a joy to watch as Rose, very positive and full of fun, and Ania Mieszkowska is Maxine, whose size is never an excuse to give less than her best and who can dance as well as the rest of them.

As the play begins, it is Sylvia (Emily Delk) who is the most proficient. She stands model-thin and tall and knows all the steps the others are struggling with. She chews gum constantly and puts chewed gum everywhere.

This is a huge deal for Vera (Patricia Glass), a neatnik who is forever picking up the gum and also cleaning the bathroom during tap drills. Vera, who may match Sylvia in talent, has the most amazing costumes (credit to costumer Denise Miles!).

By the end, of course, the group have all learned how to tap dance and perform two outstanding numbers, which makes this show, whether you can understand what is being said throughout or not, definitely spec-tap-ular.

Newsies

 

There is something exciting happening to local community theater. It seems that the line between “community theater” and “professional theater” is much thinner these days than it has been.

First, there was the spectacular “Mamma Mia” at Davis Musical Theater Company and now we have “Newsies” at the Woodland Opera House. Community theaters may not have the budget for flashy sets and costumes, but when it comes to direction, musical direction, choreography and acting, what our community theaters offer is on a real par with the big boys.

“Newsies,” directed by Crissi Cairns, with musical direction by Jia-Min Rosendale, vocal direction by James Glica-Hernandez and choreography by Jacob Gutierrez Montoya is the Disneyfied version of the true story of the 1899 newsboy strike in New York, and shows how the passion of one person can make a difference in the world.

At the turn of the 20th century, some 10,000 boys sold newspapers on the streets of New York, many of them orphaned and homeless. The boys paid to get the newspapers, and if they did not sell, the publishers would not buy them back.

During the Spanish-American war, when the desire for news was high, the publishers raised the price charged to the boys from 50 cents per hundred to 60 cents per hundred. But at the end of the war, when the interest dropped, publishers Pulitzer and Hearst did not reduce the price the boys paid, even though other publishers did. The boys demanded a return to the price that their peers at other papers were paying.

Under the leadership of a 15-year-old boy named Kid Blink, the “newsies” organized, held massive outdoor meetings and after two weeks, the publishers and the newsies compromised — they would keep the higher price, but would buy back any unsold papers. The stand-off was considered a major step in the child-labor movement.

It is often difficult to fill male roles in community theater, but the 35 member cast is definitely male-heavy and those men are incredibly talented. Each of their five high-energy dances was a show stopper and the audience is treated to everything from tap to acrobatics.

The character of Kid Blink is now named Jack Kelly (Casey Camacho). He’s also an older teen now, so a love interest can be written into the story.

It’s a physically exhausting role, which the talented singer and dancer takes in stride. Kelly struggles with the rights of his fellow newsies and the possible repercussions by the newspaper magnates. He wants to have enough money to move to Santa Fe and is tempted by bribes to give up the fight for fairness.

As Joseph Pulitzer, Rodger McDonald is wonderful as the cold, heartless publisher who cares only about money and has no empathy for the kids.

Jack’s best friend is Crutchie (Collin Robinson-Burmester), the disabled newsie with a positive attitude who becomes the heart of the show. (Collin’s brother Bailey appears as one of the newsies and his father, Stephen, making his theatrical debut, has two smaller roles). He becomes perfect victim for the goons of the publishers trying to squelch the boys.

Making her opera house debut is Grace Leekley as Katherine Plumber, an inexperienced reporter who becomes interested in the David vs. Goliath struggle of the newsies and manages to give them the publicity they need to make their voices heard. She has a lovely soprano voice and has a great solo in “Watch What Happens,” and a beautiful duet (“Something to Believe in”) with Jack. This is Leekley’s first musical in six years and one hopes her success in this role will encourage her to step back on stage regularly again.

Elio Gutierrez is Davey and DJ Michel is his younger brother Les. They are new to the newspaper delivery business and are amazed to learn that many of their colleagues have no mothers or fathers. Crutchie is amazed to learn that Davey and Les go home to a mother who is a “good cook.”

“Newsies” focuses on the atrocities of child labor and poverty, but also shows the power of those who stand together for what is right. The Woodland Opera House production is outstanding.

42nd Street

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

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

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

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

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

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

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

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

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

Nothing like a little pressure!

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

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

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

Hairspray`

Do you have fake-news fatigue? Are you tired of tweets? Are you throwing things at TV talking heads? I have the perfect solution for you.

Get on over to Woodland and see the fabulous, high-spirited production of “Hairspray,” directed by Angela Baltezore. There is not a weak spot in this show, there are incredibly good actors, and in the end you’ll want to raise your hands in the air, with the cast, in the manner of last-act finale. You’ll go home humming “You can’t top the beat.”

“Hairspray” is the story of Tracy Turnblad, a zaftig teenager who is a fan of the 1960s American Bandstand-type show, “The Corny Collins Show.” She auditions for a spot on the show, wins and becomes an overnight celebrity — to the consternation of the show’s producer, who is also an avid stage mother pushing her daughter to eventual stardom.

Can Tracy, who has a wonderful heart, stay the course and succeed in integrating the all-white show so her friends from the African-American community can dance with her?

The success of this show depends in large measure on Tracy and her mother, Edna. Carlie Robinson is making her Opera House debut as Tracy. She has an infectious smile that brightens the room and her ebullience makes her impossible to ignore. It’s a perfect casting. She is militantly cheerful, even when things are at their most bleak.

When the John Waters non-musical stage play opened on Broadway in 1988, it starred drag queen Divine in the gender-bending role of Edna, Tracy’s mother. When Mark O’Donnell, Thomas Meehan and Marc Shaiman turned it into a musical (which won eight Tony Awards), Harvey Fierstein took on the role of Edna, (one of the Tonys). When a movie of the musical was made in 2007, John Travolta played Edna, but his performance was always “John Travolta-plays-Edna” and he never really believably became the character.

The same cannot be said for Jason Hammond who is outstanding as the mother who has not left her home in years because she’s ashamed of her weight. She makes her living by doing laundry for others. She loves and is protective of her daughter and her relationship with husband Wilbur (Bob Cooner) is beautiful to see. Their duet, “You’re Timeless to Me” was such a hit that they did an encore.

Tracy’s best friend Penny is played by the talented Katie Halls, who, though she is a second banana to Tracy, makes the most of her scenes, particularly those with “Seaweed” (Michael-David Smith), the “Negro” who becomes her dancing partner and love interest. Both Halls and Smith give powerful performances.

Deborah Hammond (Jason’s real-life wife) is Motormouth Maybelle, the owner of a downtown record shop and the host of “Negro Day” (once a month) on “The Corny Collins Show.” Hammond has a set of pipes that will tear the roof off of the Opera House and her “I Know Where I’ve Been” brought cheers from the audience.

Patricia Glass is Velma, the villainess of the piece. She is mother to Amber (McKinley Carlisle) and determined to keep her daughter in the spotlight, but she sees Tracy as a threat. Often her songs, sung with sneered lips, are reminiscent of some of the Disney villainesses, like Cruella de Vil, and she succeeds at being detestable.

Amber is a spoiled brat who thinks the sun rises and sets on her and can’t stand Tracy stealing not only her thunder, but also her boyfriend Link (Ryan Everitt), the hunk with a heart who realizes that there are things more important than being the star of a music show.

Choreography by Staci Arriaga is wonderful and executed flawlessly by the 29-person cast. More than one person in the audience got up to dance with the cast during the finale.

Set design by Craig and Joey Vincent works beautifully and the TV set for the final scene is perfect.

Denise Miles has created some beautiful costumes, particularly those for Edna.

I promise that as you leave the theater there will only be happy thoughts in your head and you will turn to each other, as my husband did to me, with only one word to describe it all: “Wow!”

Midsummer Night's Dream

Rodger McDonald, the man who excels at everything, proves the point by directing the Woodland Opera House’s visually stunning production of Shakespeare’s “A Midsummer Night’s Dream.” He also gives a commanding performance as Oberon, king of the fairies.

McDonald has previously directed 11 main stage shows, and appeared in 19.

The play tells several stories, each of which occurs during a single summer night in a magical forest outside Athens, in which fairies play pranks on lovesick mortals, earnest youths endure comical romantic confusion, and a group of mechanics attempts to rehearse a play in secret.

Jordan Hayakawa is the mischievously irresistible Puck (with the wonderful Spock ears), who delights in playing pranks on mortals. Hayakawa is lithe and elfin and seems to be everywhere at once. She is a pleasure to watch from before the show begins while she and other fairies hide in and around the audience, playfully impish.

Theseus (Matt Franck), Duke of Athens, is about to be married to Hippolita, former queen of the Amazons, portrayed by Jessica Hanselman Grey, a steady, loving companion.

Then there are the lovers. Hermia (Rachel Foster) is in love with Lysander (Thomas Dean) but her father Egeus (Robert Payawal) wants her to marry Demetrius (Brent Randolph), who loves Hermia, but her friend Helena (Analise Langford-Clark) is in love with Demetrius. It’s enough to make your head spin, though the actors keep it all straight and give good performances.

Payawal may be the only one with problems. He speaks too fast and too low to be understood some of the time, and he seems to be reciting lines rather than embodying the role of a father trying get his daughter married off to a desirable suitor, particularly in Act 2.

Egeus asks for the help of Theseus to force his daughter to marry. Theseus gives the young girl the choice of marrying Demetrius, or entering a convent.

Hermia and Lysander decide to elope, but on the way, they stop to rest in a forest populated by fairies, led by Titania in a wonderful portrayal by Patricia Glass (her costume is also great).
The forest is absolutely beautiful and high marks go to scenic designers Joey and Craig Vincent, especially for the way those green trees and that beautiful blossom-bearing tree can be moved around to create different looks.

Erin Bruni gets recognition as the fairy Mustardseed, who sings a lovely, lyrical a cappella song.
We meet the”mechanics,” five workmen who are rehearsing a play and hope to present it at the wedding of Theseus and Hippolita. The group is led by Quince (Steve Mackay, in another strong performance) trying to rein in Bottom (Phil Stommel), a ham who thinks he’s the greatest actor of all time.

Stommel, in his first performance at the Opera House, is wonderful in the role, but when his head is turned into that of a donkey by Puck, the costume is absolutely marvelous looking but it muffles Stommel’s words so that it is difficult to decipher what he is saying, which is really a shame because it’s such a great look!

Puck also casts a spell on Hermia and Demetrius, which, of course, does not go as planned, but teaches Helena that you should be careful what you wish for.

In the end, as it must in a comedy, everything gets straightened out, the right couples join together and all prepare for the big wedding, where Bottom gets to prove what a truly awful actor he is.

Puck has the final words, apologizing to all for the tricks she has played throughout the evening. (“If these shadows have offended…”)

This is a fun production, worth seeing for the acting and for the set, both of which are outstanding.

It's a Wonderful Life

“It’s a Wonderful Life” has been a beloved Christmas classic since the James Stewart-Donna Reed movie appeared on the screen in 1946.  During the holiday season it’s a good bet that you can find the movie on some cable network nearly every day.  In all honesty, it was never one of my favorites, and I’m not sure that the addition of music improves it, but “It’s a Wonderful Life, the Musical” on the Woodland Opera House stage is charming.

The music by Bruce Greer is engaging, but not memorable.  The book and lyrics are sometimes confusing, as they condense familiar episodes from the movie.

But all that aside, to concentrate strictly on the production directed by Dean Shellenberger, it’s a winner.

Is there anything Erik Catalan can’t do?  He seems to get better and better with each production I see him in, and as George Bailey, the man who was going to do great things in the world but was forced to stay home in little Bedford Falls and keep his father’s savings and loan from collapse following the father’s death, he is in top form.

Jori Gonzales as Mary Bailey, George’s wife and biggest supporter, is excellent.  She has all the innocence of a young girl with a big crush evolving into a love for the man she plans to marry, and displays a big heart in her support of him in whatever he needs.

The villain of the piece, Mr. Potter, hated George’s father, hates George and wants only to get control of the savings and loan.  The always affable James Glica-Hernandez (credited with music direction) would seem an odd choice to play this curmudgeon, but he was often downright scary in his meanness, glowering convincingly.  It also helps that he has a strong singing voice when doing solos like “Go Ahead and Run.”

When George reaches the breaking point and is about to take his own life, realizing that he is “worth more dead than alive” and that his death would solve his family’s financial problems, God intervenes and sends Clarence a second-class angel trying to earn his wings, to help George through the crisis.

Sadly God gets no program credit so I don’t know who did the voice over, which may be a good thing since the opera house sound system was so muddled it was often difficult to hear what he said.  But the graphic above the stage was great.

However, Richard Lui, as Clarence is an endearing, if inept angel who finally hits upon a way to let George know that his life has not been for naught.  His “Second Class Angel” is a comic number that is almost out of place among the other numbers in this show, but fun.

Along the way there are a host of minor characters, each of whom is excellent.  Nancy Agee, for example, is Mother Bailey, the steadying influence in the family, whose beautiful voice just aids to her performance.

Steve Mackay is the lovable but bumbling Uncle Billy, who unknowingly threatens the very existence of the savings and loan.

Kyle Hadley is an over the top Sam Wainwright, life-long friend of George, big and blustery and well-meaning, if often annoying as he booms out his "hee-haw" greeting.

In the small roles of Mr. And Mrs. Martini, Josh Wheeler and Melissa Balkie-Rick are very funny doing “Bless You, George Bailey,” based on “O Solo Mio.” Balkie-Rick has a set of pipes  that will impress any theater-goer.  (Wheeler also has the small role of George's brother, Harry)

The Bailey children – Jack Collins, Kate Loscuoff, Lilac Beckser and Kaori Catalan (pleased to be on stage with her real father as George) are real pros.

An unsung (and uncredited) actor is Jon Dahlberg, who pushes Mr. Potter’s wheelchair around the stage.  Dahlberg is the epitome of stoicism.  His facial expression is frozen in the visage of the obedient servant.

Another person who should be mentioned is young Logan Balkie-Rick who has no real role in the show, but takes the first (solo) bow...and who is just too cute not to be mentioned.

Staci Arriaga has done some lovely choreography, especially for numbers like “Would You Like to Dance With Me?”

The simple set design by Don Zastoupil is pleasant, but most notable is the falling snow.  Real-looking snow falling onto the stage and then dissolving.  It is impressive.

Blithe Spirit

Anyone who has enjoyed the many performances of Lenore Sebastian over the years will want to be sure to get tickets to see her as Madame Arcati in the Woodland Opera House production of Noel Coward’s ghostly comedy, “Blithe Spirit.” It may be one of her best performances.

Thanks to direction by Robert Cooner, costuming by Denise Miles and Sebastian’s magnificent inhabiting of the character, she has brought the eccentric medium to life delightfully.

Madame Arcati is brought to the home of Charles (Matthew Abergel) and Ruth (Patricia Glass) Condomine, to perform a seance for them and their guests Dr. and Mrs. Bradman (Steve Mackay and Christine Deamer). Charles, a writer, needs material for a book he is writing about professional charlatans. All four think the seance will be great fun and laugh at the antics and gestures of Arcati.
All is great fun until Arcati somehow conjures up the spirit of Charles’ first wife, Elvira (Analise Langford-Clark), visible only to Charles.

Charles has a difficult time convincing his current wife, who thinks he just had too much to drink, until he finds a way to prove to her that Elvira is really there — he convinces her to move a few objects.

Arcati has to admit she doesn’t know how to send Elvira back to the other side, and Elvira is having a lovely time back in her old house, taunting Ruth, who can’t see her but realizes that she really is there.

What to do with two women you love, but who hate each other, both inhabiting the same house, only one of whom is actually living?

Abergel makes Charles a not-so-lovable egotistical novelist who is rather enjoying having both of his wives around. As the play continues, he becomes irritated with them both, but you can see he is enjoying the game.

Glass, as Ruth, while obviously in love with her husband, also has hen-pecked him. She is more interested in appearances and showing off her perfect home (great design by Don Zastoupil), serving the perfect martini and making fun of Madame Arcati.

A victim of Ruth’s need for perfection is the maid Edith (Rachel Tauner, last seen as Anne Frank in last year’s “Diary of Anne Frank.”), who is overwhelmed by her boss’ demands but can’t run to keep up because that bothers Ruth, too.

Deamer is what everyone might think of as an uppercrust British “dame,” (that’s a as in “ahh” not “ay”) but sadly, much of her dialog is lost in the very, very British accent. A little less accent would be oh-so-much better. One misses her half of some very witty conversation with Ruth.

Mackay has no such accent problem and is the solid doctor who takes charge when Arcati collapses during the seance.

There is a lot of humor in this classic play, but it also has a sting to it, as it examines the difficulties within a marriage and what causes the disintegration of both of Charles’ marriages.

All in all, this is an excellent play by the Woodland Opera House, which is worth seeing on its own — but especially to watch Sebastian’s performance.

Anne of Green Gables

I have a confession to make. I did something on Friday that I have never done before.

My plan had been to review the Woodland Opera House production of Noel Coward’s “Blythe Spirit” and I did indeed go to the Opera House, only to be very surprised when I sat in my seat, looked at my program and realized that I was about to see “Anne of Green Gables, The Musical,” one of the Opera House’s family series. No wonder the Opera House was so full!

Confused, I looked through the program and discovered that I was a month too early for “Blythe Spirit.”

But my error was fortuitous because while I rarely review one of the family series shows, this one was delightful.

This musical tells the story of Anne Shirley, the heroine of the Lucy Maud Montgomery books and her impact on her adopted family and the town in which she lives.

Gretchen Cryer has written the book and lyrics with music by Nancy Ford. The production is directed by Eva Sarry, with musical direction by Lori Jarvey.

Katie Halls has a monumental task carrying the show as the spunky Anne, as she is in just about every scene, as well as 12 of the 15 musical numbers. She is at her best as the young orphan longing for a permanent home after several unsuccessful placements. She is upbeat and loves everything about the countryside, her new home and the prospect of having people to love her.

This poses a problem for Matthew Cuthbert (Steve Cairns) and his sister Marilla (Nancy Agee), who had asked the orphanage for a boy to help with farm chores. But Matthew is taken by Anne’s enthusiastic and endearing attitude and really hopes to convince Marilla to keep the girl.

Agee is great as the reticent Marilla, a woman who has had her share of hurts throughout her life and does not want to give her heart to anyone, especially not a young girl. Though she finally relents and allows Anne to stay, she keeps the girl at emotional arms length while slowly growing to care for her.

Emily Jo Seminoff is Diana, who becomes Anne’s BFF. Watching Seminoff grow as an actress over the years has been part of the fun of being a critic. Her range of performances from Peter Pan to Helen Keller have all been top-notch and her Diana is no exception. Watching the two girls together is such fun, especially when they accidentally get into the wrong berry cordial and end up drunk.

Barrett Shepherd is Gilbert Blythe, the young man whose ill-advised comment on Anne’s appearance causes a rift between the two which lasts for years.

Mimi Walker is Rachel Lynde, the stereotypical town busybody, suspicious of everyone and determined to think the worst of orphans and especially girl orphans.

Maris Samsel plays several roles — everything from a school girl to Diana’s mother, all with the assistance of different wigs or hats, while Spencer Alexander — who recently won a best-actor award for his Seymour Krelborn in “Little Shop of Horrors” — is Mr. Phillips, the town teacher, who firmly believes in the adage “spare the rod and spoil the child.”

“Anne of Green Gables” is no Noel Coward, but it is a fun family show.

Guys and Dolls

 Eimi Taoramina as Adelaide, Travis Nagler as Nathan,
Daniel Silva as Sky and Kirsten Myers as Sarah

 This is a frustrating time to be a critic. Some folks think that “critics” are supposed to find things to “criticize,” but lately the local shows have been so good I have nothing whatever to grumble at.
Another excellent opening this week is the Woodland Opera House production of “Guys and Dolls,” that delightful 1950s Frank Loesser musical, based on the 1920s and ’30s short stories of Damon Runyon. This production is directed by Jason Hammond and choreographed by Staci Arriaga, with musical direction by Jia-Min Rosendale and vocal direction by James Glica-Hernandez.

Set design by Don Zastoupil is minimal and based on a cartoon theme, which works surprisingly well.

It’s a dream cast. While everyone is outstanding, the real stand-out is Eimi Taormina, as Miss Adelaide, the nightclub performer who has been engaged to small-time gambler Nathan Detroit (Travis Nagler) for 14 years and is hoping to finally get him to the altar.

Taormina always has had a sparkle that makes her impossible to ignore when she is on stage. It has been very special watching her progress from “ensemble” to leading roles. This may have been one of her best. She recently announced her impending relocation to the Bay Area, which will be a tremendous loss to several local theater groups.

Nagler, as Detroit, commands the stage. He has the build and demeanor of a jazz-age thug, but underneath the gruff exterior is a heart of gold. He is particularly endearing when shepherding a group of low-lifes to the failing Save-a-Soul mission to help mission director Sarah Brown (Kirsten Myers) look good in front of her boss, General Cartwright (Nancy Agee).

Myers is a beautiful Sarah, with a gorgeous voice to boot. She is dedicated to her calling to bring sinners to God, but is reluctantly willing to compromise her principles if it will help keep the mission on its financial feet. She finds it surprisingly easy with the addition of several Cuba Libras, which she does not realize is an alcoholic drink.

The nefarious gambler intent on deflowering Sarah is Sky Masterson (Daniel Silva) who discovers that he, too, has a heart somewhere as he falls victim to Sarah’s innocent charms.

There are a host of New York characters with wonderful names like Nicely Nicely Johnson (Erik Catalan), Benny Southstreet (Gil Sebastian), Harry the Horse (David Cross) and Big Jule (Spencer Alexander).

It is Catalan who sings the rousing “Sit Down, You’re Rocking the Boat,” made famous by Stubby Kaye in the 1955 movie. Catalan has a powerful voice and gets not only the mission, but the entire opera house rocking with his unforgettable performance.

Bob Cooner is Arvide Abernathy, Sarah’s grandfather and her second in command at the mission. He is wise in a grandfatherly way and offers the timely advice, “But more I cannot wish you than to wish you find your love / Your own true love this day.”

Lenore Sebastian is also fun to watch, first as a New York street person, and then as one of the members of the Mission band.

There are many songs in this show that became classics of the era — like “If I Were a Bell,” “Luck Be a Lady,” “Sue Me” and “The Oldest Established Floating Crap Game.”

Denise Miles’ costumes are fun, especially the costumes for Adelaide and the Hot Box dancers. Arriaga’s choreography is splendid throughout the show.

If this newspaper gave stars, I would give this production five stars. But we don’t, so all I can do is encourage all lovers of musicals to get to the Woodland Opera House and give yourself a treat.

Diary of Anne Frank

 

It is ironic that the Woodland Opera House is presenting “The Diary of Anne Frank” at a time when our government is rounding up illegal immigrants and putting them in detention centers and there is such controversy over refugees seeking asylum in this country.

Frank’s family tried to escape the Nazis by coming to the United States, but that opportunity was blocked by the government, fearful of allowing Nazi spies into the country,

We know, of course, that Anne died of typhus at the Bergen-Belsen concentration camp. Her dream had been to become a famous writer, and her diary has been translated into more than 60 languages and is perhaps one of the most famous books in the world.

The current production, by Frances Goodrich and Albert Hackett, newly adapted by Wendy Kesselman and directed by Dean Shellenberger, is a beautiful tribute to Anne Frank and to her family and their years hiding from the Nazis in the secret annex above Otto Frank’s office.

Rachel Trauner (Anne) has been part of the Opera House’s “Broadway Bound” program for several years, though she has appeared in only two musicals before, says her mother, who sat in front of us for this show.

Taking on such a huge role must have been daunting, but she brought Anne to life beautifully, the spirited 13-year-old who grows into a thoughtful teenager during her two years of concealment. She is mischievous, serious and thoughtful, and the real spark — and sometimes bane —of the family.
Set designer Don Zastoupil has created the claustrophobic world where eight desperate Jews hid for two years, keeping silent during the day and daring to “live” at night. Watching the eight practically climb over each other, with never any “alone time,” one gets a sense of what it must have been like as the group dealt with hope and fear at the same time, sometimes allowing themselves to laugh, often grieving the life they left behind.

Jessica Hanselman plays Miep Gies, an employee of Otto Frank, who was one of the handful of citizens whose assistance was vital to keeping the group alive. Hanselman gives Gies a gentle, sensitive portrayal though occasionally her projection lacked oomph.

Colin Coate plays Mr. Kraier, who assists Gies in bringing food and news to the extended family.
Otto Frank is played by Steve Mackay, the guiding hand and often calming influence on the others. Otto was the only survivor of the group, and the one responsible for bringing Anne’s diary, saved by Gies after their ultimate capture, to the world.

Analise Langford-Clark is his wife, normally another steadying influence but occasionally the pressure gets to her, too.

Gil and Lenore Sebastian play Mr. and Mrs. VanDaan, trying to hang on to their upper-crust lifestyle, while Mr. VanDaan deals with insatiable hunger and Mrs. VanDaan can’t bear to give up her fur coat, the last remnant of her former life, even if it means more food.

As Anne’s sister, Margot, Sammy Caiola is the epitome of a nerdy teenager who is slowly disappearing into her self as the conditions of their self-imposed incarceration become more overwhelming.

Mr. Dussel (Paul Fern) is a late addition to the group, a grumpy dentist who is the most troublesome, as he complains about everything and causes more conflict than perhaps anyone else, with the possible exception of Mr. VanDaan.

Hayden Taillon has the small role of Peter VanDaan, whose role in Anne’s diary was much larger, but Taillon plays the young man as a friend of Anne and a referee of his parents’ many quarrels.

Through Anne’s diary, this band of people have come to represent the millions who either survived or died during the Holocaust. In spite of it all, Anne never lost her optimism and perhaps her famous quote — “… in spite of everything, I still believe that people are really good at heart” — is something we desperately need to keep in mind these days.

Beauty and the Beast

It’s a tale as old as time: She’s the daughter of the crazy old town inventor, ridiculed by the townsfolk for her bookishness and her dreams of finding her prince charming. He’s a prince with a curse on his head, hiding his hideous form away in a creepy old castle, feared by the townsfolk because he’s “different.” Spoiler alert — the two outcasts find each other, fall in love, and live happily ever after.

“Beauty and the Beast,” directed by Angela Baltezore, with musical direction by James C. Glica-Hernandez and choreography by Staci Arriaga and Eva Sarry, has waltzed onto the stage of the Woodland Opera House, there to enchant any in the audience who allow themselves to be swept into the story.

At the outset, I must give great kudos to set designers Mark and Christine Deamer, surely the best purveyors of trompe l’oeil in the area. One should carefully examine the set for Belle’s town to see what I’m talking about!

Dalton McNeely is the Beast, under a spell by a sorceress for being rude to her. He is turned into a hideous beast and all of his castle staff are slowly turning into household objects. The spell can be broken only if he learns to love — and if someone loves him in return.

Crissi Cairns is Belle, the spunky heroine who, to save her father, agrees to live in the castle of the beast forever. While she does not have a powerful voice, she has a clear, true soprano and her growing affection for the beast was touching.

McNeely could not have been more perfect as the Beast. His size made him impressive and, clad from head to toe in beastliness by costumer Denise Miles, he was a ferocious sight to see. However, watching him discover that he has feelings for Belle was lovely and when they waltz around the stage, it made the hardest of hearts melt. His first-act finale, “If I can’t love her” was a high point of the evening.

The town hunk is Gaston (Daniel Silva) who is the most handsome man in the world (according to him) and he wants to marry Belle, whether she wants him or not. Silva is suitably Trumpish in his self-grandiosity.

As his sidekick/flunky, Lefou, Eddie Voyce was appropriately subservient, but I wish they could have tamed his hair a bit.

Richard Lui is Maurice, Belle’s father, the crazy inventor who wanders off into the woods and gets lost  and then captured, at the Beast’s castle.

The Beast’s household staff always steal this show. Darryl Strohl-DeHerrera played Lumiere with the proper degree of foppishness and pulls it off despite having his arms raised above his head holding candles throughout.

Then there is Cogsworth (Erik Catalan), who is turning into a clock and dear Mrs. Potts (Kara Cummins), the teapot, with her little son Chip (Severin Sunshine Morena), a disembodied head on a tea cart. All were delightful. Morena sings the title song and it is lovely.

Jaelle LaGuerre is Madame de la Grande Bouche, the former opera singer becoming a Wardrobe, while adorable Franchesca Sonoyoma flits around the house as Babette, the flirty feather duster.

After the Beast allows Belle to return home to see her father, the town calls Monsieur D’Arque, of the local insane asylum, to commit him because they all feel he is crazy. Andy Hyun outdoes himself in his gleeful evilness.

This is a show that will amuse and delight children and adults alike, and at its end you will believe that miracles do happen, people can live happily ever after, and that inner beauty can tame the beast.

A Christmas Story

There’s nothing better than a good story, beautifully written, except maybe that good story, beautifully written and perfectly narrated by the likes of the Woodland Opera House’s Rodger McDonald.

McDonald is the adult Ralph in Jean Shepherd’s “A Christmas Story,” written with Leigh Brown and Bob Clark. It is a series of delightful Christmas vignettes from the life of Ralph Parker, looking back on the year when all he wanted was a “Red Ryder carbine-action, two hundred shot Range Model air rifle with a compass in the stock and this thing which tells time.”

The play itself was written by Philip Grecian and directed, in Woodland, by Steve Mackay. It is usually in everyone’s top five Christmas shows.

It takes us back to Hohman, Ind., in 1948, when life was simple, when kids didn’t have electronic gadgets to keep them occupied and actually played on the street (snow or no snow), when they still believed in Santa Claus, when Mom made meat loaf every night except for special occasions, and Dad was kind of inept, but loved his kids deeply. Ahh for the good old days!

Ralphie Parker (Jihan Moon) desperately wants his rifle and spends the entire play trying to give subtle and not-so-subtle hints that it’s the only thing he wants. Of course, everyone tells him he will shoot his eye out. Moon is great as that 10-year-old who lives in his own world, has his own gang of friends and a bully they finally manage to best.

(One of the most fun things about this play, I noticed this time and every time I have seen it, is how much fun the men in the audience have, obviously thinking back on their own childhoods and relating to Ralphie’s experiences.)

As Ralphie’s little brother Randy, Colton McClintock is cute as a button, with few lines to say, but says them repetitively. Randy spends most of his time hiding — in cupboards, behind clothes racks, etc. People just take it for granted that Randy is hiding somewhere and nobody thinks there is anything unusual about that.

Steve Cairns is “the Old Man,” Ralphie’s dad, who is nominally the head of the household, who never says anything profound and is a bumbling fixer of things, but obviously loves and is proud of his sons.

It really is Mother (Patricia Glass) who holds things together. She’s Beaver’s mother, Jim Anderson’s wife and Donna Reed all rolled into one. She runs the house quietly and efficiently, while all the time letting her husband think he’s in charge. She even supplies most of the answers to the quizzes the old man is forever entering, while letting him know how smart he is to have thought of the answer himself.

Ralphie’s friends are Flick (DJ Michel) and Schwartz (Brady Stephens) who act so natural you would think they didn’t realize they were on stage. Iris Harshaw made a big impact as Esther Jane Alberry, who has a crush on the embarrassed Ralphie.

Ryan Cristo has the unfortunate role of Scut Farkas, the town bully. Bigger than everyone, and not terribly bright, Scut lies in wait for Ralphie and his friends as they go to school. He finally gets his comeuppance at the hands of Esther Jane, cheered on by her friend Helen (Zoe Rosendale).

Nancy Farley plays the teacher Miss Shields who obviously can’t wait for Christmas vacation to start.

Set design is by Jason Hammond and is perfect for the Parker family home. The best effect of the evening is the “scene change” from inside the house to outside. It brought giggles every time.

The lighting design of John Bowles is key in this production and it is handled perfectly, along with the sound effects of barking dogs and other off-stage sounds.

But it is McDonald who holds it all together, his relaxed, homey style welcoming the audience into the story immediately, with the ease of Garrison Keillor taking us to Lake Wobegon.

This is a perfect family Christmas play and, based on how full the Opera House was on opening night, I suspect tickets will go quickly, so order yours as soon as possible.

Prime Time for the Holidays

 

The bowl of Halloween candy hasn’t even been emptied yet and I’ve already seen my first Christmas play.

The Woodland Opera House’s “Prime Time for the Holidays,” isn’t exactly a Christmas play, but it does have a Christmas theme and re-arranged Christmas carols. (The Family Series will be presenting “The Christmas Story” starting Dec. 2.)

The play is the first produced play for longtime Opera House actor and director Bob Cooner, who also directs with Matthew Abergel. The inspiration for the show was Cooner’s love of prime-time sitcoms of the 1960s and ’70s.

While it is mildly amusing, this comedy itself is not quite ready for prime time. The idea and the elements are all there, but lines often fall flat and there is little laughter from the audience. It is entertaining, but just not knee-slapping funny.

Cooner’s cast is just about unanimously excellent and it is a shame that they don’t have better material to work with.

Cookie Simms (Kristen Wagner) and Ray Gardner (Scott Martin) are America’s favorite TV couple and their variety show celebrates their seemingly perfect marriage, though in real life they have not lived together in months since Ray fell in love with his therapist Amanda Schoenfeld (Patricia Glass).

Cookie’s best friend Barbara (Deborah Hammond) is encouraging her to serve the divorce papers she has filled out on Ray, though she can’t quite bring herself to do that.

The TV show is in trouble because someone accidentally erased the tape of this week’s show and the producer (Jason Hammond) gets the idea to do a reality broadcast, a Christmas show from the couple’s home, which is going to be difficult since the two of them can barely speak to each other.

But it must be done, or their sponsor has threatened to remove not only sponsorship of their program, but of all the network programs.

There are lots of slapstick moments, some that work and some that don’t, and some that are just dumb — like nobody thinks to tell the sponsor, Mason Montgomery (Steve Cairns), that he shouldn’t flush the toilet or walk onto the set during filming? Nobody warns anybody that if they walk back and forth in back of the set (or conduct a fistfight there) it will be broadcast?

The character who perhaps is the funniest and gets the biggest laughs is Gil Sebastian as the washed-up comedian Bernie Marks. Marks is confused, but he’s a trouper who can toss out old jokes professionally, jokes that the audience (including the one in the Opera House) have known for years. Sebastian, in his befuddled-ness, does bring a spark of life to an otherwise bald and unconvincing plot.

There are funny opportunities missed, like Cookie’s desperate search for a cigarette, which seems to be forgotten when the sponsor, a tobacco company representative smoking a cigarette, comes onto the stage. There is no reaction from Cookie until much later.

But, as I said, the actors are excellent. Both Wagner and Martin are likeable and it’s easy to see how they became America’s sweethearts.

Deborah Hammond again gives a memorable performance, as Cookie’s friend, mistaken by Montgomery as the maid. Cairns gives one of the strongest performances in the show, though his character’s continual racist comments are more irritating than funny, but Deborah Hammond makes them funny by her reaction.

Jason Hammond is full of bluster and anger and a perfect producer, trying to make his stars do what he wants them to do.

Patricia Glass’ character as the “man-stealing psychoanalyst” is just annoying. Glass does well creating a stereotypical uptight analyst, but spends most of her time being pushed into another room or giving boring lectures analyzing behavior of one or the other characters. She, too, is completely unaware of when she is and is not on live camera.

Daniel Silva as Chip Gardner, Cookie and Ray’s college-age son, gives a laconic performance when he’s home from school and caught in the middle of his parents’ marital problems. He comes into his own when paired with guest star Lesley Lyle (Kristen Myers), a fiery singer/dancer apparently more interested in making out with Chip than in performing. Myers, tossing her Britney Spears-like hair around, is great fun to watch.

A small band — consisting of Chris Schlagel, Cassandra Brokken and Jim Nakayama — accompanies the cast in singing several Christmas songs, none of which is performed in any way that will sound familiar.

This is a mildly enjoyable, though not outstanding, first effort by Cooner. It probably will appeal more to older audiences than younger ones.

Footloose

Ryan Everitt and Jordan Hayakaya
in Woodland Opera House's
Footloose

 

There is no denying that “Footloose,” by Dean Pitchford and Walter Bobbie, with music by Pitchford is a silly show.

Basically, it’s a plot about a town where all music has been banned because of a tragic accident six years ago that killed four teens. Then a new kid comes to town and turns everything else around and all join in the singing, dancing finale.

Hardly the stuff of great theater, not even musical theater, which is often known for its silliness.

However, under the direction of Crissi Cairns with choreographer Kevin Gruwell, the Woodland Opera House has created a first-rate show. Though this is not a young people’s show, the quality of Woodland’s many youth programs is evident in the number of excellent young people in the cast.

Leading the pack is Ryan Everitt as Ren McCormack, whose father has walked out on his wife, leaving the two with no ability to remain in Chicago. They move to Bomont (the state is never revealed) to live with her sister (Jennifer Goldman) where they discover that the local minister, the Rev. Shaw Moore (Michael Maples) seems to run the town.

After an accident killed four teenagers returning from a dance, he got the city council to rule that there is to be no dancing in the own of Bomont.

Everitt is a great actor, completely comfortable on stage. He has a wonderful voice and dances well.
As for Maples, when he opens his mouth at the first religious service, you sit up and go “whoa!” His presence is captivating and even when you hate the bible-thumping reverend for his rigidity, you can’t help but admire the talents of the actor.

Poor Ren can’t get a break. He’s cited for driving too fast, fired from his first job, bullied at school because he’s the new guy and picked on by the coach (Steve Cairns). What’s a guy to do? A devotee of clubs in Chicago, Ren has a need to just dance the frustration away.

He makes friends with the laconic Willard (Marcus Lucia), the reverend’s daughter Ariel (Jordan Hayakawa) and spitfire Rusty (Emily Jo Seminoff).

Lucia’s Willard is an “aww shucks, ma’am” kinda guy, quiet and shy, but a loyal friend whose life is changed by mutual attraction to Rusty. His “Mama Says” was a real audience favorite.

Seminoff is great at these spitfire roles, and this one is no different. She’s always fun to watch on stage.

Hayakawa is wonderfully stubborn in her fights with her father over his rigid-handed parenting. Though she is dating the town bad boy (Jonathan Kalinen), he is abusive and she is soon attracted to Ren. Her solo, “Holding Out for a Hero” is wonderful.

Others in the cast include Erica Levich as Ren’s mother, Erin Kelly as Principal Clark, and Steven O’Shea as Cowboy Bob.

The actor who received the biggest applause and the most laughter was Mary Dahlberg in the tiny role of Betty Blast, owner of a diner. Since her time on stage is slightly more than five minutes, the audience reaction must be something which Woodland people are aware of, not outsiders.

Music director Lori Jarvey leads an orchestra of six, and also plays the piano. When Woodland did this show in 2003, there was difficulty getting the voices of the singers over the music of the orchestra. Fortunately, there is no problem like this in this production. Everyone is easily heard and understood.

This may be the fullest I have ever seen the opera house and the response of the audience was tumultuous. There was no question about whether this show is a hit with the audience.

West Side Story

 

“West Side Story” — the classical musical with book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim — debuted on Broadway in 1957 and set a musical style that moved musical theater in a whole new direction.

It opened last weekend at the Woodland Opera House, under the direction of Angela Baltezore, with musical direction by Dean Mora and vocal direction by James Glica-Hernandez.

“West Side Story” is, of course, the “Romeo and Juliet” story, modernized and set on the mean streets of New York. It revolves around the running feud between the Sharks (Puerto Ricans) and the Jets (native New Yorkers). Some of the material (particularly the barely censored language, such as “Gee, Officer Krupke — krup you”) seems a bit dated, but the hatred between gangs is, sadly, even more relevant today.

Those in the audience opening night were in for a big treat. This is a wildly energetic show, with powerful performances and lively dancing (choreographed by Staci Arriaga).

There are 10 newcomers in the 28-member cast, which may account for the quality of the overall performances, several of which were outstanding.

Donovan McNeely was powerful as Riff, the leader of the Jets gang. Likewise, most of his crew rose above the norm for memorable performances.

Daniel Silva fairly crackled with barely repressed rage as Action, while Bailey Robinson-Burmester was dynamic as A-Rab and Jordan Hayakawa works her darndest to make herself one of the gang as Anybodys.

The Sharks were led by Kevin Gruwell as Bernardo, a powerful performance. The extra heft on his body made for a more menacing Bernardo, unquestionably the leader of this gang.

Raymond Whitney as Chino had a smaller role, as the potential mate for Maria, but in the crucial moment, his pain and anger were palpable.

Of course, the lovers in this story are Tony (Joshua Wheeler) and Maria (Giana Gambardella), both newcomers to Woodland. In a run-of-the-mill production of this show, Wheeler, an excellent singer, could stand tall as Tony. But when up against the passion and fire of the members of the two rival gangs, his energy just could not match and he paled in comparison, though still gave a fine performance.

Gambardella, on the other hand, gave an impeccable performance. She beautifully portrays the innocent excitement of a young girl falling in love for the first time, never more evident than in her “I Feel Pretty,” as she prepares for her date with Tony, and the anguish of a young woman who feels her life crashing in around her as Tony falls victim to Chino’s gun.

Another newcomer to Woodland is Christina Castro as Anita, Bernardo’s girlfriend. Castro is a real firecracker, showing all the Latin temperament that Anita should. She may have been at her best in the number “America,” flashing her colorful skirts (costumes by Denise Miles).

Her duet with Maria (“A Boy Like That”) was outstanding, as she struggles to balance her grief at Bernardo’s death, her anger at Maria for being in love with his killer, and her love for Maria, understanding the depth of Maria’s feelings for Tony.

There is a full orchestra of seven under the baton of Dean Mora. I was most impressed by Cassandra Brokken, who often played her bass, in that cramped orchestra space, almost like a guitar.

There’s not much you can do to pretty up a stage to represent the back streets of a New York slum, but scenic designer John Bowles has found creative ways to use chain-link fences and creates enough levels, using boxes and walls, to allow the men to jump, somersault and chase each other around the street like a Cirque du Soleil rehearsal.

This is a must-see show for lovers of musical theater. All involved in this show, whether on stage or backstage, can be proud of the end result their hard work.

Romeo and Juliet

Emily Jo Seminoff and Colin Coate portray the star-crossed lovers.
Courtesy photo

“Romeo and Juliet” is Shakespeare’s most popular romance, and his most unnecessary tragedy. It is now moving audiences at the Woodland Opera House, under the direction of Rodger McDonald, who also gives a powerful performance as Friar Lawrence.

It’s a very odd set, designed by John Bowles, consisting of four gray-colored slanted platforms, placed one in front of the other across the entire stage to give different levels to the scenes in a sort of switchback effect (providing great opportunity for lively swordplay). But Denise Miles’ beautiful costumes place the cast right in the 16th century without need for more complicated set pieces.

Colin Coate is Romeo, in the throes of his first real love. He has the swagger and the bravado of a young man, when in the company of his friends, upholding the Montague family honor against the generations-long enemy, the Capulets, and yet is awkward and shy when in the presence of Juliet, who makes his hormones rage, though he does not quite know how to woo her.

As Juliet, Emily Jo Seminoff was demure and dazzling in a flowing virginal white gown. Nearly 14, and on the verge of puberty, she embraces this would-be suitor, swoons at thoughts of him and flirts shamelessly when in his presence. It is a gentle side of Seminoff I have not seen before and she carries it off beautifully. This Juliet is already defiant of her parents. She knows what she wants and she isn’t going to let family stand in her way.

Patricia Glass is superb as Juliet’s nurse and confidante. Hers was one of the strongest performances in the show.

Sara Wieringa is stunning in her role as Lady Capulet, portraying her as a strong woman yet distant as a mother and wife, while her husband (Steve Mackay) is determined that Juliet will wed the somewhat bland Paris (Gabe Avila) and will not hear any argument to the contrary.

Romeo’s cousin, Benvolio, is played by Luke Crabbe. He is a likeable fellow and loyal to his friend. It is Benvolio who helps Romeo hide after he murders Juliet’s cousin Tybalt (Jay Patrick). Patrick seemed an odd choice for this role, as, in his Canadian Mountie red-colored coat and large black mustache, he seemed older than the rest of his friends.

Jason Oler, a familiar face to Sacramento audiences, makes his Woodland debut playing Mercutio. Neither Capulet nor Montague, it is Mercutio who sneaks Romeo into the Capulet masked ball, where he first sets eyes on Juliet. After Tybalt threatens Romeo’s life, Mercutio intends to engage him in a duel, but Romeo intervenes and inadvertently causes Mercutio’s death.

Others in the cast include Gil Sebastian and Jessica Woehler as Lord and Lady Montague and Sara Matsui-Colby as the Princess. Special mention also should be made of Mary and Melissa Dahlberg, whose job it was to be servants and stand around through endless scenes. They did it very well!

There is no program credit given for choreography of the fight scenes, but the swordplay was very well done, and probably would have pleased Errol Flynn himself.

The death scene is very touching … and painful … realizing what family feuds can cost. The arrangement of the stage allows for the entire cast to be on stage when the lovers die, which makes for a lovely tableau.

Steel Magnolias

Gossip and life-long friendships abound in Truvy's Beauty Salon in a scene from the Woodland Opera House production "Steel Magnolias" opening Friday, Oct. 16, and running through Nov. 8. From left, seated, are Emily Delk and Danielle Barnet and, standing, are Nancy Agee, Deborah Hammond and Lenore Sebastian. Karen Alexander/Courtesy photo

 

 

 

The beauty shop in a small town is the perfect place for good friends to relax and spend an hour, or a day, or a lifetime. Truvy’s Beauty Shop in Chinquapin, Louisiana, is just such a place.

Truvy’s is the setting for Robert Harling’s “Steel Magnolias,” now gracing the stage of the Woodland Opera House, under the direction of Jason Hammond. The story, based on the life and death of Harling’s real-life sister who died in 1985 from early diabetes, opened off-Broadway in 1987 and closed in 1990, after 1,126 performances.

The all-star movie, with Dolly Parton as Truvy and Julia Roberts as the dying Shelby was a hit when released in 1989. The play then reopened on Broadway in 2005 for a short run, closing after only 136 performances.

It continues today as a popular play for community theaters, and its success depends greatly on the talent of the six women who populate the salon, all good friends who have seen each other through good times and bad times over the years, women who are “as delicate as magnolias but as tough as steel.”

The strength of the show is in the camaraderie of the women, and according to Deborah Hammond (Truvy), the cast came together much as the women they are playing. “The rehearsal process seemed less like work and more like having the opportunity to laugh and visit with good friends each night.”
The chemistry of this cast and their enjoyment of each other came through loud and clear to the audience throughout the play.

Hammond was outstanding as Truvy, big and bold with an open heart and an ear for all the town gossip. Hammond not only brought Truvy to life, with a spark that resonated with the audience, but she was impressive in her hair styling skills as well!

Patricia Glass is Annelle, a new employee at Truvy’s, who is hiding her own secrets and who is very timid at first, but gains self-confidence and eventually fits right in with everyone else.

Danielle Barnett is glowing as Shelby, who comes in on her wedding day to have the finishing touches put on her hair. The show really revolves around Shelby over two years — her wedding, her fragile health, her desire to have a baby, and the sad consequences of that decision, though she hides her condition so well it’s very difficult to believe she is sick.

Shelby’s mother M’Lynn is played by Emily Delk, who has a complicated yet loving relationship with her daughter. M’Lynn has the least to do for the first three scenes, but her raw emotional breakdown in scene four breaks your heart. She’s really the only one of the women who shows extreme emotion and she does it beautifully.

Lenore Sebastian is Clairee, former first lady of Chinquapin. She has a quick wit and a way of diffusing tension with humor. She has a love-hate relationship with the town curmudgeon, Ouiser.
Nancy Agee’s Ouiser, is loud, brash and inappropriate. She apparently dislikes everybody and says things like “The only reason people are nice to me is that I have more money than God.” Yet she is believable in those few instances when she lets her humanity show through the wall she has built around her.

The cast has the advantage of a beautiful set on which to work. Jason Hammond and John Bowles have created a beauty parlor so realistic that the only thing missing was the smell of hair spray and other chemicals. There was, however, one problem with the set, depending on where you sat. Our seats were in the fourth row, on the right, and the couches in the lounge area completely obliterated our view of the second hair-cutting seat. Since M’Lynn spent a good deal of the first scene in that chair, having her hair set, I rarely got a view of her.

This is a story of long-lasting friendship and the close bond among women who have been through so much together. In the right hands, this is a beautiful story that will resonate with anyone who has needed the support of her friends in joy and in sorrow. Fortunately, the Woodland Opera House has the right hands.