Best of Broadway

When you read the 64 page program for “Best of Broadway’s” 35th anniversary extravaganza, “Sounds of the City,” you have an overwhelming desire to count things. For example, there are 57 musical numbers. There are 212 performers listed in the program, 49 dancers, 91 adult vocalists and 72 children plus an additional 4 sign language interpreters and volunteers too numerous to count, other than the 69 listed as ushers.

This is a big show.

Best of Broadway was an idea conceived by David L. MacDonald in 1973 as a way to raise money for Good Samaritan Boys’ Homes. Thirty-five years later it is still under the direction of MacDonald and still raising funds for local charities. MacDonald describes it has having grown to “a hybrid between professional theater and community theater.” Both extremes were blatantly apparent in this production.

Act 1 illustrated different aspects of city sounds, from the night life (including a little bit of the sleazy side), moving into a daytime business area,, and finally a segment that deals with the theatrical life of a big city.

There were outstanding performances, such as Dewight Mitchell in songs from “The Life,” “Grand Hotel,” and “Dream Girls”

Randy Solorio stood out in “Riverside Drive” from “Jimmy,” and in “Puttin’ on the Ritz.”

Kendra Mattingly, looking very reminiscent of Winona Ryder, was outstanding in “Dream Babies,” from “The Me That Nobody Knows.”

A trio of Melissa Gibson, Meagan Morrison and Lauren Sater were first rate in “Just Arrived,” from “Copacabana.”

Mark Stivers, music arranger, created a medley of Broadway show stoppers, “Music of the Night” by Lou Parell, “Memory” by Nalisha Gray, “Once in a Lifetime” by David L. MacDonald, and “What I Did for Love” by Teresa Taraya, where each sang bit of his or her song and then the four blended together contrapuntally. It was a magical moment.

But the real “magic” comes when the children enter. Their first number was “Light Sings” from “The Me That Nobody Knows” and they were militantly adorable. Watch the left side of the stage for real scene stealers!

Act 2 focused on two shows, “Civil War” and “The Hunchback of Notre Dame” (the version by Dennis DeYoung from the musical group Styx).

Dewight Williams again gave a towering performance in “River Jordan” while Natasha Greer led a moving vocal and dance ensemble in “Someday.”

Enrique Ruiz (also the Children’s Choral Director) was a sensitive Hunchback in several numbers. Ryan Ritter, Rando Solorio and Sam Williams were very funny in “Alms for the Beggarman.” And Feature Musical Director Marji DuBois was wonderful in just about everything.

Christopher Carlson’s mic went dead in “King of Fools.” The actor has toured professionally and his experience as he worked to be heard over the amplification of the rest of the singers on stage. He did, however, have an opportunity to come back, fully miced in the delightful “On a Sunday by the Sea” (with Melissa Gibson, Amy Longstreth, Laura Lothian and Randy Solorio”).

I have reviewed “Best of Broadway” for seven years now and every year I complain about the inconsistent sound system. Levels are sometimes ear splitting, other times distorted, or, in the case of Carlson and Choral Director Corey Rickrode (in “By the Grace of God”), simply not there. When they are good, they are very, very good, but for a show that is a hybrid of professional and community theater, they are not consistently good enough.

The company is also showing the loss of lighting designer Dion Cook. The team of six people credited with lighting (and sound!) design made this a very dark show where much too much of the dancing was done in semi-darkness, while follow spots concentrated on the singer. Particularly bad was a lovely ballet done by Sara Rewinkle, Randy Solorio, Diana Ruslin and Jerald Bolden which was not lit at all, while the focus was on Marji DuBois and Enrique Ruiz. Lighting designers should recognize that the dancers work just as hard (if not harder) and deserve their own moment to be seen as well!

The children’s second number, “The New Ashmolean Marching Society” from “Where’s Charley?”was absolutely stunning, with all 72 dressed in marching band costumes. Kudos to costume coordinators Cathy Carpenter and Joan Pohlman and to children’s choreographer, Kourtney Staab-Spencer.

There will be plenty of opportunities to catch this show. It will run through September 16 at Luther Burbank Theater in Sacramento, and then from September 21 through the 30th at the Whitney Theater in Rocklin. It’s well worth the money, and the money goes for a good cause, so it’s a win-win situation.

Best of Broadway

When you read the 64 page program for “Best of Broadway’s” 35th anniversary extravaganza, “Sounds of the City,” you have an overwhelming desire to count things. For example, there are 57 musical numbers. There are 212 performers listed in the program, 49 dancers, 91 adult vocalists and 72 children plus an additional 4 sign language interpreters and volunteers too numerous to count, other than the 69 listed as ushers.

This is a big show.

Best of Broadway was an idea conceived by David L. MacDonald in 1973 as a way to raise money for Good Samaritan Boys’ Homes. Thirty-five years later it is still under the direction of MacDonald and still raising funds for local charities. MacDonald describes it has having grown to “a hybrid between professional theater and community theater.” Both extremes were blatantly apparent in this production.

Act 1 illustrated different aspects of city sounds, from the night life (including a little bit of the sleazy side), moving into a daytime business area,, and finally a segment that deals with the theatrical life of a big city.

There were outstanding performances, such as Dewight Mitchell in songs from “The Life,” “Grand Hotel,” and “Dream Girls”

Randy Solorio stood out in “Riverside Drive” from “Jimmy,” and in “Puttin’ on the Ritz.”

Kendra Mattingly, looking very reminiscent of Winona Ryder, was outstanding in “Dream Babies,” from “The Me That Nobody Knows.”

A trio of Melissa Gibson, Meagan Morrison and Lauren Sater were first rate in “Just Arrived,” from “Copacabana.”

Mark Stivers, music arranger, created a medley of Broadway show stoppers, “Music of the Night” by Lou Parell, “Memory” by Nalisha Gray, “Once in a Lifetime” by David L. MacDonald, and “What I Did for Love” by Teresa Taraya, where each sang bit of his or her song and then the four blended together contrapuntally. It was a magical moment.

But the real “magic” comes when the children enter. Their first number was “Light Sings” from “The Me That Nobody Knows” and they were militantly adorable. Watch the left side of the stage for real scene stealers!

Act 2 focused on two shows, “Civil War” and “The Hunchback of Notre Dame” (the version by Dennis DeYoung from the musical group Styx).

Dewight Williams again gave a towering performance in “River Jordan” while Natasha Greer led a moving vocal and dance ensemble in “Someday.”

Enrique Ruiz (also the Children’s Choral Director) was a sensitive Hunchback in several numbers. Ryan Ritter, Rando Solorio and Sam Williams were very funny in “Alms for the Beggarman.” And Feature Musical Director Marji DuBois was wonderful in just about everything.

Christopher Carlson’s mic went dead in “King of Fools.” The actor has toured professionally and his experience as he worked to be heard over the amplification of the rest of the singers on stage. He did, however, have an opportunity to come back, fully miced in the delightful “On a Sunday by the Sea” (with Melissa Gibson, Amy Longstreth, Laura Lothian and Randy Solorio”).

I have reviewed “Best of Broadway” for seven years now and every year I complain about the inconsistent sound system. Levels are sometimes ear splitting, other times distorted, or, in the case of Carlson and Choral Director Corey Rickrode (in “By the Grace of God”), simply not there. When they are good, they are very, very good, but for a show that is a hybrid of professional and community theater, they are not consistently good enough.

The company is also showing the loss of lighting designer Dion Cook. The team of six people credited with lighting (and sound!) design made this a very dark show where much too much of the dancing was done in semi-darkness, while follow spots concentrated on the singer. Particularly bad was a lovely ballet done by Sara Rewinkle, Randy Solorio, Diana Ruslin and Jerald Bolden which was not lit at all, while the focus was on Marji DuBois and Enrique Ruiz. Lighting designers should recognize that the dancers work just as hard (if not harder) and deserve their own moment to be seen as well!

The children’s second number, “The New Ashmolean Marching Society” from “Where’s Charley?”was absolutely stunning, with all 72 dressed in marching band costumes. Kudos to costume coordinators Cathy Carpenter and Joan Pohlman and to children’s choreographer, Kourtney Staab-Spencer.

There will be plenty of opportunities to catch this show. It will run through September 16 at Luther Burbank Theater in Sacramento, and then from September 21 through the 30th at the Whitney Theater in Rocklin. It’s well worth the money, and the money goes for a good cause, so it’s a win-win situation.

Best of Broadway

Ask any theater goer to list the top ten Broadway shows and you’ll probably get things like "Oklahoma!" "Music Man," or "Sound of Music." It is unlikely that you’ll find "Martin Guerre," or the "Tonight’s the Night," the compilation musical, based on the songs of Rod Stewart (and described by one reviewer as "...starts in Hell and sadly doesn’t get any better.")

So one questions whether "Musical Mystique," the 34^th annual "Best of Broadway" musical revue, now at the Luther Burbank Theater in Sacramento through September 24, is actually the best of Broadway, but there is no denying the sincerity of the participants, or the hard work and love that goes into this production. (There are nearly 100 names in the program listed as ushers alone, and 30 listed for the concession stand.)

Best of Broadway was conceived by David L. MacDonald in 1973 as a way to raise money for a local boys’ home, and has grown to become one of the largest non-profit, volunteer community shows in Northern California. The cast consists of over 150 singers, dancers, gymnasts and musicians, ranging in age from 7 to 70, who are chosen from open auditions. Many alumni of Best of Broadway have gone on to actually perform on Broadway.

While there are a few weak spots in the current production -- an inconsistent sound system that was too loud for some and not loud enough for others, and some performers who really shouldn’t have been given solos -- the strengths in this production more than compensated for its shortcomings.

David L. MacDonald is the producer director of this revue, with musical direction by Dan Pool and adult choreography by Diana Ruslin and Terri Taylor-Solorio, with Kat Bahry heading up the choreography for the children’s ensemble, numbering some 50 children. Bahry, along with children’s choral director Enrique Ruiz did a fabulous job with the children, some of whom were obviously born to perform.

Marji DuBois, Jim Crogan and Corey Rickrode are credited with choral direction for the adult ensemble and did an excellent job.

Special mention must also be made of the sign language interpreters. Cristie Pell is the chief interpreter and I have marveled at her work, now, for several years. Her three assistants were not listed in the program. Each took one of two numbers at a time to sign, but Pell did the lion’s share and one could easily see how she made music come alive for the non-hearing members of the audience.

This high energy production is filled with 52 musical numbers from 15 different musicals, and there were definite high points. The choreography for "Step in Time" from "Mary Poppins" was a knockout.

Dewight Mitchell and Elise Reese gave depth to two numbers from "Ragtime," with Mitchell returning later for two numbers from "Brooklyn, the Musical" and Elise Reese with an unbelievable wig for "You Can’t Stop the Beat" from "Hairspray."

Randy Solorio works overtime this year, with his Fonzie-esque presentation for two lengthy sections, the Act 1 salute to "All Shook Up," which features the songs of Elvis Presley, and the Act 2 songs from "Tonight’s the Night." Solorio can shake, rattle and roll with the best of them.

"Tonight’s the Night" also features Robert Lenzi on guitar, bathed in pools of light.

Marji DuBois has an outstanding voice and is featured in seven different numbers, all of which come alive because of her performance.

Josh Gonzales and Tae Kim sing the roles of Martin Guerre and Arnaud du Thil from "Martin Guerre." Both men have marvelous voices, particularly Kim, whose slender build belies the power and the depth of his voice.

Enrique Ruiz, Dewight Mitchell, Ryan Ritter and Aaron MacDonald do an excellent impression of The Four Seasons in the selections from "Jersey Boys."

The children’s chorus, which performs "Supercalifragilistic" in Act 1, returns in Act 2 looking like they ran wild in a Halloween costume shop, with the assistance of costume coordinators Cathy Carpenter and Joan Pohlman. Dressed as doctors, clowns, police officers, ballerinas, and just about any costume you can imagine, they did a very cute rendition of "Always Look on the Bright Side of Life" from Monty Python’s "Spamalot." There is one little girl in green doctor scrubs with a stethoscope around her neck who is having such a good time you can hardly take your eyes off of her.

You can’t think about Best of Broadway without thinking about numbers--numbers of songs, numbers of people, numbers of costumes, numbers of volunteer hours which go into putting on this amazing production. It’s a visual extravaganza and an incredible labor of love for those involved.

And best of all, it goes to support many worthy causes.

Best of Broadway

If “Best of Broadway” (which opened in Sacramento at Luther Burbank School) were to hand out “the show must go on” awards, I would nominate Lou Parell in a heartbeat.

It was Act 2. We had already watched a rousing opening number, “Happy,” from “Grand Hotel” and a section called “Broadway’s Latin Suite,” a salute to Latin music in Broadway musicals.

The tone changed and a section featuring songs from “Napoleon” began. Lou Parell had just stepped into a pool of light, dressed as Napoleon, and he began the dramatic, “The Dream Within,” when pinpoint lights started flashing on the walls around the house and an obnoxious honking sound began going on and off.

At first we weren’t sure if it was part of the show or not, this being such a varied show with all sorts of different moods, but then someone said something about a fire alarm and ushers were coming down the aisle telling us we had to evacuate the building. Parell sang through it all, to the end of his song, even though the theater was empty.

While we milled around outside, someone told me that the rumor was that either one of the children in the cast had pulled the fire alarm in the bathroom, or the stage smoke had set it off (though I didn’t notice much stage smoke). Some members of the cast, still dressed in zoot suits from the Latin suite, were standing on the sidewalk yelling “Don’t leave! There will be more!”

Twenty minutes and three fire engines later, we were back inside the theater watching Parell pick up where he left off, in a touching duet with Marji DuBois while Jen Kern and Gerardo Martinez performed a dance duet.

This had been an evening already plagued with microphone problems. Marlee Hernandez, who started out beautifully in “Teenager in Love” from “Return to the Forbidden Planet” lost the sound in her mic shortly into her number, which was a shame, since she had a lovely voice (displayed in the opening number, “My Night” from “Closer to Heaven.”)

Likewise several children who had solos in “I Know” from “Children’s Letters to God,” the rousing first Act finale were unable to be heard because one of the four microphones was dead, which must have disappointed the audience full of family and friends. Other microphones popped and sizzled throughout much of the show.

Despite the problems, however, Best of Broadway, in this year’s extravaganza, “Light Up the Night,” has delivered another enjoyable evening showcasing some of the finest talent Sacramento has to offer.

Best of Broadway was an idea conceived by David L. MacDonald in 1973 as a way to raise money for a local boys’ home. Thirty-three years later it is still under the direction of MacDonald and still raising funds for local charities.

After 33 years, this may not exactly be the “best” of Broadway (with obscure musicals such as “Closer to Heaven,” “Down River,” “The Card,” “Feel It,” “Children’s Letters to God,” and the aforementioned “Napoleon” (which opened in 2000 in London to mostly negative reviews and closed after 16 weeks), among the old favorites like “West Side Story” and “South Pacific,” but it was an extravaganza nonetheless.

Choreographers Terri Taylor-Solario, Diana Ruslin and Kat Bahry have done an outstanding job of blending dancers with non-dancers and having all look spectacular. Bahry, who was able to get some 75 children to perform such complicated synchronized dances, deserves special kudos.

Musical director Dan Pool, choral director Aaron Clemens and children’s choral director Enrique Ruiz deserve credit for the enthusiastic musical performances.

Sign language interpreters Cristie Pell and Kathy Jackson gave their own performance, nearly as entertaining as what was going on on stage.

This was an edgier “Best of Broadway.” Gone are the sequins and glitter and in their place are costumes (coordinated by Cathy Carpenter and Joan Pohlman) which look like they may have come from Britney Spears’ discard bin. Lots of cut-off jeans, bare midriffs, net stockings with holes in them, tattoos, and leather, all of which worked well for the salute to “We Will Rock You,” with the outstanding “We are the Champions,” led by the powerful Dewight Mitchell.

As the cast assembled on the stage and in the aisles to perform the finale, “Give My Regards to Broadway,” from “George M,” I wondered what George M. Cohan would have thought of the look of inner city urban blight, and decided that given the enthusiasm of the performances, he would have loved it.

Best of Broadway continues through October 1, with a 7:30 curtain. Even with a fire drill and 50 musical numbers, you’ll be out by 10:30.

Best of Broadway

Tap dancing is alive and well in Sacramento.

The 32nd annual Best of Broadway musical extravaganza, Kaleidoscope, at Luther Burbank School 6 evenings and 4 matinees through September 25th, is very definitely heavy on the tapping, with lots of singing by lots of local talented folks thrown in for good measure. Students from 26 different performing arts studios around the Sacramento region are represented, 55 in the dance ensemble, 63 in the vocal ensemble, 45 children, 4 sign language interpreters and 3 program pages full of volunteers behind the scenes.

By anybody’s calculation, this is a monumental undertaking.

Best of Broadway was an idea conceived by David L. MacDonald in 1973 as a way to raise money for a local boys’ home. Thirty-two years later it is still under the direction of MacDonald and still raising funds for local charities.

“Kaleidoscope” features numbers from 23 different Broadway shows, some as well known as “Phantom of the Opera” and some as obscure as “The Card.,” with enough big numbers to make your head spin.

The opening number, “I want to be Famous” from “Fame” looked for all the world like a jazz choir performance taken to the extreme, and was followed by the first children’s number, “Come Along and Join Us” from “The Card,” with the children dressed all in black and red--a stunning visual picture.

There are nearly 60 different numbers which vary from the outstanding to the downright bad (fortunately more of the former than the latter). Some principals were clearly not up to the demands of a solo performance, but most gave outstanding performances, many at a professional level. Unfortunately there were some microphone problems on opening night which made volume variable, but the professionals in the group were able to overcome them and the problems were quickly resolved.

In the outstanding category were Roberta Mumm (long-time Davisites may remember her excellent performances with the Davis Comic Opera Company several years ago) and Lou Parell in three numbers from “The Phantom of the Opera.” Both gave first class performances worthy of any professional stage.

Bill Miller, who was a towering Martin Luther King in the last production I attended, was again powerful in two numbers from “Don’t Bother Me, I Can’t Cope” and “Time to Live,” the first act finale from “Voices.” Miller has a huge voice and a commanding presence and is a force to be reckoned with.

Aaron Clemens also gave a powerful performance, along with Miller, in three numbers from “Don’t Bother Me...” as did Elise Reese singing “It Takes a Lot of Feelings” from the same show.

The incomparable Randy Solorio, a long time Best of Broadway performer, appeared in several numbers, including “Once Upon a Dream” from “Jekyll and Hyde” in the first act, and several numbers in the second act, ending with the rousing finale, “A Shout-Out to Broadway” from “Shout,” which had all cast members on stage and in the aisles, while the audience clapped along with the music.

The children’s second act number, “The People Tree” was just plain adorable, with the children dressed in bright primary colors, making a striking visual as well as an enjoyable musical number.

Gerardo Martinez and Ruben Sanchez added fun to “The Way it Ought to Be” from “A Tale of Two Cities” with their professional looking swordplay.

“That’s the Way I Like It” from “Boogie Nights” was fun, with all the disco costumes and the huge hair on the dancers.

A section of the show called “Broadway Goes Latin” was a lively non-stop tribute to many of the Latin numbers from several shows, including “Copacabana,” “The Boy from Oz,” and “4 Guys Named Joe.” Kathryn Skinner, Solorio, and Pelenta Forrest were particularly good in “Havana,” “I Go to Rio,” and “Macarena,” respectively.

A group with the unlikely name of the Public Apology Quartet (Enrique Ruiz, Matt Freeman, Matthew Holsinger and Dewight Mitchell) performed in several numbers and were fun to listen to, particularly in the first act “Smoke Gets in Your Eyes,” sounding for all the world like The Platters’ 1959 recording.

Special recognition should be given to costume coordinators Cathy Carpenter and John Pohlman for the consistently classy look throughout the show and to lighting designers Dion Cook and Kevin Arnold, who even gave the “pit chorus” (a group in a glass box off to the side who helped add some vocal “oomph” to many of the performances) their own special light.

Musical Director Dan Poole helped a band of 4 sound like a full pit orchestra.

This is a production that occasionally feels like watching a 3-ring circus, but, like the circus, offers something for everyone--and it benefits some good charities in the bargain.

Best of Broadway

Balloons fell from the ceiling, streamers fluttered from the balcony, a flag unfurled on the back of the stage, confetti was shot from cannons on the side of the stage, there were sequins and twirling batons and strobe lights and a glitter ball.

It was the 29th annual Best of Broadway production, opening September 7 and running weekends through September 22 at Luther Burbank Theatre in Sacramento.

This show is Aida meets Martin Luther King. It's the Davis Children's Nutcracker meets Busby Berkley. It's Broadway, Birmingham and Egypt. It's 100 kids dancing in Cat in the Hat hats and another 100 adult singers and dancers tapping, swinging, leaping, roller blading, and twirling. It's a blind chorister, a chorus of signers for the deaf. In other words, there's something for just about everybody. If you don't like what's happening on stage right now, wait 5 minutes and you'll see something different.

Best of Broadway is a not for profit arts organization dedicated to bringing a live theatrical experience to the community. It's goals are to educate through music, song and dance and to entertain and inspire local children, youth and adults. Judging by the nearly sell-out crowd, they have definitely met that goal.

Over 700 would-be performers auditioned for this show, which ultimately cast the best 250. These are the best of the best that Sacramento has to offer and it is a credit to producer/director David MacDonald, choreographers Kat Ashley, Diana Ruslin and Terri Taylor-Solorio and to the 150 volunteers who work behind the scenes that this musical extravaganza is able to be put together in only six weeks.

While there are a few weak spots, a sound system that was too loud and occasionally distorted, and some performers who were better than others, the strengths in this production more than compensated for its shortcomings.

Best of Broadway presents old chestnuts like "42nd Street" (the rousing show opener) and "Give My Regards to Broadway" (the finale), but in between MacDonald introduces the audience to new works they might not be familiar with.

By far the outstanding numbers of the evening were from "King," the musical story of Martin Luther King. Bill Miller as King brought down the house with his "Every Single Moment" and especially "I Have a Dream." As Coretta Scott King, Darlene Tellis-Muhammad could not have been better.

For those who cannot afford tickets to the touring company of Tim Rice's "Aida," Best of Broadway has devoted nearly half of the first act to musical numbers from this show. Yvette Gauff makes a regal Aida, and Ruben Serna is a studly Radames. Reggie Koffman is outstanding as King Zoser, singing "Another Pyramid." Irma Weldon completes the quartet as Amneris.

A lesser known musical getting lots of exposure in this production is "Grail: The Rock Opera of the Future." Excellent performances are turned in by Lea Shimonoff (in a wonderful black leather costume), Joshua Gonzales, and Justine Berger. A couple of dancers are to be complimented for performing on roller skates during "No There There."

Dancers also shine in "Gimme! Gimme! Gimme!" from "Mama Mia." Choreographed by Terri Taylor-Solario, this number features wonderfully graceful leaps.

Act 2 gives solo performers and small ensembles an opportunity to shine. Patricia Brennen, Kennaya Lambert, Annette Williams, and Angi Wolf were wonderful in "It's a Woman's World" from "The Full Monty." Brennen also belts out a wonderful "Over the Rainbow." Duane Lewis is impressive as he leads a chorus in "Gonna Build a Mountain" from "Stop the World"

A small group of dancers gyrates through a "Three Little Maids" from "The Hot Mikado" that both Gilbert and Sullivan would be hard pressed to identify.

Best of Broadway: A Musical Explosion is a technician's dream. More care is taken with lighting effects than one expects to find in a volunteer show. There are follow spots everywhere, and wonderful color combinations, all blending perfectly with the action on stage, and even turrets outlined in lights for the "Grail" segments. Lighting Designer Dion P. Cook has worked overtime putting this show together.

Costumes were coordinated by Karen Berman, Cathy Carpenter, Sheri Howe, Lenore Justman, Joan Pohlman, Diane Potter and Heather Strickler, who seem to have cornered the Sacramento market on sequins. This is a fabulous looking show and each number is more memorable than the last. When the entire cast appears on stage at the finale, dressed in red, white and blue and waving to the audience it is an amazing sight to behold.

Almost as much fun as the action on stage is the performance of sign language interpreters Christie Lindsay and Carol McConnell and a third woman who is unnamed in the program. Watching these women at work makes one understand how it is possible for the hearing impaired to actually feel the beat of the music and enjoy the rhythm of the production. Their unison interpretation of "Give My Regards to Broadway" should win all three Elly nominations.

The Herculean task of Production Coordinator is handled adroitly by Mary Taylor. Music Direction is by Mark Stivers, who also conducts the offstage band. Diane Ford is the adult choral director, and special kudos to Erin Johnson, the children's choral director.

Performances are held at Luther Burbank Theatre, 3500 Florin Ave. in Sacramento on Fridays, Saturday and Sundays through September 22. Ticket prices are $22 for adults and $16 for seniors and students. Tickets may be purchased by phone or in person via the Best of Broadway Box Office at 4010 El Camino Ave., Monday- Friday, 10 a.m. to 6 pm. or through any tickets.com outlet. Call (916) 974-6290 or visit the web site at www.bestofbroadway.org for more information.

Best of Broadway

Glitz! Glamour! Tap dancers! Kids! A cast of over 200. What else could it be but Best of Broadway's musical extravaganza, "Lights on Broadway," opening last weekend to a near capacity audience in the Bert Chappell Theatre on the Hiram Johnson High School campus.

Now in its 28th season, Best of Broadway was the brainchild of Producer/Director David L. MacDonald, who saw it as a way to raise money for a local boys' home. Twenty-eight years later, MacDonald is still running what has become an annual event. It's "amateur" in the purest sense of the term--people doing something for the love of it--but there's nothing "amateurish" about this production.

From the opening, "Staying Alive," the start of a three-number tribute to disco, to the finale, with Mardi Gras revelers singing on the stage, in the boxes, in the aisles, and passing out necklaces to the audience, this is a non-stop delight. There is never a dead spot and the parade of local performers, which included the current reigning Miss Sacramento, Sherilyn Peek, is an impressive tribute to the talent in the Sacramento area.

MacDonald has chosen this year's material from some lesser known Broadway shows, giving the audience a chance to become more familiar with such works as "The Fix," "The Boy from Oz," "Hot Shoe Shuffle," and "Swing," along with old favorites like "Oklahoma," "The King and I" "South Pacific" and Carousel." In Act 2 a condensed version of "The Hunchback of Notre Dame" was performed, ending with a lovely rendition of "This I Pray" sung by Kalynn Dodge.

While all of the principals were excellent, there were some outstanding performances. Randy Solario appeared in several numbers, but was best in "I've got to be a Rug Cutter" and "Go to Rio" (with the equally delicious Kathryn Skinner). Lisa Teeple brought a Betty Boop-like coquettishness to "How Lucky Can You Get." Joe Moss was the perfect "Song and Dance Man." Lynda Williams overcame some mic problems to give full voice to "Alleluia." Cheryl Debose brought down the house with "Sweet Georgia Brown." Eleven year old Christopher Carlson (late of the cast of the touring company of "Les Miserables") was an audience favorite with his "Bigger Isn't Better," from Barnum.

Just when you think surely the local talent bank has been exhausted, out comes an ensemble of some 70 children, all dressed in sequins and tap shoes, to perform "Don't Be Anything Less" from "Snoopy." The children were disciplined, professional, amazingly talented and showed the result of lots and lots of rehearsal under the direction of choreographer Gina Cox and choral director Wendy Frampton Holly. Keep an eye on the smallest little blonde in the center...she's adorable and every bit the professional.

"Lights on Broadway" is a tour de force for costume coordinators Gayle Battaley and Heather Strickler. There were sequins galore, fur, feathers, tuxes in black, white and blue, and even a tribute to "Cats," with those wonderful feline costumes. Six people are listed on the program as "backstage monitors" (under coordinator Judith Malkasian). One can only imagine the scene, as there were a number of very quick costume changes for large numbers of people.

Choreographers Diana Ruslin and Terri Taylor-Solario keep the action moving, with dance numbers that are interesting and varied, from disco to swing to tap to samba.

Dan Kern has created a simple but effective set which evolves from a disco bar to a cathedral to a mardi gras party with the simple change in draping of curtains or placement of lamps. A rose window is added to the balcony for "The Hunchback of Notre Dame" scenes, nicely back lit by lighting designer Dion Cook (who added a hint of twinkling candles in the interior of the "cathedral.") A separate fence piece is wheeled on stage for the "Cats" tribute.

Almost as much fun as the action on stage is the performance of sign language interpreters Christie Lindsay and Carol McConnell. Watching these women at work makes one understand how it is possible for the hearing impaired to actually feel the beat of the music and enjoy the rhythm of the production.

Production Coordinator is Mary Taylor, and Music Direction is by Mark Stivers, who conducts the 4 piece offstage band.

Performances are held at the Bert Chappell Theatre on the Hiram Johnson High School campus, 65th St. at 14th Ave. in Sacramento on Fridays, Saturday and Sundays through September 30. Ticket prices are $20 for adults and $15 for seniors and students. Tickets may be purchased by phone or in person via the Best of Broadway Box Office at 4010 El Camino Ave., Monday- Friday, 10 a.m. to 6 pm. or through any tickets.com outlet. Call (916) 974-6290 or visit the web site at www.bestofbroadway.org for more information.