Book of Mormon

The very funny, very popular “The Book of Mormon” by those guys who also gave you “South Park” (Trey Parker, Robert Lopez and Matt Stone) has returned for another engagement for California Musical Theater’s Broadway series.

The ticket gives a parental advisory for “explicit language,” which may be putting it mildly. In fact some of the funniest things are things that you find yourself shocked to be laughing about.

Back in 2011 when word got out that someone was writing a musical comedy called “The Book of Mormon,” people in the Mormon church went berserk. There were angry protests about the denigration of their religion, pickets were going to be at the theater on opening night.

But then the producers invited some of the Mormon elite to see the show and they realized that it did not really make fun of their beliefs, though it did poke fun at things that arise out of those beliefs. In fact, as highly irreverent as this show is, in the end it is actually spiritually uplifting with the message that love is the answer.

The Mormon “imprimatur,” as it were, is the full-page ad in the program which shows just a photo of the Book of Mormon with a message that says “our version is sliiiightly different” and gives information about learning more about the religion.

The show starts with a bang with the crisp and catchy “Hello!” as each of the clean-cut graduating Mormon students practice their approach to door-to-door contacts. It is such an appealing tune that it may become an ear worm.

This is the day when the graduates will find out where they are to be sent on their mission, and who will be their partner for the next two years. These are young idealists, convinced they will change the world, and none more passionate than Elder Price (Kevin Clay), who may be the holiest, most dedicated (and definitely most vain) of them all. He has prayed to God that he will be sent on his mission to his favorite place in the world — Orlando.

It is a shock, then, when he is paired with Elder Cunningham (Connor Pierson), whom everyone considers a flake and nobody seems to like very much. The two of them will be setting off for the country of Uganda. Elder Price decides to make the best of things because he knows he was destined for greatness and knows that he can do great things in Africa.

Things do not go well from the start, when the missionaries’ luggage is stolen by the warlord known as “General” (because you cannot print his real name in a program or a review) and his henchmen. They also find a lackluster group of missionaries who have been there a while and have done essentially nothing because the natives don’t want to hear their message.

The natives are a happy bunch, if suffering from unspeakable conditions. Their happy tune, explaining how they can remain calm in the face of AIDS and other terrible conditions is “Hasa Diga Eebowai,” another translation that can’t be printed in a family newspaper, but also ear-worm worthy. They are resigned to their lives and want nothing to do with a new religion, which might anger the General (Corey Jones) and make their lives even worse.

Nabulungi (Kayla Pecchioni) is the virginal daughter of Mafala (Sterling Jarvis), who acts like a tour guide for the missionaries. Pecchioni is a force to be reckoned with.

There is a rift between Elder Price and Elder Cunningham, during which each learn much about themselves and their ambitions and Elder Cunningham finds a way to appeal to the natives after all.

The story and energetic music will set your toes tapping. The dance numbers (choreography by Casey Nicholaw) are amazing. Each number is a show-stopper, as are the more tender moments such as the haunting “Sal Tlay Ka Siti” sung by Nabulungi about “the most perfect place on earth.” Her “I Am Africa” is an anthem worthy of being featured on International Women’s Day!

If you have not yet seen “Book of Mormon,” this is an absolute must see. And if you have already seen it, you’ll enjoy it as much the second time around as you did at first.

Heaven Can Wait

“Heaven Can Wait” was a movie produced in 1978, starring Warren Beatty and James Mason, based on the 1941 movie “Here Comes Mr. Jordan,” with Robert Montgomery and Claude Rains. Now the Winters Community Theatre Company has put it on stage, under the direction of Jesse Akers. It’s the kind of drama/comedy that Winters does so well.

As the show starts, Mr. Jordan (Tom Rost) is checking people off a list as they pass by him across the stage. With the arrival of Joe Pendleton (Tyler Tufts), things go wrong. We learn that this is heaven and Jordan is checking people off the list to enter the pearly gates. Joe argues that it’s not his time, that he shouldn’t be there and that he should go back.

As Mr. Jordan confers with Messenger 7013 (Michelle Novello), who accompanied Joe to Heaven, they discover he’s right. A terrible mistake has been made. In her compassion to spare him a painful death, she plucked him out of a plane seconds before it was to crash. Records, however, show that Joe, a boxer, had 60 more years left to him and that he was going to be the Heavyweight Champion of the World.

What to do? What to do? Since Joe’s manager had him cremated, they can’t return him to his body and so Mr. Jordan begins the search for the body of someone about to die that Joe can borrow.

Tufts is the perfect choice for Pendleton; a tall, lumbering, not terribly bright athlete fixated on keeping his body “in the pink” and wanting nothing more than what he was supposed to have. He has the perfect New Jersey accent and the street smarts of a Jersey athlete.

Tom Rost always gives a solid, low-key performance, often speaking softly. He embodied Jordan, though fortunately as the play progressed, his confidence and his projection improved. He brings a sensitivity to the role and truly wants to do right by Joe and rectify the mistake that has been made.
Novello, as the brand new Messenger 7013, is eager to help Joe, but unsure what to do. She’s very earnest and is a nice complement to Mr. Jordan.

After a lengthy search, they settle on a millionaire tycoon named Farnsworth who is about to be killed by his wife and her lover (his secretary). Joe is at first reluctant, but since it seems to be his last opportunity, he agrees to inhabit Farnsworth’s body, intent on getting it “in the pink” so the can continue his boxing career. Mr. Jordan promises it’s only temporary and that the search for the perfect body will continue.

Obviously Mrs. Farnsworth (Ana Kormos) and lover Tony Abbott (Loren Skinner) are confused by the very alive Mr. Farnsworth and his aberrant behavior. Kormos is quite good as the murderous wife, but sadly somewhat sabotaged by a voluminous skirt in Act 2 which looked like it had been dragged out of a laundry bag, it was so wrinkled. I hope someone irons it before the show progresses!

Joe/Farnsworth’s first act is to contact his manager, Max Corkle (Scott Graf). He must first convince him that yes, it really is Joe inside that unfamiliar body. Graf gives the outstanding performance of this production, as the grizzled Corkle. He is a delight whenever he is on stage and his final scene brings tears.

Lyra Domingues is Miss Bette Logan, the daughter of a man whom Farnsworth has framed and sent to jail. She comes to Farnsworth to plead for her father’s release. Joe/Farnsworth is taken with her sweet, sincere nature and falls in love with her, which makes his later opportunity to move to a perfect body somewhat problematic.

Germaine Hupe and Donna Akers add some nice comedic touches as Farnsworth’s house staff, while Robert Williams is the perpetually befuddled inspector.

“Heaven Can Wait” is a fun play full of fantasy, twists and comedic situations. It can be slow in parts, especially when the cast seems to be stumbling over dialog (for which they cover quite well); in the end this is a charming play that will amuse anyone.

Macbeth

Something wicked this way comes, and it comes with goddesses chanting, and lots of drums playing ominously.

The play is Shakespeare’s “Macbeth,” (or “The Scottish Play” as superstitious thespians prefer to call it, fearing that speaking the actual name will bring bad luck), now at the Sacramento Theatre Company.

This version, set in 11th-century Scotland, is directed by Casey McClellan and is inspired by paganism and ancient ritual. The three witches, for example (Janet Motenko, Ruby Sketchley and Monique Lonergan), represent the Triple Goddess: the Maiden, the Mother and the Crone. They serve Hecate, the goddess of witchcraft and magic (Carissa Meagher).

This is a less-bloody-than-usual version of the classic, relying instead on the believability of the emotions of the characters than on the visual examples of the atrocities occurring, for the most part, off stage. (The “bloodiest” character wears red, but does not drip blood, as in some versions I have seen.)

With his tall stature and dark, searing eyes, William Elsman is unmistakably Macbeth, a man driven by ambition, who does terrible things to achieve his goals, but he is a man who is unable to bear the psychological consequences of his actions, and is constantly tormented with guilt. His later descent into madness as his power-hungry killing spree begins to weigh heavily on his soul was decidedly believable.

A worthy companion is Atim Udoffia as Lady Macbeth, who is smart, ambitious, brave and ruthless. Her passion for her husband is as strong as her passion for helping him become king. Her anguish over the murder of Duncan, a murder she precipitates, prevents her from sleeping soundly and her famous soliloquy while sleepwalking reveals how much their actions are weighing on her. Unlike her husband, she is eventually overwhelmed by her guilt and commits suicide.

Ian Hopps gives an intense performance as Macduff, the thane of Fife, who discovers the murder of the King, particularly when he learns of his family’s murder. It is he who ultimately kills Macbeth, yet acts not out of revenge, but to save Scotland from destruction.

Meagher returns as Lady Macduff, on stage just long enough to get murdered in a revenge killing.

Special note should be made of sixth-grader Sebi Fernandez, in his first year of STC’s Young Professionals Conservatory, for his performance as Fleance, son of Macduff, who suffers one of the best on-stage deaths I have seen in a long time. (Fernandez alternates in the role with Dakoda Jones.)

Macbeth’s buddy and companion is Banquo (Michael Jenkinson). When the witches prophesy that his children will one day be the kings of Scotland, it is enough to send Macbeth into a jealous rage and kill his friend, only to be haunted by his ghost as he begins his descent into madness.

As this play progresses, it is inevitable that comparisons will be made between the catastrophe that is the Macbeth reign and the current problems in our own country — in fact, situations are so similar in places that they evoked laughter in the audience. At least here (so far) the problems are not solved by murder.

Sacramento Theatre Company has given us a not-surprising excellent production, continuing its commitment to bringing Shakespeare to a new generation of theatergoers.

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.

One Man, Two Guvnors

Peter Story, left, who stars as Francis Henshall, and Amy Kelly,
who juggles multiple roles, perform in the hilarious
“One Man, Two Guvnors” on stage now at the B Street Theatre.
Rudy Meyers Photography/Courtesy photo

 The folks at the B Street Theatre picked the perfect vehicle to introduce patrons to their beautiful new theater, The Sofia (the Sofia Tsakopoulos Center for the Arts), on Capitol Avenue (there is a huge parking garage next door).

The first thing to notice about the expanded, 380-seat main theater is the size of the stage. Now with wings and fly space, scenic designer Samantha Reno was able to build huge walls that slide to the side, large backdrops that roll down and back up again, and pieces that fly in from the top to create an impressive, often-changing scene.

For the first show, Buck Busfield, producing artistic director/director, chose Richard Bean’s “One Man, Two Guvnors,” the insanely funny modern adaptation of Carlo Goldoni’s 18th-century Italian farce, “The Servant of Two Masters.” The show was a runaway hit for James Cordon when it opened in England in 2011.

In the pre-show greeting, Busfield explained to the audience that after last season’s “Who’s Afraid of Virginia Woolf,” the patrons complained that it made them think too much — and he promised they wouldn’t have to think at all to enjoy this comedy.

The show opens with music by a “Skiffle band” playing rockabilly songs composed by Grant Olding. The basic band is Jerry McGuire, Olivia Schaperjohn and Hunter Henrickson, with various members of the cast joining in as fillers during scene changes.

As for the cast, this is the perfect show to unite many of the old-time, familiar B Street regulars — Stephanie Altholz, Jason Kuykendall, Elisabeth Nunziato, Jahi Kearse, Kurt Johnson, Tara Sissom, Greg Alexander, John Lamb, Amy Kelly and Dave Pierini.

Leading them all is Peter Story as Francis Henshall, an out-of-work (and starving) skiffle player (musician) who finds himself employed by two different men, and must keep both from learning about the other.

Story is outstanding in a role that requires perfect comic timing, a flair for physical comedy, and a personality warm enough to make interaction with the audience a part of the show.

All of the others are at the top of their game, particularly Kuykendall, the nervous, not-overly-bright billionaire searching for his fiancée, Rachel, and Altholz, delightful as Rachel, pretending to be her murdered brother Roscoe.

Kelly plays several of the smaller roles, and also appears as part of the band. I am always impressed with the range of this actress’ talents, who, in this show, is particularly good at pratfalls. Lots of them.
As they say, hilarity ensues, including confusion with doors, food fights, dropped pants, police chases, mistaken identities and even bird poop.

The rapid-fire dialogue is crisp and comical, including the alliteration surrounding the letter “d”: “He was diagnosed with diarrhea but died of diabetes in Dagenham.”

Francis also delivers a very-funny monologue with himself about whether he is confused or not (“I don’t get confused that easily. Yes I do. I’m my own worst enemy. Stop being negative. I’m not being negative.”) that ends up with him fighting with himself. More pratfalls.

This splendidly silly modern masterpiece is two hours of non-stop laughing. I dare anyone to see it and not come out with a smile on their face.

Jersey Boys

From left, Corey Greenan, Tommaso Antico, Jonny Wexler and Chris Stevens
belt out a rendition of “Sherry” in the Broadway Sacramento production of
“Jersey Boys” on stage at the Community Center Theater through Feb. 4.
Joan Marcus/Courtesy photo

Those boys from New Jersey are back at the Sacramento Community Center Theater. “Jersey Boys,” the wildly popular story of Frankie Valli and the Four Seasons, has returned — and based on the nearly-sold-out house and enthusiastic reception, Sacramento is glad of it.

Whether you were raised in the 1950s, the 1960s or the 1970s, it’s hard to think there would be people who would not love this musical retelling of the story of The Four Seasons.

In its day, the group sold more than 100 million records and produced numerous hit songs (“Sherry,” “Big Girls Don’t Cry” and “Can’t Take My Eyes Off of You,” to name a few), many of which are performed in this show.

Before the “British Invasion,” American popular music was dominated by two groups: The Beach Boys and The Four Seasons. Unlike The Beatles, the Four Seasons (Tommy DeVito, Nick Massi, Bob Gaudio and Frankie Valli) came before paparazzi, and the group fell apart due to internal fighting and personal problems at the height of its popularity.

After they disappeared from the music scene, nobody cared about the background of a bunch of blue-collar Jersey guys from the streets until book writers Marshall Brickman and Rick Elice came along and realized there was plenty of drama in the story. Director Des McAnuff, a longtime Four Seasons fan, gave the project the green light for development and opening at his La Jolla Playhouse in 2004.
After its move to New York, the show was nominated for eight Tony Awards and won four, and achieved such popularity that some predicted it could run “for decades.”

The story is told from the perspective of each of the members separately. Corey Greenan is DeVito, the tough guy, organizer of the group, and the one who got into the most trouble. He was the guy who left first and forced a restructuring of the music.

Tommaso Antico is Gaudio, who wrote most of the music and whose friendship and business partnership with Valli, which lasted for more than 20 years, was based on a simple handshake.
Chris Stevens is Massi, bass guitarist, who did most of the vocal arrangements, but who burned out on touring and just wanted to go home.

At the head of the group, of course, was Valli (Jonny Wexler). Wexler’s falsetto delivery seems to my doddering memory to be spot on, and he far better represents the character than the actor who played him the last time the show came through town.

The Four Seasons went through a number of names, including the Four Lovers and the Variatones, but they settled on The Four Seasons, which was the name of the night club where they were currently appearing.

Wade Dooley is Bob Crewe, the astrology-loving producer-lyricist, and Todd DuBail is Gyp DeCarlo, the Mafia Don who takes a liking to Frankie.

McAnuff’s staging and the non-stop energy of the cast are infectious. The enormous set by Klara Zieglerova — a massive thing of metal catwalks, fences, curving staircases and screens that move in and out for cartoon-like illustrations and video clips — add to the “massive” feel of it all.

But in the end, it is the music and the relationship among the four that makes this show and gives it its irresistible appeal.

The Nether

In these days of #MeToo and horror stories of sexual misconduct, Capital Stage’s choice of Jennifer Haley’s “The Nether” is either perfect, or the worst choice ever, depending on your reaction to the play.

Literary manager Cathy Hardin warns that during the first three days of rehearsal, the most prominent words and phrases used by the cast were “wildly uncomfortable,” “rough” and “worried.”

The winner of seven Los Angeles Ovation Awards and the Susan Smith Blackburn Prize, “The Nether” is described by The Huffington Post as “dark, disturbing and extraordinary … a cold, hard look at human behavior.”

Reaction from two patrons after the show: “I hated it” and “I don’t know what I just saw, but I loved it.”

This is a show about which you can’t be neutral.

It would do a disservice to patrons to give too much away, since “discovery” is part of the experience, but the premise is that an admitted pedophile has created a virtual realm called The Hideaway, a Victorian setting where people with deviant sexual urges can satisfy them with virtual children, without injury to anyone in the real world.

Sims (Tim Kniffin), who runs The Hideaway, admits that he has “always been sick and there is no cure.” He then explains that “I have taken responsibility for my sickness. … The only way I can do this is because I’ve created a place where I can be myself.” He is being questioned by Morris, a female detective (Imani Mitchell) who is trying to find the location of Sims’ server so she can shut it down.

“Are you accusing me of creating pedophiles? If anything, I’m giving them a place to blow off steam,” Sims says.

“You foster a culture of legitimization, telling them their desires are not only acceptable, but commendable,” Morris replies.

That this production works so well is due to an exceptional cast. In addition to Kniffin and Mitchell, Graham Scott Green is Doyle, an older man who is a frequent visitor to The Hideaway (who is considering leaving the real world and moving permanently), and Jeb Burris, as Woodnut, a new guest.

Outstanding is Kylie Standley as Iris, the girl whose function is to interact with the guests. Standley’s Iris is a beautiful, vivacious 9-year-old android with a smile that lights up room, who longs for a birthday cake and loves to dance. She is also, we discover, in charge of what happens in her frilly pink-decorated bedroom.

Timothy McNamara is the scenic/lighting designer who has created two decidedly different worlds. In the “real” world, everyone dresses in grays and whites, the walls are gray, the furniture is gray, the lighting is muted. The only color is on the faces of the people living there.

When one crosses over into the Nether, there is a psychedelic multi-colored design on movable panels opening to reveal the brightly lit, colorful world of The Hideaway. We know immediately we aren’t in Kansas any more!

(Kudos also to the technicians who change the sets. They are as crisp as a dance troupe.)

“The Nether” is certain to provoke conversations. Is modern technology the answer? Can you excuse the criminal activity if no real person is hurt? Are the characters we would find abhorrent in this life sufficiently sympathetic that we can understand their attraction to The Hideaway as a way to keep from hurting people in the real world?

This is a provocative, powerful and deeply disturbing play, directed by Kirk Blackinton (new to Capital Stage), which explores the consequences of living out one’s private dreams.

Hardin suggests approaching the play with an open mind: “Instead of us deciding that something is right or wrong, why don’t we look at the motivations for why people do things, instead of just judging their actions,” she says.

The White Rose

Young activist Sophie Scholl (Michelle Monheit) is accused of distributing anti-Nazi pamphlets
and is interrogated by Anton Mahler (Grey Turner),
Bauer (Skye McIlraith) and police chief Robert Mohr (Gracelyn Watkins).
Courtesy photo

The White Rose was an organization of German students founded in Munich in 1942, with the goal of exposing Nazi crimes and injustices. They wrote and circulated some 15,000 leaflets over the next year and then in 1943, some of the students were arrested for distributing treasonous material. The students were held and interrogated for five days, and then executed.

“The White Rose” is a play by Lillian Garrett-Groag, directed by Emily Henderson and performed by a talented cast of Acme Theatre Company actors at the Pamela Trokanski Dance Theatre.

The play covers the arrest and interrogation of the students, mixed with flashbacks to the formation of the group, its growing passion, and increasing boldness in the name of nationalism.

When it debuted in New York in 1991, it was highly criticized by critics who felt it was overly dramatic and questioned its veracity. (“Fake news” as theater?) However, seen in the light of 2018, it perhaps takes on a bit more importance as we pay attention to the warnings it gives.

Acme has never shied away from asking difficult questions and giving the audience something to think about.

The program, for example, includes a helpful list of five early signs of fascism, which includes such things “Destruction of human rights,” “Controlled media” and “Corporate power being protected — when the rich or elite are voted into positions of power and then use the power granted to them to protect their assets.”

Director Henderson asks, “What do we do when each day brings a new erosion of democracy? What are we supposed to do now?”

She also asks, “What does it mean to be immersed in historical injustice and current inhumanity? To come of age under the reign of a delusional leader? How do personal faith, truth and honor operate when law and morality are in direct conflict? How do you proceed if your country becomes unrecognizable?”

She has a talented cast to try to answer such questions. There are eight characters in the play and two of the roles are double-cast, so 10 actors altogether bring the story of these students to life.
In the production I saw, Eleanor Richter played Sophie Scholl of the White Rose and Gracelyn Watkins was Robert Mohr, the police investigator who spends days trying to get her to confess to her crimes. These two are the heart of this play, Mohr wanting to save this young girl who is the age of his daughter, and Scholl, willing to give up her life to help save her country. Both actors are excellent and their final emotional interrogation scene is riveting.

Grey Turner is mesmerizing as Anton Mahler, the office Nazi intent on punishing the students in the extreme. The blond Turner is the perfect Aryan, with a growing sneer throughout the play and a “Heil Hitler” salute that is crisp every time. (It was nice seeing Turner in the talk-back at the end of the show as a normal, appealing young man and not the unlikable Nazi!)

Others in the show include Cory McCutcheon as Sophie’s brother Hans, Dezla Dawkins, Kieran Cubbage and Sophie Nachmanoff as the rest of the White Rose cohorts arrested, and Skye McIlraith as the guard who sits outside Mohr’s office and escorts the prisoners to and from their cells.
Michelle Monheit shares the role of Sophie with Richter and Garnet Phinney shares the role of Mohr with Watkins.

This is a play that should be seen by more people than I fear it will be. It has a message that is delivered powerfully and it leaves the audience with many things to think about as they watch what patriotic students would sacrifice to save the soul of their country.

Be sure to check out the lobby before or after the show to see the photos and read the bios of the real students whose story this play tells.

Musical of Musicals

David Taylor Gomes, Michael RJ Campbell, Kelly Ann Dunn
and Brad Bong perform in Sacramento Theatre Company’s
“The Musical of Musicals: The Musical!”
Charr Crail Photography/Courtesy photo

 

 

Anyone who has ever written song parodies knows how difficult it can be. To write lyric parodies and melody parodies is downright brilliant, so Eric Rockwell and Joanne Bogart may be real musical geniuses.

“The Musical of Musicals (The Musical!)” is making a return appearance on Sacramento Theatre Company’s Pollock Stage and is every bit as amusing and entertaining as it was when it first played here in 2011.

David Taylor Gomes acts as narrator and accompanist and explains to the audience that their beloved theater is about to be torn down because the actors can’t pay the rent. He begs the mean landlord (an offstage voice) to let them produce one more show and he’s certain they can pay the rent. Reluctantly, the landlord agrees and Gomes promises they can write a blockbuster.

The group then presents five possibilities: one in the style of Rodgers and Hammerstein (“Corn”), one in the style of Andrew Lloyd Webber (“Aspects of Junita”), one in the style of Jerry Herman (“Dear Abby”), one in the style of Stephen Sondheim (“A Little Complex” — “nobody understands Sondheim”) and one in the style of Kander and Ebb (“Speakeasy”).

All five musicals have the same plot, a heroine (Kelly Ann Dunn) named either June, Junita, Junie Faye or Juny, who can’t pay the rent, and a sinister landlord (Michael RJ Campbell), who will have his way with her if she can’t pay the rent.

Then there is the hero (Brad Bong) who will save her and the older diva (Martha Omiyo Kight), who will deliver the epic advice song to help the heroine make the right decision.

While all performers are excellent, Dunn is particularly noteworthy for her ability to sing several musical styles, from the corny Rodgers and Hammerstein to the more operatic Lloyd Webber — and sound authentic in each genre.

What makes it all work is that the writers of this show not only understand each of the styles they are parodying, but they obviously respect them and love poking fun at them.

“Corn,” for example takes “Oklahoma” as its base (“Oh What Beautiful Corn”) but then tosses in shows like “Carousel” (there’s even a salute to clam dip), “South Pacific,” “The King and I” and others.

“Big Willie” sings a salute to corn in which he tell us that a lark learning to pray needs to be carefully taught, and later on that milking cows will leave him with a pound and a half of cream upon his face. He also, when unsure about things, tells us that they’re a puzzlement. Mother Abby sings “Follow Your Dream,” to encourage June to make her own decision.

In “Aspects of Junita,” Junita repeatedly sings “I’ve heard this song before,” a reference to the repetitive nature of many of Lloyd Webber’s musicals. The villain also becomes Sir Phantom Jitter, an opera impresario who wants Junita to sing one of his operas (She: You wrote it yourself? He: Do you know opera? She: No. He: Yes, I wrote it myself.)

“Dear Abby” is a salute to all those Herman heroines, like Dolly, Mame or Albin from “La Cage aux Folles” (Jitter is told to put some more mascara on), while the pianist explains that the audience wildly applauds before they’ve done anything.

The section on Sondheim (“It’s Complex”) takes place in an apartment complex called “The Woods.” There is a lot of “Sweeney Todd” and “Sunday in the Park with George” about this piece.

The show closes with a salute to Kander and Ebb, which not only includes their famous musicals (“Cabaret” and “Chicago”) but also “Liza with a Z,” written for Liza Minnelli, transformed into “Julia with a J.”

With direction by Michael Laun and choreography by Michael Jenkinson, this becomes an evening of sparkling entertainment sure to appeal to any musical theater fan.

Spamalot

“Monty Python and the Holy Grail” was a hit movie in 1975. In 2005, a musical was adapted for the stage by Eric Idle and was a Tony Award winner. Now it is entertaining Davis Musical Theatre Company audiences.

I will confess my deep, dark secret: I’m not a Monty Python fan, though I had seen the odd bits here and there and one or two of the movies. But I had not seen “Holy Grail” nor had I memorized lots of favorite skits from the 45 television episodes. So I missed a lot of the “in jokes” in this musical.
Still, even for someone like me, this production has enough cheap shots, fart jokes and low-brow humor in it to make it an enjoyable two hours of nonsense.

The Historian (Steven O’Shea) sets the scene, giving a brief overview of medieval England with the precision of a weatherman, recounting where in the country there was plague (“a 50 percent chance of pestilence and famine coming out of the northeast at 12 miles per hour.”)

Following his announcement that this is “England,” the stage is, of course, filled with brightly costumed dancers singing about Finland and hitting each other with fish in the delightful “Finland/Fisch Schlapping Dance,” until the Historian reminds them that it is England, whereupon they leave the stage, disappointed, followed by a somber line of monks chanting in Latin.

The real story begins with the entrance of Arthur (Scott Minor), who announces his search for knights for his Round Table, with the assistance of sidekick Patsy (Tomas Eredia) and sets off on his quest, encountering ridiculous setbacks along the way, riding nonexistent horses and using coconuts to make the noise of the clopping hoofbeats.

Minor and Eredia make a wonderful pair, with Minor ineptly regal while Eredia is irresistible with his facial asides to the audience.

The duo encounter Lancelot (Quintin Casl) and Sir Robin (Andy Hyun), who is collecting bodies of the dead. They encounter the sickly Fred (O’Shea) and attempt to add him to the heap of bodies. When he insists he’s “Not Dead Yet,” they help him die to get rid of him so the two men can join Arthur’s knights.

Marci Maxey is a lovely Lady of the Lake, who gave Arthur his sword Excalibur, and just gets more beautiful as the show moves forward.

Python fans will be happy to note that the show includes a lot of familiar Python gags, like the Knights of Ni (led by O’Shea — his third role in this show!), and the killer rabbit.

A show highlight is “You Won’t Succeed on Broadway,” sung by Arthur, Patsy and Robin, explaining that you need Jews for a successful Broadway musical, following which there is a wild production number filled with “Fiddler on the Roof” parodies, including a bottle dance with Grails instead of bottles.

All ends with a community sing of “Always Look on the Bright Side of Life,” and chuckles continue as the audience shuffles out into the parking lot.

Something Rotten

 

It is fair to say that “Something Rotten,” currently at the Sacramento Community Center, is the funniest show you will see all year (and this includes a year in which “Book of Mormon” is also included).

This hilarious musical, written by brothers Karey and Wayne Kirkpatrick, with John O’Farrell’s assistance on the book, is, at its heart, an homage not only to William Shakespeare, but also to just about every Broadway musical ever written.

I would also add, as an aside, that this may be the first musical I have attended at the Community Center where there was absolutely no difficulty understanding the actors on stage.

The story follows the Bottom brothers, Nick and Nigel (Rob McClure and Josh Grisetti), playwrights in Renaissance England (“Welcome to the Renaissance” is a wonderful opening number led by the Minstrel, Nick Rashad Burroughs).

The brothers are determined to make a name in show biz, but they keep being overshadowed by that rock star William Shakespeare (Adam Pascal), who sneaks looks at Nigel’s notebook and steals all his best ideas.

Nick is married to Bea (Maggie Lakis) a Renaissance feminist who is incensed about the inequality of women and determined to prove that a woman can do anything a man can do (“Right Hand Man”).
Frustrated by Shakespeare’s popularity (“I Hate Shakespeare”), Nick grumbles about how “a mediocre actor from a measly little town is suddenly the brightest jewel in England’s royal crown.”

He takes the family savings and hires a soothsayer (Blake Hammond) to learn what the next big thing in entertainment will be — and what Shakespeare’s next project will be.

Nostradamus, the soothsayer, tells him he should write a musical, where a character, for no reason whatsoever, will suddenly break into song, which audiences will love because it’s easier to understand than iambic pentameter. Musicals are unheard of at the time and will guarantee an audience lining up to get into the theater, Nostradamus predicts. “A Musical” is by far the hit number of the show and earns a lengthy standing ovation from the audience.

Nostradamus also struggles to understand what Shakespeare’s next play will be about but misunderstands it and only knows it is “something Danish,” so Nick and Nigel set out to write the first breakfast musical, “Omelette.”

Having lost their backer, who thinks they are crazy, they agree to accept help from the moneylender, Shylock (Jeff Brooks), a Jewish man whose dream is to be in theater, though it is forbidden for Jews to participate.

There has to be a love angle and Nigel falls in love with the poetry-loving Portia (Autumn Hurlbert), whose father, Brother Jeremiah (Scott Cote), a puritan preacher, is determined to shut down all theater (but who seems to be inordinately interested in the men involved …). Portia encourages Nigel to be true to himself.

This is a comedy which is rife with bad puns, gay jokes and phallic humor, though on a much milder (and possibly funnier) level than “The Book of Mormon.”

It is a thoroughly delightful evening that left the audience laughing even after the curtain came down. A must-see for Shakespeare fans and musical comedy fans alike.

Miss Bennet: Christmas at Pemberley

From left, Sarah Brazier, Brittni Barger
and Elyse Sharp perform in the
Capital Stage production of
“Miss Bennet: Christmas at Pemberley,”
on stage through Dec. 30.
Charr Crail/Courtesy photo

Attention, Jane Austen fans: Capital Stage has a wonderful Christmas gift for you. “Miss Bennet: Christmas at Pemberley” by Lauren Gunderson and Margot Melcon is a sequel to “Pride and Prejudice,” and takes place two years after the book ends.

If you (like me) are not a Jane Austen fan, not to worry — this delightful comedy-drama featuring four of the five Bennet sisters coming together to celebrate Christmas is just as delightful. There are probably a lot of nuances and back story bits that pass you by, but you’ll never know it.

This show centers on Mary (Elyse Sharp), the middle Bennet sister who, some say, gets short shrift in the book because of her “pedantic air and conceited manner.” At 20, she’s a spinster and a bookworm. She is more interested in learning and longs for a bigger life outside the societal expectations of 18th-century women. She is uninterested in the frivolous romantic adventures of her sisters.

Sister Elizabeth Darcy (Brittni Barger), now married to hunky Mr. Darcy (J.R. Yancher, a Davis resident), is the mistress of Pemberley, the Darcy estate. The gorgeous set designed by Eric Broadwater is dominated by a real Christmas tree, which will be decorated throughout the evening. It is a novelty for all the others, as the indoor Christmas tree is just beginning to be the fashion in Germany.

The Bingleys arrive — the very-pregnant sister Jane (Andrea J. Love) and husband Charles (Kevin Gish). Jane is “the sweet one” and does her best to calm people down when things threaten to get out of hand.

The last sister, Lydia (Sarah Brazier) arrives without her husband, who was “detained in Bath,” she explains. Lydia is self-absorbed and flirtatious. Brazier gives a very energetic performance that is perhaps a tad too loud, but definitely obnoxious.

She sets her sights on Arthur de Bourgh (Aaron Kitchin), Mr. Darcy’s cousin, who recently inherited a large estate and has no idea what to do with it. He is there to celebrate the holidays, but as he is a loner who prefers books to people, he definitely feels out of place and more than a little overwhelmed with Lydia’s attentions.

Though the plot is predictable — how two shy bookworms find the courage to admit their attraction to each other, amid all the chaos around them — getting there is half the fun, and director Peter Mohrman has kept the pace swift and the dialog crisp.

Things are further complicated by the arrival of Anne deBourgh (Lyndsy Kail), who announces that she is Arthur’s fiancée (a surprise to him).

Though the actors gave uniformly excellent performances, my heart went out to Kitchin’s Arthur and his awkwardness. Similarly, Gish’s Bingley, while perhaps the smallest role in the show, had such a look on his face — like he had a fun joke that only he knows. It was quite appealing.

Sharp’s Mary was cold and controlled, but with a desire she had not dealt with before just below the surface. Watching both her and Arthur struggling with unfamiliar feelings was very sweet.
In the end, the love that the women have for each other overshadows all difficulties and it shines as brightly as the now-decorated Christmas tree.

“Miss Bennet” is a nice, unusual Christmas story, which I hope will become a staple in years to come. It’s fun to see something different for a change!

A Christmas Carol

Matt K. Miller as Ebenezer Scrooge and Gregg Koski as the ghost of Jacob Marley
perform in Sacramento Theatre Company's 2017 production of “A Christmas Carol.”
Charr Crail Photography/Courtesy photo

It is difficult to imagine a Sacramento Theatre Company production of ‘A Christmas Carol’ without Matt K. Miller as Scrooge. Performing the role for the sixth time, he is the stingiest, meanest, grinchiest Scrooge there ever was — but after his reformation, his child-like enthusiasm for having not missed Christmas after all is infectious and never fails to bring a tear every time I see it.

This musical version of the Dickens classic, directed by Michael Laun and Michael Jenkinson, is celebrating its 30th anniversary, and returns to the STC stage after a five-year absence. Sacramento Theatre Company commissioned this musical by Richard Hellesen and David de Berry in 1987. Since then, the work has been widely performed, with perennial productions in Rochester, N.Y.; Denver; Dallas; Baton Rouge, La.; and Phoenix; among other communities.

Greg Coffin modernized the music a few years ago, and re-orchestrated the soundtrack for the 25th anniversary production. (The orchestration is recorded; no live orchestra was used … but you’d never know it.)

This is a pleasant musical with tunes that might not be memorable, but are thoroughly enjoyable. There are 35 actors mentioned in the biography, but many roles are double-cast to allow more of STC’s Young Professional’s Conservatory program to appear on stage.

Miller’s real-life son, Max Miller, for example, appears as Tiny Tim, alternating with Miller Traum. Max made his stage debut in this role five years ago, at age 4, and is now a seasoned professional.
The set by Renee Degarmo and Jarrod Bodensteiner is a wonder, with large pieces that roll or rotate while actors walk across them, telling the Dickens story and morphing into the characters singing the songs about the story.

That it works without a hitch is a miracle, though there was a slight problem that stopped the show cold for several minutes the night we went. The actors left the stage and the audience went into the lobby, and when the problem was fixed, all returned and the actors continued as if nothing had happened.

Michael Jenkinson plays Scrooge’s long-suffering clerk, Bob Cratchit, who must endure the conditions under which he works because he has a family of six at home — his wife (Aviva Pressman) and five children, including Tiny Tim (a good performance by Traum, whose “God bless us every one” rang out clearly).

Despite the hardships of his job, Cratchit maintains a happy disposition and greets Scrooge’s ebullient nephew Fred (David Weidoff) with good wishes for the coming holiday, though Scrooge growls and sends his beloved sister’s only child away.

Dominique Lawson and Jake Mahler are the two subscription gentlemen, soliciting funds for the poor. Their reaction at the end of the show when Scrooge reveals the contribution he wants to make to atone for many years when he did not contribute is perfect.

Gregg Koski is the chain-wearing ghost of Scrooge’s old partner, Jacob Marley, returning to Earth to warn Scrooge of what is in store for him if he does not begin to mend his ways. His interpretation is perhaps more befitting a Halloween spook than a Christmas specter, but he puts his whole soul into it.
As promised, Scrooge is visited by three spirits. The first, the Ghost of Christmas Past (eighth-grader Sarah Arata in her first Main Stage production, alternating with 14-year-old Fiona Gillogly) leads Scrooge through the happy memories of his past where he sees himself as a child (Ian Kennedy, alternating with Sebastian Fernandez), and, first, apprentice and then young man (Will Block), who definitely shows the beginnings of the cold, unfeeling Scrooge that he will become in later life.
Scrooge enjoys reliving the festivities at the shop of his jolly employer Fezziweg (Jake Mahler), who shows how happy he can make his employees with not much money at all.

Scrooge then sees the sad change when money became all important to him, ruining his relationship with the love of his life, Belle (Tyler Traum). Hints of regret begin to tug at his conscience.

Jake Mahler returns as the exuberant Ghost of Christmas Present, showing Scrooge the reality of life in the present.

I have seen this show many, many times and have never been as affected as I was this time listening to this ghost talk about the children of want and ignorance: “This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased.”

It has always seemed just a part of the script for me, but sadly in this day and age, with education programs and children’s welfare in danger, it seemed more prophetic.

By the time of the Ghost of Christmas Yet to Come (Zane Boyer) arrives, Scrooge is ready to atone for his past sins and lead a good, blameless life.

Sacramento Theatre Company’s “A Christmas Carol” is a long-standing holiday favorite and it is wonderful to see it back on the STC stage again. It’s the Christmas show that everyone should see, at least once.

Scrooge (Matt K. Miller) celebrates his new found outlook on life with Bob Cratachit (Michael Jenkinson) 
and Tiny Tim (Max Miller) in Sacramento Theatre Company's production of "A Christmas Carol."
Kelly Christoffersen/Courtesy photo

A Christmas Miracle

This was a feature article:

 

That Tom Fay is alive today is literally a Christmas miracle.

Fay was a familiar figure in the Davis music scene back in the 1980s, when his band, The Rhythm Kings, played many of the venues in town. They also played Picnic Day, and even performed for the reopening of the Varsity Theater as a concert venue.

One night in the early 1990s, Fay had a dream that eventually would save his life. He awoke at 3 a.m. with a song in his head — complete with music and lyrics — and he grabbed a pad of paper to write it down. The song was “The Santa Rhumba.”

In 1994, Dave Whitaker of Sacramento’s Studio Z wanted to raise money for AIDS. He gathered several popular local bands to produce a compilation album, “Believe: a Holiday Wish.”

Musician Tom Fay points out a poster advertising a benefit concert Tuesday, Dec. 12, at which he and other local musicians will perform. Courtesy photo

When funding became a problem, Fay made some phone calls and was able to get the necessary money to make the CD, which would feature “The Santa Rhumba.” There was a CD-release concert and the album raised $14,000. All proceeds went to the Sacramento AIDS Foundation.

Fay decided that holiday concerts to raise funds for charity were a good idea, and he continued to stage annual concerts for organizations such as CARES, the Sacramento’s Children’s Home and Boys and Girls clubs. The “Santa Rhumba” was always a popular part of the concerts.

In November of 2014, the 72-year-old Fay had a debilitating stroke, which left him with a feeding tube and a walker. The doctors believed he had reached his maximum possible recovery. “It was the bleakest Christmas I’d ever known,” Fay recalled.

But then, when he was watching “Good Day Sacramento” on Channel 31, announcer Mark S. Allen announced that he’d just heard this “really cool” song that was No. 12 on the Sirius Radio top 100 of alternative Christmas hits. Then he played “The Santa Rhumba.”

Fay called the TV station and confessed it was his band and his song. Allen was excited and said that if Fay could get himself into good enough shape by the following Christmas, he was invited to perform “The Santa Rhumba” on the show.

Fay took that as a challenge. He and his wife Cottie Johnson searched for alternatives to the liquid he had been receiving through his stomach tube and found an organic substance called “Liquid Hope,” which sounded promising. He began to feel better and eventually was able to remove the tube.
After months of physical therapy, he was able to throw away the walker and, in December 2015, he did indeed perform “The Santa Rhumba” on Sacramento television.

Now he has joined with Lawsuit’s Ned Sykes to produce the 2017 charitable concert. Craig Ashton of the law firm of Ashton and Price is the generous sponsor.

They have chosen the Front Street Animal Shelter as this year’s recipient of funds.

“We went back and forth. There are lots of benefits going on around the holidays,” Fay explained. “I thought animals really need help around Christmastime. The field gets a little crowded.”
He thought especially of the animals affected by the recent Northern California wildfires.

The concert will take place from 5 to 9 p.m. Tuesday, Dec. 12, at Harlow’s, 2708 J St. in Sacramento. Bands joining Fay and The Rhythm Kings are Preoccupied Pipers, a Davis band featuring former members of the 1990s ska band Lawsuit; The Hucklebucks, Sacramento jump blues legends; Todd Morgan & The Emblems.

Jimi Morris of Mercy Me! Band will make a special guest appearance at 5:45 p.m. Doors will open at 5 p.m. for DJ music with Harley White Jr.

And Tom Fay will perform “The Santa Rhumba,” the song that saved his life and got him back on the stage.

From 5 to 6 p.m., representatives of the Front Street Animal Shelter will be out in front of Harlow’s with adoptable dogs and puppies, weather permitting.

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.

Wizard of Oz

Despite the slow pace and the interminable set changes, I had more fun at the Winters Theatre Company’s production of “The Wizard of Oz,” directed by Anita Ahuja than I have had in a long time.

For starters there is perhaps the largest cast I have seen on the Winters stage (more than 30), including the Munchkin Hinojosa brothers, one of whom was a baby in a carrier, and the other a toddler, who had us all laughing when he escaped and ran off the stage.

Another favorite was Tibby Williams, as Toto, who had more on-stage time than most Totos do, and who, other than a few unexpected barks, was surprisingly good, though you could tell when the members of her real family came on stage in costume because her tail would wag furiously.

Alexis Velasquez was a perhaps too tall Dorothy, though she had that wide-eyed wonder one expects from a girl whose house has swirled through the air and landed her in a strange land. She also had a beautiful clear voice.

There must be something about putting a bizarre costume on an actor to bring out the best in them.  A case in point was Eleanor Yeatman, as Miss Gulch and the Wicked Witch.  Paint a girl’s face green and watch her eat the scenery.  She was absolutely marvelous.

(Yeatman is also credited as Assistant Director, set construction, costumes and props!)

Likewise, this may have been the best performance I have seen by Jim Hewlett as the Scarecrow.  He was completely comfortable in his wobbly body and became a great friend to Dorothy.

Robert Williams (from Tibby’s family) was a wonderful Cowardly Lion and even offered a pretty credible Bert Lahr during his “If I were king of the forest.”

A find for Winters was Loren Skinner, in his first ever theatrical performance, as the Tin Man.  He had the kind of voice that makes you sit up and wonder “where has this guy BEEN all these years?”  I hope we will see more of him on the Winters stage.

Elizabeth Williams was a younger than expected Glinda, the Witch of the North, but she was warm and wise in helping Dorothy when she needed help.

(Rounding out the Williams family was Jason Williams as Nikko, the Monkey Commander, who was a credible slightly evil sidekick to the witch, and also one of the mean apple trees.)

In lesser roles, Debra DeAngelo made the most of Auntie Em, a strict, no-nonsense farm woman, whose warm side shines through when she insists the farm hands have cookies so they don’t have to work on an empty stomach.  Her best, though, was her appearance inside a big glass globe while Dorothy is locked in the witch’s castle.    

[picky aside: Dorothy refers to her consistently as “Aunt Em” instead of ”Auntie Em,” which grated on my nerves until the end of the show when she finally called her Auntie.]

Jesse Akers was fine in the small role of the gruff Uncle Henry,

Tom Rost was a professorial Professor Marvel, and the Wizard.  He was wise in dealing with run-away Dorothy, and with granting the wishes of Dorothy’s three companions.

The young actors playing Munchkin, Lullaby League, and Lollipop Guild were well rehearsed, disciplined and sang well, as well as being very cute.  Josh Masem and Kenneth Matheson were notable as the Mayor and Coroner, respectively.

Ahuja decided to add back the Jitterbug, a number which had been cut from the movie and the dancers, Mikenzie Hapworth Eldridge, Elizabeth Williams, Julia Berrelleza, Christian Duran, Manny Lanzaro and Kenneth Matheson made fun work of the bugs dancing around.

The set for most of Oz (designed by Gary Schroeder) was pretty minimal, but there was a nice, solid farm house for the Gale family and a great storm cellar for protection from the approaching storm.  A nice touch was the lantern on the house porch, which swung wildly in the wind, without visible help from anyone.

It was a full house for opening night and we all had a wonderful time.  This was the first in-theater production since the death of co-founder Howard Hupe, whose presence was missed, and who was honored briefly before the start of the show.

Moving Day

From left, Tim Liu, Stephanie Altholz and
Kurt Johnson perform in B Street Theatre's
production of “A Moving Day.”
Rudy Meyers Photography/Courtesy photo

It is deliciously ironic that the very last production to be presented at the current B Street Theatre location — before the company’s move to its new digs, “The Sofia,” at 27th Street and Capitol Avenue, at the end of the year — is a play called “A Moving Day,” by Dave Pierini and Buck Busfield.
(“Dave did the writing; I fixed the commas,” Busfield joked.)

Though it’s barely past Halloween, this is another B Street original Christmas production, a 23-year old tradition. The company is going out with a bang with this funny, yet moving story, which finds its inspiration in the tradition of “moving day” in Canada, the date on which most residential leases begin. By the city’s estimate, about 115,000 of Montreal’s 1.6 million residents relocate every July.

The day before moving day, all previous leases end and occupants must be out of their homes, or face confrontation with the police. “Moving day” also became common in places like New York and Ohio.

And so the play “A Moving Day” is set in Cleveland where two movers, Frank (Kurt Johnson) and Casey (Tim Liu), are packing up a house while engaging in a spirited discussion about Casey’s unsuccessful love life. Their conversation is interrupted now and then by phone calls from Frank’s wife, who has just left Frank to live with her sister, but is willing to get together with him to discuss things, if he can make it to a certain location at a certain time.

As the movers are about to remove the second stack of boxes, they are surprised by the appearance of Patrick (Greg Alexander), who has apparently been upstairs, and announces that this used to be his house and he needs to postpone the moving for one more day until he can search the house for something special he left behind. Though he has not lived in the house for many years, it is still his family home.

While Frank and Casey attempt to remain uninvolved, Patrick’s arguments become very persuasive and they have to force themselves to continue moving boxes.

When only Casey is on stage, a young girl, who calls herself Mouse (Stephanie Altholz), wanders in. She is apparently homeless and also has been crashing in the house; she hopes they will postpone the move.

Patrick and Mouse work together to tear the house apart looking for the missing object that Patrick associates with his late sister and that has great sentimental value for him.

Jamie Jones makes a brief walk-on appearance (perhaps so the actress can appear in B Street’s last production in the old theater) as Frank’s wife.

As Patrick settles in more firmly, determined to have one last Christmas in his family home, and the movers’ resolve wavers, the audience waits to see how it’s all going to play out, perhaps not suspecting the clever twist in the plot.

With the caliber of actors in this play, most B Street regulars, it can’t help but be outstanding. Tim Liu appears to be new to B Street, but he is excellent as the anguished Casey, having been rejected (“ghosted,” as he puts it) by so many other women, trying to make his case with Mouse.


This is a comedy with warm dramatic overtones and sets the stage for the upcoming holiday season — though playing Christmas carols in the lobby before Thanksgiving is a bit unsettling.

Gibraltar

Jennifer Vega stars as Amy in “Gibraltar,” presented by the UC Davis department of theater and dance.
The show continues Thursday, Friday and Saturday. Nicholas Yoon/UC Davis/Courtesy photo

UCD’s historic Wyatt Pavilion is the location for a powerful play by Octavio Solis, directed by Kent Nicholson. “Gibraltar” explores the subject of grief and how we deal with it.

The first thing to notice on entering the theater is the attractive set, designed by John Iacovelli. The play is set in a San Francisco apartment — and as a San Francisco native, I appreciated the bay window with a window seat, something so ubiquitous in the city. (The design of the bay window is helped by the configuration of the pavilion stage.)

Artist Amy (Jennifer Vega) has just lost her husband, who drowned in San Francisco Bay, and her world is falling apart. She stands in her apartment with the enigmatic Palo (Benjamin Calleros), who is searching for his runaway wife.

The pair share stories about other couples’ troubled relationships that are played out in the dreamlike landscape of memory — an improbable reunion of an artist and a dock worker, the breakup of a policeman and his angry wife, a marriage irrevocably altered but not ended by Alzheimer’s disease. Each one has some connection to Amy’s past memory.

As they tell their stories, Amy and Palo struggle to confront their own losses.

But is Palo really who he claims to be? Director Nicholson, at the talk-back following the show, referred to the concept of the duende, a mythical creature from folklore, who frequently inhabits a house to either help or torment its inhabitants. Does Palo represent the duende sent to guide Amy through this rough time?

The supporting cast — Brandon Thomas, Victoria Casas, Anthony Castillon, Aubrey Schoeman, Charles Lavaroni and Heidi Masem — each gives a strong portrayal, with Thomas and Casas sadly tragic as the husband dealing with his wife’s Alzheimer’s.

“Octavio’s work represents the great cultural diversity of the Bay Area and the country,” Nicholson said. “By exploring the universality of love and death through multiple stories, and weaving them through a single narrative, ‘Gibraltar’ creates a new landscape for storytelling.”

There will be a talk-back following the Thursday performance.

Jesus Christ Superstar

“Jesus Christ Superstar,” the 1970 rock opera by Lord Andrew Lloyd Webber and Sir Tim Rice, holds a special place in director Steve Isaacson’s heart. Isaacson’s Davis Musical Theater Company is now performing its third production, eight years after it was last performed.

The story is loosely based on the last week of Jesus’ life from just before the triumphant entry into Jerusalem and ending at the crucifixion. The story centers on the conflict between Jesus and Judas Iscariot, a story that is not told in the Bible.

You could not ask for a more authentic-looking Jesus than Nick Thompson (who played Judas in the 2009 production). You almost expected people in the audience to ask for his blessing.

But this is a stern, serious Jesus with little of the charisma that would show us why crowds were drawn to him. While he does not seem to have much of a change in mood, he’s at his best expressing his anguish at his upcoming suffering in the song “Gethsemane.”

Eddie Voyce is a marvelous Judas, tormented by “tormenters” Michele Stark-Burnett and Monica Parisi wherever he goes. Judas is increasingly upset that Jesus is starting to believe his own press and is getting too big for his toga.

Judas sees money spent unnecessarily that could go to the poor. He’s so upset that he goes to the Roman elite to turn Jesus in, but wants to be sure they know it’s for the best of all possible reasons:

“It’s taken me some time to work out what to do.
I weighed the whole thing out before I came to you.”

His anguish at being forced to sell his former friend for 30 pieces of silver is palpable.

A break-out performance in this production is Pablo Frias as Caiaphas. Though this is Frias’ first musical theater production, his booming basso voice and commanding presence make him the focus of any scene in which he appears.

Likewise, the old pro Gil Sebastian fully inhabits the character of Pontius Pilate, who tries so hard to get Jesus to talk, and who wants desperately to find a way to keep him from being put to death.

Rachael Sherman-Shockley, who made such an impression as Dr. Jekyll’s virtuous fiancée in “Dr. Jekyll and Mr. Hyde,” goes in the other direction, playing the woman of easy virtue, Mary Magdalene, who doesn’t know what to make of her attraction to this Jesus.

“I don’t see why he moves me
He’s a man. He’s just a man
And I’ve had so many men before
In very many ways
He’s just one more”

Her “I Don’t Know How to Love Him” may be the best-known of the songs from this opera and she gives it all the intensity that it needs.

Comic relief from the more serous action is offered by Quintin Casi as King Herod, dressed as a modern-day lounge singer, with scantily clad Charleston-dancing girls as back-up. It was a favorite moment in the show.

In lesser roles, Kara Wall shines as Annas; Leah Frazier, with the Anne Burrell Hair, is a strong Simon Zealotes; while Timothy Dimal gives a credible performance as Peter and Richard Kleeberg does double duty as both a priest and a Roman soldier.

The ensemble — from their opening “What’s the Buzz,” through the Palm Sunday “Hosanna,” to the “Crucifixion” finale — are all wonderful, whether apostles, followers or sick people looking for a miracle cure. Pamela Kay Lourentzos has done a marvelous job of choreography.

There are no sets to speak of, other than a few platforms on the otherwise bare stage. In fact, the only “set” piece is the crucifix at the end. The show does not demand a set but lighting designer Isaacson has created some inventive lighting designs.

DMTC once again has done Steve Isaacson proud with this latest production of “Jesus Christ Superstar.”

Beautiful

 

It was the late ’50s and rock and roll was in its heyday. Nobody had heard of The Beatles yet. A perky young girl named Carole Klein, whose mother wanted her to become a teacher, was passionate about writing songs and determined to sell one of her songs to Don Kirshner, of the Aldon Music publishing company.

The song sold and the career of Carole King (as she changed her name) was born.

“Beautiful — The Carole King Musical” tells the story of King’s career and her music in a manner similar to the wildly popular “Jersey Boys.” It’s mostly music from the ’50s and ’60s, familiar to many of the gray-hairs in the audience: “Will You Love Me Tomorrow” “Up on the Roof,” “One Fine Day,” etc. There’s just enough dialog to trace King’s story, but not enough to fill in the story gaps before the next song or song snippet starts.

To watch this musical and see the activity around the studio, you’d think that writing music and getting published was a piece o’cake, as the songs flow instantly and are immediately grabbed up to be recorded by one of the popular groups of the day, one even sung by King’s babysitter, Little Eva (Alexis Tidwell).

Sarah Bockel is a perky, upbeat Carole, madly in love with Gerry Goffin (Andrew Brewer), her husband and writing partner of many years. Together they produced several top hits of the 1960s, and two babies. In her heart, she really wanted the normalcy of suburbia with a husband and kids, which her husband begins to find stifling and boring.

When Goffin begins showing mental instability and infidelity and using drugs, the marriage falls apart and Carole is a single mother, on her own. But she’ll not count herself out.

“The girls deserve better,” she says, “…and so do I!” which brings a loud cheer from the audience.
Reluctantly, she agrees to do some live performances, and discovers that she’s good at it — and the performing career of Carole King is born. The show ends where it starts, at a grand piano on the stage at Carnegie Hall, with the release of King’s first album, “Tapestry.”

A parallel subplot concerns the hypochondriac but humorous Barry Mann (Jacob Heimer) and the feminist Cynthia Weil (Sarah Goeke), a competitive writing team (producing such songs as “You’ve Lost that Lovin’ Feeling”) who end up being their best friends. It takes years for Mann to convince Weil that marriage is not such a bad idea.

James Clow as Don Kirshner is always pushing both writing teams to do their best, but is understanding and supportive when problems arrive.

A fun bonus of this show are the familiar names from the ’60s: Neil Sedaka (John Michael Dias), The Drifters, The Shirelles and The Righteous Brothers — who must have studied videos of their respective groups, their look and sound is so similar to the original groups. (The Shirelles have an amazing costume change which will leave you agog.)

This show is a salute to female empowerment and how one woman can rise from the ashes of a painful relationship to the top of the charts, as she sings the powerful “You Make Me Feel Like a Natural Woman.”

Turning Corners

There are two more opportunities to see the Pamela Trokanski Dance Theatre’s 2017 fall concert, “Turning Corners.”

Eight dancers, ages 9 to 87, ask the question: “Have you ever gone walking, turned a corner, and found a whole new view before you?” It explores how looking at familiar things from a different perspective can have a profound impact on your life.

Each of the dancers has recorded memories of life-altering experiences in his or her life with dances, both solo and ensemble. Unlike previous Trokanski concerts that use a wide range of musical styles (from Pink Floyd to Mozart to Weird Al Yankovic), music for this concert by Jeff Russo and Zoe Keating all seems to have the same title, “Sleeping at Last,” so it’s difficult to differentiate between numbers.

The enjoyment of this delightful show actually starts before the music, with the tongue-in-cheek warnings about cell phones and crying babies, which is definitely different from what you will hear elsewhere.

The performers include members of the Pamela Trokanski Dance Theatre, the PTDT Apprentice Company and Third Stage, a multigenerational group.

To start things, 9-year-old Asher Habicht recalls his decision to become a vegan. Habicht, who has danced with Trokanski for a few years now, is a marvel. He has a couple of solos and is in every ensemble number. His dancing is as crisp, clean and synchronized as that of the adults around him.

Allegra Silberstein, 87, the first poet laureate of Davis, has been performing with Trokanski for many years. She recounted her first “turning corners” epiphany when discussing the dangers of communism with her college professor in the 1950s and her surprise when he contrasted communism to Catholicism.

Other dancers recall such issues as adapting to summer camp, the decision to move to New York, the decision of whether to switch majors and a very funny piece about driving (fear of turning left, so spending a lot of time plotting how to get somewhere using only right turns).

The dancers invite the audience to look at their lives upside-down and see what they discover — perhaps relating day-to-day activities with frustrating news out of Washington.

The athletic choreography is both lyrical and militaristic, flowing and funny — and one must notice how much boot sound one can get out of bare feet!


The piece, one act slightly under an hour in length, is a great bit of evening entertainment.