Playwright David Kirson's "La Bete," this week's offering of the Ghostlight Theatre Festival, had its premier in 1991 and won numerous awards in New York and London, including the New York Newsday/Oppenheimer Award, the Lawrence Olivier Award for Comedy of the Year, six Drama Desk Awards (including Best Play of 1991), and also received five Tony award nominations. It appears to be the sort of play that you either love or hate.
Written in the style of French playwright Moliere, this is a play written in iambic rhymed couplets, containing some absolutely marvelous, if unlikely, rhymes (e.g., "Zanzibar" with "too far.") Its purpose is to examine who dictates the standards of popular culture.
One gets a good feeling about the evening ahead from the moment of entering the Veteran's Memorial Theatre. Scenic designer Robert Frye and lighting designer Greg Wershing have combined to create the estate of Prince Conti, with marble staircases on either side of the stage, a circular tile floor (scrupulously being scrubbed by serving maid Eleanor van Hest), and marble busts on pillars, each one bathed by a special spotlight. The stage curtain has been swept up into a luxurious soft drape and the visual effect of the whole is lovely.
Van Hest is charming as she tiptoes around the stage, tripping over her skirt, and unable to speak, unless she can rhyme with the word "blue."
As the play begins, two members of the court's acting troupe, the leader Elomire (an anagram of "Moliere") and his second in command Bejart are complaining that, by royal decree, they will be forced to accept what they feel is a bad actor (Valere) as part of the troupe because he has written a ridiculous play which the Prince wants the troupe to perform.
( "Naught could induce me, save a Holy Writ,
To share the stage with that dull hypocrite!" says Elomire.)
Valere is bright, clever, egotistical and hopelessly self-centered. His entrance in Act I is followed by a rhymed monologue which must go on for 20 minutes.
("God bless the critics, in no uncertain terms.
They have the apple, showing us our worms.")
Isaac Woofter gives an inspired performance in the role of Valere. He swoops, he minces, he postures and he appears oblivious to the disapproval of his fellow actors. He leaves little for Elomire (Joe Sheehey) and Bejart (Adam Sartain) to do but watch and seethe, while he chews the scenery. Listening to Woofter's Valere, we get a feel for his style of low brow humor, and we see the disapproval of Elomire and Bejart and their dedication to more high-brow art.
In Act 2, we meet the rest of the players--Madeline, sister to Bejart (Amy Takeuchi), DeBrie (Sam Tanng), Catherine, his wife (Jessica Kitchens), Rene DePare (Ryan Williams) Marquise-Terese, his wife (Dana Snyder).
The Prince (Jason Oler) arrives, apparently excited about the addition of Valere to the troupe. He describes him as an "idiot savant" (to which Elomire replies "I half agree.").
Valere is allowed to perform his play, "The Parable of Two Boys from Cadiz" -- a play that charts the triumph of banality and bad taste over genuine wit and philosophy. Elomire is, not surprisingly, horrified.
Sheehey's Elomire shines in Act 2 as he rails against the corruption of an art he takes very seriously.
However, when the performing group is asked to choose between the high standards of Elomire and vulgar antics of Valere, the group goes for the cheap laughs and Valere has won.
Director Tom Burmester brings out strong performances from his cast, and has woven a tight knit production which moves at a fast pace, allowing for maximum enjoyment of the playwright's delicious use of language.
The lavish period costumes of Costume Designer Roxanne Femling create the feel of a 17th century French from head (with marvelous curled wigs) to toe (high heeled buckled shoes). The entire look is a visual delight.
La Bete may not be for younger audiences, as its humor may be a bit too sophisticated to hold their attention, but those who appreciate the humor of language will find this a very enjoyable evening.
Stars: 4
Monday, August 19, 2002
Friday, August 16, 2002
Oleanna
Imagine witnessing an auto accident. When the police begin questioning bystanders about what exactly happened, each eye witness has his or her own idea about the sequence of things, the reason why things happened the way they did, and who is to blame. The facts may, in fact all be true, but we each perceive the same situations or events in different ways, filtered through our own life experience.
This is basically the message of David Mamet's "Oleanna," the second presentation in the Ghost Light Theatre Festival, a month-long festival of dramatic art, which brings together the diverse work of many Yolo County artists.
This two person, 3-act play is directed by Tom Burmester and features Nino Mancuso as John, a professor and Jill Winternitz as Carol, his student. The play was written shortly after the Clarence Thomas-Anita Hill sexual harassment trial and was thus a timely view of the escalation of a charge of sexual harassment.
It's a war of words and differing perceptions between a college student and her professor which snowballs into accusations of sexual harassment. At its conclusion, there is no resolution of the truth.
The setting of the play is John's office and in the opening scene, Carol has come to her professor because she is having difficulty understanding his lectures and is in danger of failing the course. Carol is a very timid girl, clutching her notebook to her chest, trying desperately to understand the words of her pedantic professor, who is too distracted to give her more than token notice. He is distracted by thoughts of his impending tenure and constantly interrupted by telephone calls about a house he is in the process of buying.
The dialog is rapid-fire, with the characters constantly interrupting each other. Carol tries desperately to get her message across. John, however, never really hears what she is saying and talks down to her and finally adopts an almost paternalistic, patronizing attitude toward her. Carol perceives this to be sexually provocative.
In Act 2 we see quite a different Carol. No longer shy and timid, she has filed a complaint with the tenure committee, has acquired a group of sympathetic supporters who have bolstered her confidence. No longer is John an intimidating figure. The act is dominated by Carol.
"You're vile, exploitative, sexist and elitist," she says.
John's self-confidence begins to shatter as he realizes that he is in danger of losing what he has worked for his whole life.
By Act 3, John has lost his job. The tables have turned and it is John who is now begging for help from Carol. She lays out some demands which, if met, will result in her retracting her charges of attempted rape.
As the play draws to a close, there have been no conclusions, but perhaps a lot of points for later discussion about sexual harassment, the purpose of education, and individual subjective viewpoints.
Jill Winternitz does a marvelous job of taking Carol through the three scenes, from timid, frightened student, to strong, self-confident woman. Her clothes change into progressively more "powerful" outfits, her long hair gets swept up off of her face and in the third act, she wears bold, bright colors. Costume designer Roxanne Femling obviously understands the need for the visual complement to Carol's growing self-confidence.
Nino Mancuso has mastered Mamet's rapid-fire dialog and handles the role of a distracted professor with aplomb.
Both actors, under Burmester's direction, have woven a tight piece of theatre that is well worth seeing.
Patrons should be advised that there is smoking of non-tobacco cigarettes in one act, and some brief physical violence. The show continues August 23, 24 & 30 at 8pm and August 17 & 31 at 2pm.
This is basically the message of David Mamet's "Oleanna," the second presentation in the Ghost Light Theatre Festival, a month-long festival of dramatic art, which brings together the diverse work of many Yolo County artists.
This two person, 3-act play is directed by Tom Burmester and features Nino Mancuso as John, a professor and Jill Winternitz as Carol, his student. The play was written shortly after the Clarence Thomas-Anita Hill sexual harassment trial and was thus a timely view of the escalation of a charge of sexual harassment.
It's a war of words and differing perceptions between a college student and her professor which snowballs into accusations of sexual harassment. At its conclusion, there is no resolution of the truth.
The setting of the play is John's office and in the opening scene, Carol has come to her professor because she is having difficulty understanding his lectures and is in danger of failing the course. Carol is a very timid girl, clutching her notebook to her chest, trying desperately to understand the words of her pedantic professor, who is too distracted to give her more than token notice. He is distracted by thoughts of his impending tenure and constantly interrupted by telephone calls about a house he is in the process of buying.
The dialog is rapid-fire, with the characters constantly interrupting each other. Carol tries desperately to get her message across. John, however, never really hears what she is saying and talks down to her and finally adopts an almost paternalistic, patronizing attitude toward her. Carol perceives this to be sexually provocative.
In Act 2 we see quite a different Carol. No longer shy and timid, she has filed a complaint with the tenure committee, has acquired a group of sympathetic supporters who have bolstered her confidence. No longer is John an intimidating figure. The act is dominated by Carol.
"You're vile, exploitative, sexist and elitist," she says.
John's self-confidence begins to shatter as he realizes that he is in danger of losing what he has worked for his whole life.
By Act 3, John has lost his job. The tables have turned and it is John who is now begging for help from Carol. She lays out some demands which, if met, will result in her retracting her charges of attempted rape.
As the play draws to a close, there have been no conclusions, but perhaps a lot of points for later discussion about sexual harassment, the purpose of education, and individual subjective viewpoints.
Jill Winternitz does a marvelous job of taking Carol through the three scenes, from timid, frightened student, to strong, self-confident woman. Her clothes change into progressively more "powerful" outfits, her long hair gets swept up off of her face and in the third act, she wears bold, bright colors. Costume designer Roxanne Femling obviously understands the need for the visual complement to Carol's growing self-confidence.
Nino Mancuso has mastered Mamet's rapid-fire dialog and handles the role of a distracted professor with aplomb.
Both actors, under Burmester's direction, have woven a tight piece of theatre that is well worth seeing.
Patrons should be advised that there is smoking of non-tobacco cigarettes in one act, and some brief physical violence. The show continues August 23, 24 & 30 at 8pm and August 17 & 31 at 2pm.
Sunday, August 04, 2002
Cyrano de Bergerac
A cast of thousands (or so it seemed), a monumental set, enough on-stage food to feed Davis Community Meals for at least one night, wonderfully directed swordplay, and one very long nose.
This pretty well sums up Acme Theatre's opening night performance of Edmond Rostand's "Cyrano de Bergerac." "Acme's summer show is always a big production," writes director Dave Burmester. "It is a long-standing tradition that all those who audition for the summer production are cast."
Therein lies the strength--and the weakness--of this production. To dispose of the weaknesses quickly, with a cast this large (there are 50+ members in the cast and among them, they play120 different roles), the difference between the "seasoned performers" and the less experienced is quite apparent in a production where it seems everyone has lines to say.
This is a very wordy play, and it's a pity that far too many of the lines were rushed and/or spoken too softly to make it past the third row, if that far.
That said, let's concentrate on the strengths. For starters, Nick Herbert, in the title role, will leave you slack-jawed in amazement. It's not enough that this actor has a veritable encyclopedia of lines to memorize and delivers them flawlessly (at least to those without a script in hand--if he had any flubs, they were not apparent), but he acted the heck out of the part and brought tears by his death in the end. He well deserved the standing ovation he received.
The play is fictionalized account, based on a real 17th century French writer and playwright notorious for his many duels and escapades as well as a famous nose. There are duels aplenty in this production, and Burmester credits the expertise of one of Acme's newest members, Nick Bettencourt, for helping to choreograph the swordplay.
There is no opening curtain, so as the audience arrives, they are witness to characters wandering around on the enormous stage, designed by Steven Schmidt. "It is more impressive by the fact that six days before the show opened, the structure was a jumble of elements waiting on the scene dock for the stage to become available," says Burmester. A multi-level set, with the addition of tables or drapes or arches, it easily becomes a Paresian hotel, a pastry shop, a home, or even a convent. This is Schmidt's last year with Acme and he will be missed.
A play is about to begin at the Hotel de Borgone. The players are awaiting the arrival of the playwright, Cyrano. On the stage, pageboys are playing pranks, important people are looking important, musketeers play fight, while waiting for the entertainment to begin. We also meet the tavern-keeper, Ragueneau (a strong, sparkling performance to retiring Acme stalwart Chris Schmidt).
The lovely Roxanne is beautifully portrayed by Kathie German. Roxanne is the love interest of Christian (Brian Oglesby), a handsome young baron, come to Paris to join the army.
Unbeknownst to all save his confidante LeBret (Steven Schmidt), Cyrano is also hiding a secret love for Roxanne (his cousin), but his insecurities, and concern about his appearance, prevent him from speaking words of love to her.
When Roxanne confesses to Cyrano, her attraction for Christian and asks him to become the protector of the younger man, Cyrano agrees, out of his own unspoken love for Roxanne.
The meeting of the two prompts one of the more delightful moments of the script, where they trade quips about Cyrano's most prominent feature. However, Cyrano befriends the young man and, realizing that Christian is not gifted with words, agrees to help the young suitor court Roxanne.
In one of the most famous scenes from the play, Cyrano first whispers the words for Christian to speak to Roxanne, on her balcony, and then steps in and replaces the young man, standing in the shadows, to speak his own words of love for the girl, in Christian's name. The scene is both funny and touching, as Cyrano, having expressed with passion his own love and feelings, is left in the shadows while Christian, by force of Cyrano's words, wins the love of Roxanne. Cyrano then arranges for the couple to be married and in doing so annoys his other rival De Guiche (Jake Stoebel).
Immediately after the wedding, the regiment is sent to war against the Spaniards. Cyrano promises Roxanne that he will be certain that Christian writes to her from the front and, of course, he himself pens the letters, risking his life twice a day to post them to her.
When Christian is killed in battle, he dies with a farewell note to Roxanne in his pocket. The young widow enters a convent, where she spends the next two decades of her life, visited daily by Cyrano who never reveals to her the real author of the words she loved so much.
This is a monumental production, effectively staged by the ever-solid Acme Theatre Company. It is not without minor flaws, but the whole definitely outweighs any shortcomings.
This pretty well sums up Acme Theatre's opening night performance of Edmond Rostand's "Cyrano de Bergerac." "Acme's summer show is always a big production," writes director Dave Burmester. "It is a long-standing tradition that all those who audition for the summer production are cast."
Therein lies the strength--and the weakness--of this production. To dispose of the weaknesses quickly, with a cast this large (there are 50+ members in the cast and among them, they play120 different roles), the difference between the "seasoned performers" and the less experienced is quite apparent in a production where it seems everyone has lines to say.
This is a very wordy play, and it's a pity that far too many of the lines were rushed and/or spoken too softly to make it past the third row, if that far.
That said, let's concentrate on the strengths. For starters, Nick Herbert, in the title role, will leave you slack-jawed in amazement. It's not enough that this actor has a veritable encyclopedia of lines to memorize and delivers them flawlessly (at least to those without a script in hand--if he had any flubs, they were not apparent), but he acted the heck out of the part and brought tears by his death in the end. He well deserved the standing ovation he received.
The play is fictionalized account, based on a real 17th century French writer and playwright notorious for his many duels and escapades as well as a famous nose. There are duels aplenty in this production, and Burmester credits the expertise of one of Acme's newest members, Nick Bettencourt, for helping to choreograph the swordplay.
There is no opening curtain, so as the audience arrives, they are witness to characters wandering around on the enormous stage, designed by Steven Schmidt. "It is more impressive by the fact that six days before the show opened, the structure was a jumble of elements waiting on the scene dock for the stage to become available," says Burmester. A multi-level set, with the addition of tables or drapes or arches, it easily becomes a Paresian hotel, a pastry shop, a home, or even a convent. This is Schmidt's last year with Acme and he will be missed.
A play is about to begin at the Hotel de Borgone. The players are awaiting the arrival of the playwright, Cyrano. On the stage, pageboys are playing pranks, important people are looking important, musketeers play fight, while waiting for the entertainment to begin. We also meet the tavern-keeper, Ragueneau (a strong, sparkling performance to retiring Acme stalwart Chris Schmidt).
The lovely Roxanne is beautifully portrayed by Kathie German. Roxanne is the love interest of Christian (Brian Oglesby), a handsome young baron, come to Paris to join the army.
Unbeknownst to all save his confidante LeBret (Steven Schmidt), Cyrano is also hiding a secret love for Roxanne (his cousin), but his insecurities, and concern about his appearance, prevent him from speaking words of love to her.
When Roxanne confesses to Cyrano, her attraction for Christian and asks him to become the protector of the younger man, Cyrano agrees, out of his own unspoken love for Roxanne.
The meeting of the two prompts one of the more delightful moments of the script, where they trade quips about Cyrano's most prominent feature. However, Cyrano befriends the young man and, realizing that Christian is not gifted with words, agrees to help the young suitor court Roxanne.
In one of the most famous scenes from the play, Cyrano first whispers the words for Christian to speak to Roxanne, on her balcony, and then steps in and replaces the young man, standing in the shadows, to speak his own words of love for the girl, in Christian's name. The scene is both funny and touching, as Cyrano, having expressed with passion his own love and feelings, is left in the shadows while Christian, by force of Cyrano's words, wins the love of Roxanne. Cyrano then arranges for the couple to be married and in doing so annoys his other rival De Guiche (Jake Stoebel).
Immediately after the wedding, the regiment is sent to war against the Spaniards. Cyrano promises Roxanne that he will be certain that Christian writes to her from the front and, of course, he himself pens the letters, risking his life twice a day to post them to her.
When Christian is killed in battle, he dies with a farewell note to Roxanne in his pocket. The young widow enters a convent, where she spends the next two decades of her life, visited daily by Cyrano who never reveals to her the real author of the words she loved so much.
This is a monumental production, effectively staged by the ever-solid Acme Theatre Company. It is not without minor flaws, but the whole definitely outweighs any shortcomings.
Sunday, June 16, 2002
Sweeney Todd
Rape, kidnapping, murder, cannibalism.
Hardly the stuff of musical theatre.
And yet, out of these elements, Stephen Sondheim and Hugh Wheeler have created the highly powerful, popular musical, "Sweeney Todd," currently running at Davis Musical Theatre Company.
Based on a Victorian melodrama, this is the story of Benjamin Barker, a young, newly married barber who has set up his home and business in London. His beautiful young wife catches the eye of a lecherous local Judge, who has Barker sent off to a penal colony in Australia on a trumped up charge. He rapes the wife, and adopts their year old daughter.
When Barker returns to London, fifteen years later, it is under the new name of Sweeney Todd and he is bent on revenge. With the help of Mrs. Lovett, a tavern owner who bakes "the worst pies in London," he re–establishes himself as a barber and sets out to destroy his foes, one by one.
But how does one dispose of the bodies? Well, if you live over a bakery with a nice big oven, run by a woman who is hard up for meat for her pies, the answer seems logical. Mrs. Lovett soon becomes the toast of the town for her wonderful meat pies, and Sweeney Todd continues to supply her with fresh meat.
A barrel of laughs, no? Well, this isn't exactly a comedy but there are enough laughs in it to keep the audience awake.
Unfortunately, this is a very verbal show and a lot of plot exposition and some of the humor is lost by articulation difficulty with the chorus in particular. While they do a decent job, one could wish for more precision in diction.
This production, directed by Steve Isaacson, has some very strong points and some weaker ones. Heading the list of strong points are Patrick Stratton, a wonderful Sweeney Todd. Stratton's pain, anger, and angst are palpable. Without a strong Sweeney Todd, this is a show that goes nowhere.
Equally important is a strong Mrs. Lovett, and Lenore Sebastian more than fills the bill. She is a strong comedic presence and her duet with Todd, "A Little Priest" is particularly delightful.
Jason Stevens also gives a sincere performance as Anthony Hope, the sailor who has befrended Todd and who later falls in love with his daughter, Johanna (a lovely, sweet soprano of Pheonix [sic] Vaughn).
Carl Dvorcek in the small role of the rival barber, Pirelli, is a bit over the top, but handles the role well. His sidekick, Tobias Ragg (Seth Arnopole), however, suffered from projection difficulties and was very difficult to hear.
Others in the cast included Richard Spierto as Judge Turpin, Michael Campbell as the Beadle, and Megan O'Laughlin, the beggar woman, earning her living as a whore, whose secret is crucial to the play.
Sarah Bray has designed a wonderfully versatile set which rotates in all sorts of directions, and Isaacson has cleverly stationed chorus members, as street people at various places around the stairs and walls to hold the piece in place. It works very well.
The barber chair, originally designed by Walt Sykes, has been refurbished by Ben Wormeli and still works very well--how it works is probably best left a surprise.
There is a new fog machine and it's difficult to know what to say. While the effect is fine, it distracts from action on stage because it makes a whooshing sound whenever a puff of fog is emitted. Distribution is also a problem, since it seemed to concentrate in one point on the stage and eventually the fog got so thick that it totally engulfed the performers, making it briefly impossible to see them at all.
(Actors might also take note of the fact that dead bodies do not reposition themselves inside trunks!)
Mark Allen's lighting design creates a gloomy London and effectively sets the tone for the choir narration.
There is a seventeen piece orchestra playing for this show, which is amazing, given the small backstage quarters, but they do a fine job.
The show is not without its problems. (The tempo seemed a bit slow on opening night, but hopefully this will pick up as everyone settles into their roles.) However, in spite of the problems, it's a worthwhile show, defintely not for younger children, but for those with sophisticated tastes, it should provide an entertaining evening.
(One last note--real meat pies are sold in the lobby at intermission--order them before you go in for act 1--Steve Isaacson assures me that no real people were used in the filling.)
Hardly the stuff of musical theatre.
And yet, out of these elements, Stephen Sondheim and Hugh Wheeler have created the highly powerful, popular musical, "Sweeney Todd," currently running at Davis Musical Theatre Company.
Based on a Victorian melodrama, this is the story of Benjamin Barker, a young, newly married barber who has set up his home and business in London. His beautiful young wife catches the eye of a lecherous local Judge, who has Barker sent off to a penal colony in Australia on a trumped up charge. He rapes the wife, and adopts their year old daughter.
When Barker returns to London, fifteen years later, it is under the new name of Sweeney Todd and he is bent on revenge. With the help of Mrs. Lovett, a tavern owner who bakes "the worst pies in London," he re–establishes himself as a barber and sets out to destroy his foes, one by one.
But how does one dispose of the bodies? Well, if you live over a bakery with a nice big oven, run by a woman who is hard up for meat for her pies, the answer seems logical. Mrs. Lovett soon becomes the toast of the town for her wonderful meat pies, and Sweeney Todd continues to supply her with fresh meat.
A barrel of laughs, no? Well, this isn't exactly a comedy but there are enough laughs in it to keep the audience awake.
Unfortunately, this is a very verbal show and a lot of plot exposition and some of the humor is lost by articulation difficulty with the chorus in particular. While they do a decent job, one could wish for more precision in diction.
This production, directed by Steve Isaacson, has some very strong points and some weaker ones. Heading the list of strong points are Patrick Stratton, a wonderful Sweeney Todd. Stratton's pain, anger, and angst are palpable. Without a strong Sweeney Todd, this is a show that goes nowhere.
Equally important is a strong Mrs. Lovett, and Lenore Sebastian more than fills the bill. She is a strong comedic presence and her duet with Todd, "A Little Priest" is particularly delightful.
Jason Stevens also gives a sincere performance as Anthony Hope, the sailor who has befrended Todd and who later falls in love with his daughter, Johanna (a lovely, sweet soprano of Pheonix [sic] Vaughn).
Carl Dvorcek in the small role of the rival barber, Pirelli, is a bit over the top, but handles the role well. His sidekick, Tobias Ragg (Seth Arnopole), however, suffered from projection difficulties and was very difficult to hear.
Others in the cast included Richard Spierto as Judge Turpin, Michael Campbell as the Beadle, and Megan O'Laughlin, the beggar woman, earning her living as a whore, whose secret is crucial to the play.
Sarah Bray has designed a wonderfully versatile set which rotates in all sorts of directions, and Isaacson has cleverly stationed chorus members, as street people at various places around the stairs and walls to hold the piece in place. It works very well.
The barber chair, originally designed by Walt Sykes, has been refurbished by Ben Wormeli and still works very well--how it works is probably best left a surprise.
There is a new fog machine and it's difficult to know what to say. While the effect is fine, it distracts from action on stage because it makes a whooshing sound whenever a puff of fog is emitted. Distribution is also a problem, since it seemed to concentrate in one point on the stage and eventually the fog got so thick that it totally engulfed the performers, making it briefly impossible to see them at all.
(Actors might also take note of the fact that dead bodies do not reposition themselves inside trunks!)
Mark Allen's lighting design creates a gloomy London and effectively sets the tone for the choir narration.
There is a seventeen piece orchestra playing for this show, which is amazing, given the small backstage quarters, but they do a fine job.
The show is not without its problems. (The tempo seemed a bit slow on opening night, but hopefully this will pick up as everyone settles into their roles.) However, in spite of the problems, it's a worthwhile show, defintely not for younger children, but for those with sophisticated tastes, it should provide an entertaining evening.
(One last note--real meat pies are sold in the lobby at intermission--order them before you go in for act 1--Steve Isaacson assures me that no real people were used in the filling.)
Tuesday, May 28, 2002
Midsummer Night's Dream
The Department of Theatre and Dance's production of Shakeseare's "A Midsummer Night's Dream," which opened May 22 on the university's main stage, is loud and raucous and energetic. Even before the action officially begins, fairies appear, frolicking on the open stage. They give a hint of the fun and wimsey which will follow in Shakespeare's dreamlike venture into the world of magic.
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.
Directed by Peter Lichtenfels, Granada Artist-in-Residence (whose last outing at UCD was the controversial "Romeo and Juliet"), this production seems to be set in no specific time or location, as modern dress mixes with more traditional garb, but all somehow blending together to produce the fabric of the magical world in which all the characters interact.
Ammar Mahmood and Christine Lowery, as Thesius (the Duke of Athens) and Hippolita direct the events of the evening, with their request to Philostrate (Simon Zenon) to arrange entertainment for their upcoming nuptials.
Plans are interrupted by the arrival of Egeus (Kevin B. Lee), a nobleman asking for help in forcing his daughter Hermia (Cooky Nguyen) to marry Demetrius (Drew Hirshfield), the husband of his choosing, though she is in love with Lysander (Ryan Perkins-Gangnes). To further complicate things, Hermia's friend Helena (Shahnaz Shroff) is in love with Demetrius--setting the stage for all of the twists and turns which develop over the course of the story.
Nguyen was last seen in in a minor role in last year's undergraduate festival and stood out for making the most of a small bit. The promise she showed in that production has more than been fulfilled in "Midsummer Night's Dream." She is a delight to watch, as is Perkins-Gangnes, who also was notable for his small role in the undergraduate festival.
Hirshfield turns in another bravura performance as Demetrius.
Hermia and Lysander flee Athens into the woods, intending to be married at the home of his aunt. They are followed by Demetrius, determined to win his bride's hand, and Helena, determined to win Demetrius'.
D. Martyn Bookwalter has designed an abstract sort of forest, with cloth-covered wood frames, painted to give the hint of leaves. They provide a good hiding place for fairies or would-be suitors. A large moon hangs in the sky and moves about during the various scenes, presumably to indicate various time periods, though it is so subtle that it is difficult to pick up what each moon position means. However, the lighting design by Darrell F. Wynn makes for lovely moon reflections.
The mechanics are rehearsing in the woods, under the direction of Peter Quince, a delightful interpretation by Chris Allison. His four actors are Nick Bottom (Phillip Tarver), Francis Flute (Joel Rentner), Robin Starvelling (Erica Filanc) and Tom Snout (Chelsea Kashin). Tarver is outstanding as Bottom, who is full of advice and self-confidence but frequently makes silly mistakes and misuses language. The humor of his role is accentuated by sound designers Leslie Rae Smith and Y.C. Sumnicht, who see to it that he clanks when he walks.
Sound is not always entirely pleasing in this production, and some seems to be unnecessarily ear-splitting. There is, for example, a thunder and tempest caused by an argument between Oberon, the king of the fairies (Mischa Random Pollack) and his queen Titania (Linda Noveroske Rentner).
No production of "A Midsummer Night's Dream" would be effective without a solid Robin Goodfellow ("Puck"), Oberon's jester, a mischevious fairy who delights in playing pranks on mortals. Sam Tanng is just what the doctor ordered. He is lythe and impish and, clothed from head to toe in red (including body make up, it's difficult to take your eyes off of him when he is on stage.
"A Midsummer Night's Dream" is a delicious piece of merriment, and a nice diversion on a warm summer's evening. Take the night off and go romping in a magical forest with a bunch of fairies.
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.
Directed by Peter Lichtenfels, Granada Artist-in-Residence (whose last outing at UCD was the controversial "Romeo and Juliet"), this production seems to be set in no specific time or location, as modern dress mixes with more traditional garb, but all somehow blending together to produce the fabric of the magical world in which all the characters interact.
Ammar Mahmood and Christine Lowery, as Thesius (the Duke of Athens) and Hippolita direct the events of the evening, with their request to Philostrate (Simon Zenon) to arrange entertainment for their upcoming nuptials.
Plans are interrupted by the arrival of Egeus (Kevin B. Lee), a nobleman asking for help in forcing his daughter Hermia (Cooky Nguyen) to marry Demetrius (Drew Hirshfield), the husband of his choosing, though she is in love with Lysander (Ryan Perkins-Gangnes). To further complicate things, Hermia's friend Helena (Shahnaz Shroff) is in love with Demetrius--setting the stage for all of the twists and turns which develop over the course of the story.
Nguyen was last seen in in a minor role in last year's undergraduate festival and stood out for making the most of a small bit. The promise she showed in that production has more than been fulfilled in "Midsummer Night's Dream." She is a delight to watch, as is Perkins-Gangnes, who also was notable for his small role in the undergraduate festival.
Hirshfield turns in another bravura performance as Demetrius.
Hermia and Lysander flee Athens into the woods, intending to be married at the home of his aunt. They are followed by Demetrius, determined to win his bride's hand, and Helena, determined to win Demetrius'.
D. Martyn Bookwalter has designed an abstract sort of forest, with cloth-covered wood frames, painted to give the hint of leaves. They provide a good hiding place for fairies or would-be suitors. A large moon hangs in the sky and moves about during the various scenes, presumably to indicate various time periods, though it is so subtle that it is difficult to pick up what each moon position means. However, the lighting design by Darrell F. Wynn makes for lovely moon reflections.
The mechanics are rehearsing in the woods, under the direction of Peter Quince, a delightful interpretation by Chris Allison. His four actors are Nick Bottom (Phillip Tarver), Francis Flute (Joel Rentner), Robin Starvelling (Erica Filanc) and Tom Snout (Chelsea Kashin). Tarver is outstanding as Bottom, who is full of advice and self-confidence but frequently makes silly mistakes and misuses language. The humor of his role is accentuated by sound designers Leslie Rae Smith and Y.C. Sumnicht, who see to it that he clanks when he walks.
Sound is not always entirely pleasing in this production, and some seems to be unnecessarily ear-splitting. There is, for example, a thunder and tempest caused by an argument between Oberon, the king of the fairies (Mischa Random Pollack) and his queen Titania (Linda Noveroske Rentner).
No production of "A Midsummer Night's Dream" would be effective without a solid Robin Goodfellow ("Puck"), Oberon's jester, a mischevious fairy who delights in playing pranks on mortals. Sam Tanng is just what the doctor ordered. He is lythe and impish and, clothed from head to toe in red (including body make up, it's difficult to take your eyes off of him when he is on stage.
"A Midsummer Night's Dream" is a delicious piece of merriment, and a nice diversion on a warm summer's evening. Take the night off and go romping in a magical forest with a bunch of fairies.
Saturday, May 25, 2002
Taming of the Shrew
Overheard in the audience in the Pence Gallery amphitheater at the conclusion of Acme Theatre's opening night of William Shakespeare's "Taming of the Shrew" -- "that was great fun--and I _hate_ Shakespeare."
It's hard to find anything to hate, or even mildly dislike about this lively production of one of Shakespeare's best known comedies. Director Dave Burmester explains that he has always had difficulty with this politically incorrect (though not for Shakespeare's time) story of a woman's spirit being tamed so that she can learn to become a good wife.
To get around the inevitable raised eyebrows from a more enlightened era, Burmester has taken his characters in a different direction. As he puts it, "It was important to show that Kate was not the only character to undergo a major change. To say more here, however, might spoil some of the fun."
Fun it definitely is. Taking inspiration from William Ball's staging of this comedy at San Francisco's American Conservatory Theatre in 1975, Burmester has created a version of "Taming of the Shrew" which is right out of commedia dell'arte, with supporting players watching the action on stage from scaffolding, wearing traditional masks and providing sound effects for the action on stage with drum, slide-whistle, and other noise makers.
Imagine The Three Stooges do Shakespeare.
This is an extremely physical--and highly choreographed production. Pratfalls, fanny paddles, head bonks, and other comic rhythms of slapstick, each with the accompanying sound effect make for non-stop entertainment.
What makes this production work are the talented actors. There aren't enough adjectives for the outstanding performance by Chris Schmidt as Petruchio, a "gentleman of Verona," who has come to Padua to "wive and thrive." He's looking for a wife with a big dowry and is not put off by the rumors of the quick temper of Katherine. Schmidt's performance is electric.
Jill Winternitz as Katherine is equally outstanding. She fights, she yells, she pouts and in the end she gives in (or does she?).
Rebecca Rukeyeser plays Baptista, Katherine's mother (the role is generally that of Katherine's father, but the gender of the parent seems to matter little). Rukeyeser has the most expressive face and did some of the best mugging of the night. She also gives a good solid performance to the role.
Shakti Howeth is "the lovely Bianca," Kate's younger, more desirable sister, with the face of an angel and a gentle disposition to match. Bianca is sought after by all the men in Padua, but cannot marry until a match is found for her older sister.
Steven Schmidt and Nick Herbert are Lucentio and Tranio, respectively. Lucentio is in love with Bianca and seeks assistance from his servant Tranio in his plan to win her hand. Schmidt and Herbert are very funny in their roles.
As Petrucio's servant, Grumio, Jake Stoebel handles falling forwards or backwards like a pro.
Other strong performances are turned in by James Henderson (Gremio), Eric Delacorte (Hortensio), and Martin Dubcovsky (Biondello). In smaller multi roles are Caleigh Drane, Eric Brattain-Morrin, Katherine Moreno, Bryna Dunnells and Katie German.
Special kudos to choreographer Crystal White for her delightful dances and dancers Laurel Cohen, Jean Marsh, Caleigh Drane, Katherine Moreno, Katie German, and White herself who bring them to life delightfully.
As always, the performance at The Pence Gallery suffers from uncomfortable seating (it is suggested that audience members bring their own chairs) and occasional difficulty in hearing dialog when an actor rushes his or her lines, as well as the unstaged background noises, but these are conditions which the Acme faithful have come to expect and accept as part of the fun of this free outdoor performance.
"The Taming of the Shrew" marks Acme's 20th performance on the Pence stage, a tradition which was begun as a thank you to the community for its financial support of the fledgling company. But a shadow hangs over the future of this Davis tradition. Current plans for a rebuilt Pence Gallery appear to compromise the tiny core area open space. Pence Gallery officials are unable to say exactly what form a new amphitheater might take other than to say it will be different.
However, plans suggest that the park area would be much smaller, too small, seemingly, to house a stage big enough and a seating area extensive enough to accommodate a full-scale theatrical production, even one as small in scope as Acme's annual Shakespeare offering.
It would be a tremendous loss to a community which has enthusiastically supported and enjoyed the performances of Acme and other theatre companies over the years. It is hoped that some sort of compromise can be worked out so that the Pence can have its expansion and the community will still be able to enjoy these free summer entertainments.
This may be the last chance to see Acme at the Pence Gallery amphitheater. There are performances remaining on the 25th, 26th and 27th. If you've never seen Acme in action, don't miss this gem of a production.
It's hard to find anything to hate, or even mildly dislike about this lively production of one of Shakespeare's best known comedies. Director Dave Burmester explains that he has always had difficulty with this politically incorrect (though not for Shakespeare's time) story of a woman's spirit being tamed so that she can learn to become a good wife.
To get around the inevitable raised eyebrows from a more enlightened era, Burmester has taken his characters in a different direction. As he puts it, "It was important to show that Kate was not the only character to undergo a major change. To say more here, however, might spoil some of the fun."
Fun it definitely is. Taking inspiration from William Ball's staging of this comedy at San Francisco's American Conservatory Theatre in 1975, Burmester has created a version of "Taming of the Shrew" which is right out of commedia dell'arte, with supporting players watching the action on stage from scaffolding, wearing traditional masks and providing sound effects for the action on stage with drum, slide-whistle, and other noise makers.
Imagine The Three Stooges do Shakespeare.
This is an extremely physical--and highly choreographed production. Pratfalls, fanny paddles, head bonks, and other comic rhythms of slapstick, each with the accompanying sound effect make for non-stop entertainment.
What makes this production work are the talented actors. There aren't enough adjectives for the outstanding performance by Chris Schmidt as Petruchio, a "gentleman of Verona," who has come to Padua to "wive and thrive." He's looking for a wife with a big dowry and is not put off by the rumors of the quick temper of Katherine. Schmidt's performance is electric.
Jill Winternitz as Katherine is equally outstanding. She fights, she yells, she pouts and in the end she gives in (or does she?).
Rebecca Rukeyeser plays Baptista, Katherine's mother (the role is generally that of Katherine's father, but the gender of the parent seems to matter little). Rukeyeser has the most expressive face and did some of the best mugging of the night. She also gives a good solid performance to the role.
Shakti Howeth is "the lovely Bianca," Kate's younger, more desirable sister, with the face of an angel and a gentle disposition to match. Bianca is sought after by all the men in Padua, but cannot marry until a match is found for her older sister.
Steven Schmidt and Nick Herbert are Lucentio and Tranio, respectively. Lucentio is in love with Bianca and seeks assistance from his servant Tranio in his plan to win her hand. Schmidt and Herbert are very funny in their roles.
As Petrucio's servant, Grumio, Jake Stoebel handles falling forwards or backwards like a pro.
Other strong performances are turned in by James Henderson (Gremio), Eric Delacorte (Hortensio), and Martin Dubcovsky (Biondello). In smaller multi roles are Caleigh Drane, Eric Brattain-Morrin, Katherine Moreno, Bryna Dunnells and Katie German.
Special kudos to choreographer Crystal White for her delightful dances and dancers Laurel Cohen, Jean Marsh, Caleigh Drane, Katherine Moreno, Katie German, and White herself who bring them to life delightfully.
As always, the performance at The Pence Gallery suffers from uncomfortable seating (it is suggested that audience members bring their own chairs) and occasional difficulty in hearing dialog when an actor rushes his or her lines, as well as the unstaged background noises, but these are conditions which the Acme faithful have come to expect and accept as part of the fun of this free outdoor performance.
"The Taming of the Shrew" marks Acme's 20th performance on the Pence stage, a tradition which was begun as a thank you to the community for its financial support of the fledgling company. But a shadow hangs over the future of this Davis tradition. Current plans for a rebuilt Pence Gallery appear to compromise the tiny core area open space. Pence Gallery officials are unable to say exactly what form a new amphitheater might take other than to say it will be different.
However, plans suggest that the park area would be much smaller, too small, seemingly, to house a stage big enough and a seating area extensive enough to accommodate a full-scale theatrical production, even one as small in scope as Acme's annual Shakespeare offering.
It would be a tremendous loss to a community which has enthusiastically supported and enjoyed the performances of Acme and other theatre companies over the years. It is hoped that some sort of compromise can be worked out so that the Pence can have its expansion and the community will still be able to enjoy these free summer entertainments.
This may be the last chance to see Acme at the Pence Gallery amphitheater. There are performances remaining on the 25th, 26th and 27th. If you've never seen Acme in action, don't miss this gem of a production.
Saturday, April 13, 2002
Joseph and the Amazing Technicolor Dreamcoat
There is one big thing wrong with Davis Musical Theatre's production of "Joseph and His Amazing Technicolor Dreamcoat," which opened Friday night at the Varsity Theatre. It's full of so many delightful sight gags and surprises that to mention them in a review would spoil the fun for people intending to see the production (and one would hope that includes most people in Davis--it's that good).
The Andrew Lloyd Webber-Tim Rice musical retells the biblical tale of the tenth and favorite son of Jacob. The father's favoritism is demonstrated by his gift of a coat of many colors. In one of the Bible's more famous tales of sibling rivalry, Joseph's jealous brothers gang up on him, rip his coat and dip it in goat's blood, sell Joseph into slavery, and tell the father that Joseph has been killed.
While this may not seem fodder for a fun musical evening, the Webber-Rice script is a delight from start to finish. Originally written as a 15 minute program for children, reception was so great, that the writers expanded it into a full length musical, with varied musical styles, incluing rock, country and western, and calypso.
Under the hands of director Bobby Gainger, DMTC's "Joseph" is a high energy show with very few weak spots. To get the bad out of the way first, the sound system needs a bit more oomph. It is a shame that so much of the story is missed because even with body mics, the sound just can't get over the accompaniment of the on-stage band. If there is anyone who is not already familiar with the Bible story, some of the plot might be a bit difficult to follow. However, there is such visual fun that, as my companion noted, "who cared?"
The sound system was particularly unfair to the Narrator, Marilou Ubaldo. Ms. Ubaldo sparkles on stage with terrific stage presence, a great voice (proven in "Little Shop of Horrors" earlier this year), and infectious smile. That most of her lyrics were undecipherable was not her fault, but the fault of insufficient amplification.
Despite some pretty impressive theatre credits, Jeremy Starr doesn't yet command center stage, but he held his own as Joseph and shows promise. He has a wonderful voice.
Other principals give solid performances, especially Carl Dvorcek as Pharoah (no, I will not spoil the surprise). Clocky McDowell is a good Potiphar, the Ishmaleite to whom Joseph is sold. Amy Friedman is his wife, who attempts to seduce Joseph, and, as a result, gets him thrown into jail. Evan Monheit is a lot of fun as Joseph's brother Levi, singing "Those Canaan Days."
All of the brothers--Marl Valdez (Ruben), Francisco Goes da Silva (Simeon), Turtle Akona (Napthali), Jouni Kirjola (Isaachar), Ian Rothman (Asher), Clocky McDowell (Dan), Kenneth Fischl (Zebulon), Carl Dvorcek (Gad), Alex Matias (Judah) and Edward Bianchi IV (Benjamin) do a wonderful job. Bianchi also appears as the child, reading the bible at the start of the show who morphs into Joseph in a really pretty impressive on-stage sleight of hand.
But the real stars of this show are the director (Grainger), choreographer (Lori Jones), musical director (Steve Isaacson), Costume designer (Jean Henderson), lighting designer (Arthur Vassar), and set designer (Mark Allen). With the possible exception of Ubaldi, no one performer stands out as exceptional, but all working together under the direction and design of the backstage crew create a whole that is simply outstanding.
Jones has choreographed several dance numbers which are far and away the best I've seen on the DMTC stage. With high energy imaginative staging and obvious hours of work to create cohesion, they are not to be missed.
Vassar's lights are spectacular, especially in the title song.
Henderson has had great fun with her costumes. Without giving anything away, the costumes for the girls in the Pharoah's number were inspired.
Allen's stage is fairly plain, but the elements he brings to it--like a sphynx and a pyramid or two, greatly added to the fun.
It was also fun to see the band on stage, though having a band on stage always presents projection problems for the performers, as in opening night. Still, the antics of Isaacson were fun to watch and the show would have suffered had the band been offstage, as they usually are.
"Joseph" is not perfect. But this production comes as close to perfect as I've seen at DMTC. It's a great show for kids and adults who accompany them will not be disappointed either.
The Andrew Lloyd Webber-Tim Rice musical retells the biblical tale of the tenth and favorite son of Jacob. The father's favoritism is demonstrated by his gift of a coat of many colors. In one of the Bible's more famous tales of sibling rivalry, Joseph's jealous brothers gang up on him, rip his coat and dip it in goat's blood, sell Joseph into slavery, and tell the father that Joseph has been killed.
While this may not seem fodder for a fun musical evening, the Webber-Rice script is a delight from start to finish. Originally written as a 15 minute program for children, reception was so great, that the writers expanded it into a full length musical, with varied musical styles, incluing rock, country and western, and calypso.
Under the hands of director Bobby Gainger, DMTC's "Joseph" is a high energy show with very few weak spots. To get the bad out of the way first, the sound system needs a bit more oomph. It is a shame that so much of the story is missed because even with body mics, the sound just can't get over the accompaniment of the on-stage band. If there is anyone who is not already familiar with the Bible story, some of the plot might be a bit difficult to follow. However, there is such visual fun that, as my companion noted, "who cared?"
The sound system was particularly unfair to the Narrator, Marilou Ubaldo. Ms. Ubaldo sparkles on stage with terrific stage presence, a great voice (proven in "Little Shop of Horrors" earlier this year), and infectious smile. That most of her lyrics were undecipherable was not her fault, but the fault of insufficient amplification.
Despite some pretty impressive theatre credits, Jeremy Starr doesn't yet command center stage, but he held his own as Joseph and shows promise. He has a wonderful voice.
Other principals give solid performances, especially Carl Dvorcek as Pharoah (no, I will not spoil the surprise). Clocky McDowell is a good Potiphar, the Ishmaleite to whom Joseph is sold. Amy Friedman is his wife, who attempts to seduce Joseph, and, as a result, gets him thrown into jail. Evan Monheit is a lot of fun as Joseph's brother Levi, singing "Those Canaan Days."
All of the brothers--Marl Valdez (Ruben), Francisco Goes da Silva (Simeon), Turtle Akona (Napthali), Jouni Kirjola (Isaachar), Ian Rothman (Asher), Clocky McDowell (Dan), Kenneth Fischl (Zebulon), Carl Dvorcek (Gad), Alex Matias (Judah) and Edward Bianchi IV (Benjamin) do a wonderful job. Bianchi also appears as the child, reading the bible at the start of the show who morphs into Joseph in a really pretty impressive on-stage sleight of hand.
But the real stars of this show are the director (Grainger), choreographer (Lori Jones), musical director (Steve Isaacson), Costume designer (Jean Henderson), lighting designer (Arthur Vassar), and set designer (Mark Allen). With the possible exception of Ubaldi, no one performer stands out as exceptional, but all working together under the direction and design of the backstage crew create a whole that is simply outstanding.
Jones has choreographed several dance numbers which are far and away the best I've seen on the DMTC stage. With high energy imaginative staging and obvious hours of work to create cohesion, they are not to be missed.
Vassar's lights are spectacular, especially in the title song.
Henderson has had great fun with her costumes. Without giving anything away, the costumes for the girls in the Pharoah's number were inspired.
Allen's stage is fairly plain, but the elements he brings to it--like a sphynx and a pyramid or two, greatly added to the fun.
It was also fun to see the band on stage, though having a band on stage always presents projection problems for the performers, as in opening night. Still, the antics of Isaacson were fun to watch and the show would have suffered had the band been offstage, as they usually are.
"Joseph" is not perfect. But this production comes as close to perfect as I've seen at DMTC. It's a great show for kids and adults who accompany them will not be disappointed either.
Monday, March 25, 2002
London Suite
Theatre goers (or movie watchers) are probably familiar with Neil Simon's very popular and much performed hotel pieces--Plaza Suite and California Suite, each of which consists of a set of vignettes taking place in the same hotel room, following the lives of the current occupants of that room.
Less well known (and perhaps rightfully so) is the third in the trilogy, London Suite (written nearly 10 years after California Suite), currently running at the Winters Community Theatre. While filled with Simon's witty dialogue and comedic turns, London Suite does not seem to have the same sparkle as its predecessors.
Still, under the direction of Howard Hupe, the folks out in Winters have done a credible job of making this an enjoyable evening.
"London Suite" is a collection of four playlets set in the same suite of the Mayfair Hotel in London. Each story sets a different tone, from poignant to slapstick comedy.
The opening segment, "Settling Accounts" features Alex Selberth as Billy Fox, an agent, and Audrey Green as Briana, a writer who has just discovered that Fox has been taking advantage of her throughout her career. In the original version of this play, the author was a man. Giving the role to a woman is an interesting change of dynamic and Green carries it off well, though the piece itself is the weakest of the four.
"Going Home," casts Diane Taylor as Mrs. Semple, an attractive American widow shopping her way through London while her daughter Lauren (Kimberly Tuvfeson) attempts to play matchmaker. Semple is obviously an experienced actress who made the most of a role which is more a monologue for the mother than an actual dialog between mother and daughter. Taylor, last seen as the mother in last year's "Seeds," was balanced nicely by Tuvfeson.
"Diana and Sidney" brings back two characters from "California Suite." She's an aging Oscar-winning, yet insecure actress in London to promote her new hit television show, he's her ex-husband, a bisexual antique dealer, now living in Greece with his male partner. Germaine Hupe is marvelous as Diana, delivering some of the best lines of the evening, in her nervous pacing about the hotel room waiting for Sidney's arrival. Diana's travelling companion, Grace, is given a solid performance by Anita Ahuja. Michael Barbour's Sidney is likewise an excellent performance. He gives his character much depth as he relates his bittersweet tale. This segment is probably the most substantial of the four, as the couple remember old times and discuss the crisis which has brought Sidney to the hotel to speak with his former wife.
The final segment, "The Man on the Floor" features Ann Rost and Tom Rost as Annie and Mark, an American couple who have come to London to attend the games at Wimbeldon. Anita Ahuja makes a return appearance as Mrs. Sitgood, one of the hotel managers, Jim Hewlett is the Bellman, and Alex Selberth returns in the rols of Dr. McMerlin.
The segment is the evening's only slapstick segment about the events that occur when Mark's back goes out while frantically searching the room for the misplaced Wimbeldon tickets. It contains some of the evening's funniest lines and the performances by all of the actors is uniformly strong.
The set (quite reminiscent of last year's "Seeds," by this company) by Bob Taylor, Ken Brugaugh and Howard Hupe is a nice utilitarian hotel room.
"London Suite" is by no means the best of Neil Simon, but the evening has some funny moments that make it worth seeing. The members of the Winters Theatre Company are obviously dedicated to their craft and have a loyal following in the town. There are weak moments and strong moments, but overall, it is an enjoyable production and worth the trip out to Winters.
The show continues for one more weekend at the Winters Community Center, 201 Railroad Ave., Winters.
Less well known (and perhaps rightfully so) is the third in the trilogy, London Suite (written nearly 10 years after California Suite), currently running at the Winters Community Theatre. While filled with Simon's witty dialogue and comedic turns, London Suite does not seem to have the same sparkle as its predecessors.
Still, under the direction of Howard Hupe, the folks out in Winters have done a credible job of making this an enjoyable evening.
"London Suite" is a collection of four playlets set in the same suite of the Mayfair Hotel in London. Each story sets a different tone, from poignant to slapstick comedy.
The opening segment, "Settling Accounts" features Alex Selberth as Billy Fox, an agent, and Audrey Green as Briana, a writer who has just discovered that Fox has been taking advantage of her throughout her career. In the original version of this play, the author was a man. Giving the role to a woman is an interesting change of dynamic and Green carries it off well, though the piece itself is the weakest of the four.
"Going Home," casts Diane Taylor as Mrs. Semple, an attractive American widow shopping her way through London while her daughter Lauren (Kimberly Tuvfeson) attempts to play matchmaker. Semple is obviously an experienced actress who made the most of a role which is more a monologue for the mother than an actual dialog between mother and daughter. Taylor, last seen as the mother in last year's "Seeds," was balanced nicely by Tuvfeson.
"Diana and Sidney" brings back two characters from "California Suite." She's an aging Oscar-winning, yet insecure actress in London to promote her new hit television show, he's her ex-husband, a bisexual antique dealer, now living in Greece with his male partner. Germaine Hupe is marvelous as Diana, delivering some of the best lines of the evening, in her nervous pacing about the hotel room waiting for Sidney's arrival. Diana's travelling companion, Grace, is given a solid performance by Anita Ahuja. Michael Barbour's Sidney is likewise an excellent performance. He gives his character much depth as he relates his bittersweet tale. This segment is probably the most substantial of the four, as the couple remember old times and discuss the crisis which has brought Sidney to the hotel to speak with his former wife.
The final segment, "The Man on the Floor" features Ann Rost and Tom Rost as Annie and Mark, an American couple who have come to London to attend the games at Wimbeldon. Anita Ahuja makes a return appearance as Mrs. Sitgood, one of the hotel managers, Jim Hewlett is the Bellman, and Alex Selberth returns in the rols of Dr. McMerlin.
The segment is the evening's only slapstick segment about the events that occur when Mark's back goes out while frantically searching the room for the misplaced Wimbeldon tickets. It contains some of the evening's funniest lines and the performances by all of the actors is uniformly strong.
The set (quite reminiscent of last year's "Seeds," by this company) by Bob Taylor, Ken Brugaugh and Howard Hupe is a nice utilitarian hotel room.
"London Suite" is by no means the best of Neil Simon, but the evening has some funny moments that make it worth seeing. The members of the Winters Theatre Company are obviously dedicated to their craft and have a loyal following in the town. There are weak moments and strong moments, but overall, it is an enjoyable production and worth the trip out to Winters.
The show continues for one more weekend at the Winters Community Center, 201 Railroad Ave., Winters.
Sunday, March 03, 2002
Carnival
The script for Carnival by Michael Stewart and Bob Merrill, the latest offering by Davis Musical Theatre Co., is never going to win any awards for great literature. (Movie buffs will recognize the story as the stage version of the MGM movie, Lili, starring Leslie Caron and Mel Ferrer) The thin plot about a young orphan girl who joins a small touring circus needs an exceptionally strong cast to pull it off. Unfortunately, this is not the case in the current production.
The cast simply isn't strong enough to lift the thin story into the realm of believability, or to give it the sense of wonder and fantasy that makes this show work. From the opening circus parade, with a chorus almost, but not quite on pitch, to the earnest but over the top performances of many of the principals, the show disappoints on many levels.
There are some notable exceptions. Sixteen year old Jessica Crouch (opening night was her birthday) is simply outstanding. From the moment she steps on the stage you know she is a pro, and in fact her theatrical history is impressive--from her debut as Baby June in Gypsy through her Elly award wining performance as Helen Keller in The Miracle Worker. She beautifully portrays the innocent young girl, who is unable to see the tawdriness of this second class circus, but who is carried away by the wonder and the magic.
Lili has been left alone following the death of her grandfather. She travels many miles, on "two buses and a train," from her home town of Mira (a lovely song performed beautifully by Crouch) to meet an old friend of her grandfather's, who once promised to watch out for the girl. She discovers that the friend has died. With no plan and no resources, she manages to get a job working in the carnival's souvenir stand, where she catches the eye of magician Marco the Magnificent (Mark Heckman), who looks to add the young girl to his stable of female admirers, much to the consternation of his glamorous assistant, "The Incomparable Rosalie" (Gina Green).
When Lili is fired by Grobert, the souvenir stand owner (Carl Dvorcek), she is taken under the wing of Jacquot (Clocky McDowell), assistant to puppeteer Paul Berthalet (Troy Thomas).
Thomas, in his debut DMTC performance is also outstanding in his portrayal of the embittered ballet dancer, now grounded by a leg injury acquired during the war, and using his puppets' voices to say the things that he is unable to say himself.
Lili has a special relationship with the puppets and soon her interaction with them, reminiscent of the classic Kukla, Fan and Ollie, turns the languishing puppet show into a strong attraction and she becomes part of the act.
Berthalet finds himself falling in love with the young girl, but cannot bring himself to speak with her. Instead he rages and shouts, leading to the duet "I Hate Him/Her Face." Thomas has a rich, strong baritone voice, which blends beautifully with Crouch's lovely soprano. (Since this is musical comedy, we know that everyone eventually lives happily ever after.)
Director Warren Harrison has used some imaginative staging, which includes parading his cast through the audience, led by ringmaster and circus owner B.F. Schlegel (Ben Bruening), another aspect of the show which will appeal to children. It would be interesting to see the same staging with a stronger cast.
Jeannie and Michelle Pytel are credited with "Scenic Art." The stage is a colorful and effective depiction of a second rate circus, and the red striped tent tops let us know from the very beginning that this is a magical place.
Jean Henderson's costumes are colorful and fun, especially the black striped suit worn by Jacquot.
Children will love the puppets, designed by Melissa Brown. The sound of children's laughter filled the Varsity Theatre whenever the puppets performed. Thomas and McDowell need to take better care to make sure their arms are not seen during the operation of the puppets. While adults in the audience know that they are not real, the fantasy needs to be maintained for children.
The multi-talented Steve Isaacson provided musical direction as well as lighting design. The DMTC orchestra did a credible job.
Children will enjoy the fantasy of "Carnival," whether they are able to follow the romantic story or not. There is enjoyment to be had in the production, even with its weak spots. I'm willing to bet that many in the audience will leave the theatre humming the signature song, "Love Makes the World Go Round."'
The cast simply isn't strong enough to lift the thin story into the realm of believability, or to give it the sense of wonder and fantasy that makes this show work. From the opening circus parade, with a chorus almost, but not quite on pitch, to the earnest but over the top performances of many of the principals, the show disappoints on many levels.
There are some notable exceptions. Sixteen year old Jessica Crouch (opening night was her birthday) is simply outstanding. From the moment she steps on the stage you know she is a pro, and in fact her theatrical history is impressive--from her debut as Baby June in Gypsy through her Elly award wining performance as Helen Keller in The Miracle Worker. She beautifully portrays the innocent young girl, who is unable to see the tawdriness of this second class circus, but who is carried away by the wonder and the magic.
Lili has been left alone following the death of her grandfather. She travels many miles, on "two buses and a train," from her home town of Mira (a lovely song performed beautifully by Crouch) to meet an old friend of her grandfather's, who once promised to watch out for the girl. She discovers that the friend has died. With no plan and no resources, she manages to get a job working in the carnival's souvenir stand, where she catches the eye of magician Marco the Magnificent (Mark Heckman), who looks to add the young girl to his stable of female admirers, much to the consternation of his glamorous assistant, "The Incomparable Rosalie" (Gina Green).
When Lili is fired by Grobert, the souvenir stand owner (Carl Dvorcek), she is taken under the wing of Jacquot (Clocky McDowell), assistant to puppeteer Paul Berthalet (Troy Thomas).
Thomas, in his debut DMTC performance is also outstanding in his portrayal of the embittered ballet dancer, now grounded by a leg injury acquired during the war, and using his puppets' voices to say the things that he is unable to say himself.
Lili has a special relationship with the puppets and soon her interaction with them, reminiscent of the classic Kukla, Fan and Ollie, turns the languishing puppet show into a strong attraction and she becomes part of the act.
Berthalet finds himself falling in love with the young girl, but cannot bring himself to speak with her. Instead he rages and shouts, leading to the duet "I Hate Him/Her Face." Thomas has a rich, strong baritone voice, which blends beautifully with Crouch's lovely soprano. (Since this is musical comedy, we know that everyone eventually lives happily ever after.)
Director Warren Harrison has used some imaginative staging, which includes parading his cast through the audience, led by ringmaster and circus owner B.F. Schlegel (Ben Bruening), another aspect of the show which will appeal to children. It would be interesting to see the same staging with a stronger cast.
Jeannie and Michelle Pytel are credited with "Scenic Art." The stage is a colorful and effective depiction of a second rate circus, and the red striped tent tops let us know from the very beginning that this is a magical place.
Jean Henderson's costumes are colorful and fun, especially the black striped suit worn by Jacquot.
Children will love the puppets, designed by Melissa Brown. The sound of children's laughter filled the Varsity Theatre whenever the puppets performed. Thomas and McDowell need to take better care to make sure their arms are not seen during the operation of the puppets. While adults in the audience know that they are not real, the fantasy needs to be maintained for children.
The multi-talented Steve Isaacson provided musical direction as well as lighting design. The DMTC orchestra did a credible job.
Children will enjoy the fantasy of "Carnival," whether they are able to follow the romantic story or not. There is enjoyment to be had in the production, even with its weak spots. I'm willing to bet that many in the audience will leave the theatre humming the signature song, "Love Makes the World Go Round."'
Wednesday, February 13, 2002
The Vagina Monologues
Vagina, vagina, vagina, vagina.
If the words make you uncomfortable, "The Vagina Monologues" is probably not for you, though the producers feel that "everyone should see it, whether you have one or not."
Sponsored by the Women's Resources and Research Center, Department of Theatre and Dance and Campus Violence Prevention Program, "The Vagina Monologuse" is part of the V-Day 2002 College Campaign, a worldwide movement to stop violence against women and girls and proclaim Valentine's Day a time to celebrate women and demand the end to abuse.
Written by Eve Ensler, "The Vagina Monologues" is 90 minutes of women on stage, sometimes alone, sometimes in groups, reading the experiences of the more than 200 women Ensler interviewed and used as the basis for this show about women's most private of private parts. It is both a celebration of women's sexuality and a condemnation of its violation
Ensler explains, "I talked with hundreds of women. I talked to old women, young women, married women, single women, lesbians, college professors, actors, corporate professionals, sex workers, African American women, Hispanic women, Asian American women, Native American women, Caucasian women, Jewish women. At first, women were reluctant to talk. They were a little shy. But once they got going, you couldn't stop them."
The resulting script is funny, frank, poignant, and definitely contains "mature" material. The program explains that "performers read from the script to remind the audience that these are real women's stories."
The Wyatt Pavillion was filled with laughing and cheering women of all ages, from young college students to elderly women, all clapping enthusiastically. There was a sprinkling of men, but they were definitely in the minority. (Unfortunately, due to a misunderstanding, we arrived 30 minutes late, and missed the first 7 segments of the 17 presented.)
Director John Lawton-Haehl has assembled a cast of fourteen remarkable actors: Amy Avina, Sharon Braden, ShaDonna Chambers, Jessica Ehr, Chelsea Kashin, Christine Khoo, Sharon Porter McAllister, Sunny Nordmarken, Jennifer Owens, Rebekah Pipolo, Holly Rash, Linda Renter, Jill Schmitz and Ivanna Wood.
Individual actors are not identified for the specific segments in which they were featured, which is in part too bad because it would be nice to give kudos where they are deserved, but this is such an ensemble show with all performances so strong that perhaps it's for the best.
The play runs the gamut from two very moving pieces about women under Taliban rule and women raped in Bosnia to a simulated orgasmic experience. There is also a very moving description of the author's presence at the birth of her grandchild.
Particularly enjoyable was "My Angry Vagina," describing society's assault on vaginas (tampons, gynecology exams, thong underwear). Likewise "The Woman Who Loved to Make Vaginas Happy" was outstanding, as much for the performance as for the material itself. And as for the depiction of orgasm--you just have to see it. Meg Ryan may have met her match.
But the play is not all fun and games. It makes a powerful statement about subjects such as genital mutilation, rape, and oppression. The material about Taliban rule and burkas is, of course, dated, but it is still important to be able to understand what it must have been like for woman living under Taliban rule.
"The Vagina Monologues" is an empowering play. If any woman came hesitantly to the theatre, I'm certain she left with a whole new appreciation of her body, her femininity, and her power as a woman.
Two more performances of "The Vagina Monologues" remain - February 13 at UC Davis Wyatt Theatre and February 15 at the Varsity Theatre. Both performances begin a 7 p.m.
Stars: 5
If the words make you uncomfortable, "The Vagina Monologues" is probably not for you, though the producers feel that "everyone should see it, whether you have one or not."
Sponsored by the Women's Resources and Research Center, Department of Theatre and Dance and Campus Violence Prevention Program, "The Vagina Monologuse" is part of the V-Day 2002 College Campaign, a worldwide movement to stop violence against women and girls and proclaim Valentine's Day a time to celebrate women and demand the end to abuse.
Written by Eve Ensler, "The Vagina Monologues" is 90 minutes of women on stage, sometimes alone, sometimes in groups, reading the experiences of the more than 200 women Ensler interviewed and used as the basis for this show about women's most private of private parts. It is both a celebration of women's sexuality and a condemnation of its violation
Ensler explains, "I talked with hundreds of women. I talked to old women, young women, married women, single women, lesbians, college professors, actors, corporate professionals, sex workers, African American women, Hispanic women, Asian American women, Native American women, Caucasian women, Jewish women. At first, women were reluctant to talk. They were a little shy. But once they got going, you couldn't stop them."
The resulting script is funny, frank, poignant, and definitely contains "mature" material. The program explains that "performers read from the script to remind the audience that these are real women's stories."
The Wyatt Pavillion was filled with laughing and cheering women of all ages, from young college students to elderly women, all clapping enthusiastically. There was a sprinkling of men, but they were definitely in the minority. (Unfortunately, due to a misunderstanding, we arrived 30 minutes late, and missed the first 7 segments of the 17 presented.)
Director John Lawton-Haehl has assembled a cast of fourteen remarkable actors: Amy Avina, Sharon Braden, ShaDonna Chambers, Jessica Ehr, Chelsea Kashin, Christine Khoo, Sharon Porter McAllister, Sunny Nordmarken, Jennifer Owens, Rebekah Pipolo, Holly Rash, Linda Renter, Jill Schmitz and Ivanna Wood.
Individual actors are not identified for the specific segments in which they were featured, which is in part too bad because it would be nice to give kudos where they are deserved, but this is such an ensemble show with all performances so strong that perhaps it's for the best.
The play runs the gamut from two very moving pieces about women under Taliban rule and women raped in Bosnia to a simulated orgasmic experience. There is also a very moving description of the author's presence at the birth of her grandchild.
Particularly enjoyable was "My Angry Vagina," describing society's assault on vaginas (tampons, gynecology exams, thong underwear). Likewise "The Woman Who Loved to Make Vaginas Happy" was outstanding, as much for the performance as for the material itself. And as for the depiction of orgasm--you just have to see it. Meg Ryan may have met her match.
But the play is not all fun and games. It makes a powerful statement about subjects such as genital mutilation, rape, and oppression. The material about Taliban rule and burkas is, of course, dated, but it is still important to be able to understand what it must have been like for woman living under Taliban rule.
"The Vagina Monologues" is an empowering play. If any woman came hesitantly to the theatre, I'm certain she left with a whole new appreciation of her body, her femininity, and her power as a woman.
Two more performances of "The Vagina Monologues" remain - February 13 at UC Davis Wyatt Theatre and February 15 at the Varsity Theatre. Both performances begin a 7 p.m.
Stars: 5
Monday, January 07, 2002
The Crucible
"It is truly sobering to realize that this play has never, in my lifetime, lost its relevance," writes director David Burmester in his program comments for Acme Theatre's production of "The Crucible," running through January 12 at the Veterans Memorial Theatre.
Arthur Miller's classic play concerns the Salem witch trials, which took place from June through September of 1692, during which time nineteen men and women were hanged at Gallows Hill near Salem. Another man was pressed to death by stones for refusing to submit to a trial on witchcraft charges. Hundreds of other persons faced accusations of witchcraft and dozens more languished in jail without trials. Miller, who wrote this play in the mid-1950s, intended for his play to be a metaphor for the "red scare" of the era of Senator Joe McCarthy, in which similar "witch hunts" occurred, but targeting citizens as Communists rather than disciples of Satan.
"The Crucible" is a work which still shows the mass hysteria which can evolve and destroy the lives of innocent people, whether witches or communists or Japanese interred without any proof of guilt during World War II, or Middle Easterners in 2001, detained for looking middle eastern, and therefore suspect.
It is unfortunate that some of the dialog in Acme's production is difficult to understand. Important information is rushed and the dialect occasionally makes it difficult to follow what is being said, however it is a small complaint in an otherwise powerful production.
The story begins in the bedroom of young Betty Parris (Genevieve Moreno). Betty lies comatose while her father, the Reverend Parris (Jake Stoebel) kneels at her side praying for her recovery. In the next few minutes we discover that on the previous night, Betty had been dancing in the forest with a group of girls, including Tituba, a slave from Barbados (Lusungu Mkandawire) and Abigail Williams, the Reverend's niece (Allese Thomson). Their frolic was discovered by the Reverend and when Betty cannot be awakened the next morning, rumors begin to fly that the girls had been practicing witchcraft and that Betty is bewitched.
Alarmed neighbors, Thomas and Ann Putnam (Brian Oglesby and Jill Winternitz) approach Parris with rumors that Betty was seen flying over a barn. Their daughter is also sick and they, too, feel witchcraft is the cause.
When John Proctor, a local farmer, arrives with his wife and is left alone with Abigail, we learn of their brief affair, his remorse, and the girl's intention to continue the relationship. When Proctor makes it clear that the affair is over,
****
In a theatrical experiment, Acme is including in this production a scene which had been written into the original script, but which was dropped many years ago and is now rarely performed. The scene, which comes at the start of Act 2, is a brief meeting of Proctor and Abigail in the forest prior to the trial. According to director Burmester, it somewhat shifts the culpability away from Abigail because in the scene she really seems to be somewhat deranged. She is so completely caught up in what she considers her love of John and her attempts to cleanse the world of all evil ("when this world is white again what a wife I'll make you"). Burmester feels the scene gives an interesting twist to the story. Abigail's apparent mental derangement illustrates more clearly that the men of Salem have been manipulating the girls.
The new scene will run on Thursday and Saturday, and the show without the additional scene will run Friday.
Arthur Miller's classic play concerns the Salem witch trials, which took place from June through September of 1692, during which time nineteen men and women were hanged at Gallows Hill near Salem. Another man was pressed to death by stones for refusing to submit to a trial on witchcraft charges. Hundreds of other persons faced accusations of witchcraft and dozens more languished in jail without trials. Miller, who wrote this play in the mid-1950s, intended for his play to be a metaphor for the "red scare" of the era of Senator Joe McCarthy, in which similar "witch hunts" occurred, but targeting citizens as Communists rather than disciples of Satan.
"The Crucible" is a work which still shows the mass hysteria which can evolve and destroy the lives of innocent people, whether witches or communists or Japanese interred without any proof of guilt during World War II, or Middle Easterners in 2001, detained for looking middle eastern, and therefore suspect.
It is unfortunate that some of the dialog in Acme's production is difficult to understand. Important information is rushed and the dialect occasionally makes it difficult to follow what is being said, however it is a small complaint in an otherwise powerful production.
The story begins in the bedroom of young Betty Parris (Genevieve Moreno). Betty lies comatose while her father, the Reverend Parris (Jake Stoebel) kneels at her side praying for her recovery. In the next few minutes we discover that on the previous night, Betty had been dancing in the forest with a group of girls, including Tituba, a slave from Barbados (Lusungu Mkandawire) and Abigail Williams, the Reverend's niece (Allese Thomson). Their frolic was discovered by the Reverend and when Betty cannot be awakened the next morning, rumors begin to fly that the girls had been practicing witchcraft and that Betty is bewitched.
Alarmed neighbors, Thomas and Ann Putnam (Brian Oglesby and Jill Winternitz) approach Parris with rumors that Betty was seen flying over a barn. Their daughter is also sick and they, too, feel witchcraft is the cause.
When John Proctor, a local farmer, arrives with his wife and is left alone with Abigail, we learn of their brief affair, his remorse, and the girl's intention to continue the relationship. When Proctor makes it clear that the affair is over,
****
In a theatrical experiment, Acme is including in this production a scene which had been written into the original script, but which was dropped many years ago and is now rarely performed. The scene, which comes at the start of Act 2, is a brief meeting of Proctor and Abigail in the forest prior to the trial. According to director Burmester, it somewhat shifts the culpability away from Abigail because in the scene she really seems to be somewhat deranged. She is so completely caught up in what she considers her love of John and her attempts to cleanse the world of all evil ("when this world is white again what a wife I'll make you"). Burmester feels the scene gives an interesting twist to the story. Abigail's apparent mental derangement illustrates more clearly that the men of Salem have been manipulating the girls.
The new scene will run on Thursday and Saturday, and the show without the additional scene will run Friday.
Sunday, January 06, 2002
Little Shop of Horrors
"Whatever you do, don't feed the plants," sings the cast.
Good advice that anyone will be sure to heed after seeing Davis Musical Theatre's latest production of "Little Shop of Horrors," opening last weekend at the Varsity Theatre.
With music by lyricist/librettist Howard Ashman and composer Alan Menken (whose more familiar credits include Disney's "Beauty and the Beast," "The Little Mermaid," and "Aladdin"), "Little Shop of Horror" is a musical adaptation of on the 1960's Roger Corman science fiction movie of the same name.
Directed and choreographed by Steve Isaacson (who also did light design), this is the story of a strange plant from outer space which finds its way into a skid row flowership, owned by the blustery Mr. Mushnik. The plant is nurtured by Seymour Krelborn, a nerdy shop clerk madly in love with the naive and somewhat ditzy shop girl, Audrey. In her honor, Seymour names his plant Audrey II.
Existence of the plant brings customers to Mushnik's shop and fame to Seymour, but it turns out that Audrey is no mere plant, but a blood-guzzling creature from outer space, weaving Seymour into a web of greed and deception which spirals out of control. The results are both hilarious and harrowing.
The show begins with a trio of high school drop-outs, who hang around Mushnik's shop and, acting as a kind of Greek chorus, narrate the story in song as the action progresses. The girls each get moments within their songs to shine. In particular, Marilou Ubaldo, as Crystal, a new addition to the Davis Musical Theatre, is terrific. The other girls, Kristi Tucker as Ronnette and Megan O'Laughlin are also excellent.
Costumer Jean Henderson has had great fun with the girls as the play progresses. At one point they all sport Marge Simpson-esque hair, and their red sparkly evening gowns at the conclusion of the show are terrific, particularly on Tucker.
Clocky McDowell is visually an excellent Seymour. He's clumsy and nerdy and moons wonderfully over Audrey. Unfortunately he was having some problems staying on pitch the evening I attended the show and two or three ensemble numbers had spots which were quite painful to listen to. There were also some articulation difficulties, especially when he was conversing with the plant, which required him to have his back to the audience. While microphones are not necessary in a house the size of the Varsity, having the plant amplified (the fabulous backstage voice of Brian McCann), while Seymour is not, created an imbalance.
Andrea Eve Thorpe totters around the stage on the spike heels of Audrey and is delightful to watch. She wears the mini-est of mini skirts, which she explains are her "good clothes." Her voice doesn't have the exaggerated accent of some Audreys, but her characterization works well. Audrey longs to leave skid row and live "somewhere that's green," but is trapped in an abusive relationship with the masochistic dentist, Orin Scrivello.
Troy Thomas proves himself a jack of all trades, listed in the program as playing no less than seven different roles (including Mrs. Luce), but it is his reprise of the dentist Scrivello where he shines. Thomas played the role in DMTC's 1996 production and his return for 2002 is a tribute to his comfort in the part. He gyrates around the stage, laughs maniacally while sniffing laughing gas, and becomes the man you love to hate. While we don't regret his ultimate fate, the depiction of it is quite gruesome and while funny, perhaps not for the squeamish.
Dan Shallock is making his DMTC debut as Mr. Mushnik and does a competent job as the gruff flower shop owner who rescued Seymour from a skid row orphanage and gave him a bed under the shop counter and allows him one Sunday off every two weeks.
The real star of the show, of course, is Audrey II. The plant, which increases in size with each scene, eventually takes over most of the stage. John Coyne deserves much praise for his ability not only to spend the entire second act inside the plant, but also to bring such personality to the huge puppet.
Kudos also to the construction crew of Audrey II: Doug Hicke, John Coyne, Kristin Gold, Audrey Green, Joe Green, Anna Johnson, Clocky McDowell, Megan O'Laughlin, Dan Schallock, Heather Sheridan, Troy Thomas and Ben Wormeli. The sheer number of people needed to bring Audrey II from the drawing board to the stage is a testament to the care lavished on this production.
The functional set designed by Ron Easley makes good use of the width of the Varsity stage, leaving space at the very edges for winos on one side and the drop outs on the other.
The members of the DMTC orchestra--Jonathan Rothman, Celeste Hammon, Ben Wormeli, Emma Fisher and Andy Sullivan do an excellent job of accompanying the cast
Little Shop of Horror is a fun night of theatre. There are a few rough spots, but nobody who attends this production will go away disappointed.
Stars: 3-1/2
Little Shop continues Friday, Saturday and Sunday through January 27. Friday and Saturday performances at 8:15 and Matinees Sundays at 2:15.
Good advice that anyone will be sure to heed after seeing Davis Musical Theatre's latest production of "Little Shop of Horrors," opening last weekend at the Varsity Theatre.
With music by lyricist/librettist Howard Ashman and composer Alan Menken (whose more familiar credits include Disney's "Beauty and the Beast," "The Little Mermaid," and "Aladdin"), "Little Shop of Horror" is a musical adaptation of on the 1960's Roger Corman science fiction movie of the same name.
Directed and choreographed by Steve Isaacson (who also did light design), this is the story of a strange plant from outer space which finds its way into a skid row flowership, owned by the blustery Mr. Mushnik. The plant is nurtured by Seymour Krelborn, a nerdy shop clerk madly in love with the naive and somewhat ditzy shop girl, Audrey. In her honor, Seymour names his plant Audrey II.
Existence of the plant brings customers to Mushnik's shop and fame to Seymour, but it turns out that Audrey is no mere plant, but a blood-guzzling creature from outer space, weaving Seymour into a web of greed and deception which spirals out of control. The results are both hilarious and harrowing.
The show begins with a trio of high school drop-outs, who hang around Mushnik's shop and, acting as a kind of Greek chorus, narrate the story in song as the action progresses. The girls each get moments within their songs to shine. In particular, Marilou Ubaldo, as Crystal, a new addition to the Davis Musical Theatre, is terrific. The other girls, Kristi Tucker as Ronnette and Megan O'Laughlin are also excellent.
Costumer Jean Henderson has had great fun with the girls as the play progresses. At one point they all sport Marge Simpson-esque hair, and their red sparkly evening gowns at the conclusion of the show are terrific, particularly on Tucker.
Clocky McDowell is visually an excellent Seymour. He's clumsy and nerdy and moons wonderfully over Audrey. Unfortunately he was having some problems staying on pitch the evening I attended the show and two or three ensemble numbers had spots which were quite painful to listen to. There were also some articulation difficulties, especially when he was conversing with the plant, which required him to have his back to the audience. While microphones are not necessary in a house the size of the Varsity, having the plant amplified (the fabulous backstage voice of Brian McCann), while Seymour is not, created an imbalance.
Andrea Eve Thorpe totters around the stage on the spike heels of Audrey and is delightful to watch. She wears the mini-est of mini skirts, which she explains are her "good clothes." Her voice doesn't have the exaggerated accent of some Audreys, but her characterization works well. Audrey longs to leave skid row and live "somewhere that's green," but is trapped in an abusive relationship with the masochistic dentist, Orin Scrivello.
Troy Thomas proves himself a jack of all trades, listed in the program as playing no less than seven different roles (including Mrs. Luce), but it is his reprise of the dentist Scrivello where he shines. Thomas played the role in DMTC's 1996 production and his return for 2002 is a tribute to his comfort in the part. He gyrates around the stage, laughs maniacally while sniffing laughing gas, and becomes the man you love to hate. While we don't regret his ultimate fate, the depiction of it is quite gruesome and while funny, perhaps not for the squeamish.
Dan Shallock is making his DMTC debut as Mr. Mushnik and does a competent job as the gruff flower shop owner who rescued Seymour from a skid row orphanage and gave him a bed under the shop counter and allows him one Sunday off every two weeks.
The real star of the show, of course, is Audrey II. The plant, which increases in size with each scene, eventually takes over most of the stage. John Coyne deserves much praise for his ability not only to spend the entire second act inside the plant, but also to bring such personality to the huge puppet.
Kudos also to the construction crew of Audrey II: Doug Hicke, John Coyne, Kristin Gold, Audrey Green, Joe Green, Anna Johnson, Clocky McDowell, Megan O'Laughlin, Dan Schallock, Heather Sheridan, Troy Thomas and Ben Wormeli. The sheer number of people needed to bring Audrey II from the drawing board to the stage is a testament to the care lavished on this production.
The functional set designed by Ron Easley makes good use of the width of the Varsity stage, leaving space at the very edges for winos on one side and the drop outs on the other.
The members of the DMTC orchestra--Jonathan Rothman, Celeste Hammon, Ben Wormeli, Emma Fisher and Andy Sullivan do an excellent job of accompanying the cast
Little Shop of Horror is a fun night of theatre. There are a few rough spots, but nobody who attends this production will go away disappointed.
Stars: 3-1/2
Little Shop continues Friday, Saturday and Sunday through January 27. Friday and Saturday performances at 8:15 and Matinees Sundays at 2:15.
Wednesday, November 07, 2001
A Funny Thing Happend on the Way to the Forum
A funny thing happened on the way to the Varsity Theatre. And an even funnier thing happened inside the theatre, as Davis Musical Theatre Company kicked off its 17th season with "A Funny Thing Happened on the Way to the Forum," book by Burt Shevelove and Larry Gelbart and music by Stephen Sondheim
Director Bobby Grainger addressed the audience before the show began. "I've assembled a wonderful cast," he beamed. He had every right to be proud. The cast for "Forum" is one of the consistently strongest DMTC has seen. It would be difficult to find a weakest link.
Stephen Sondheim's most tuneful musical is a madcap musical sex farce set in ancient Rome and based on the comedies of Plautus (254-182 BC). It's presented as a play within a play and we watch the actors on stage get into character, begin the story, and step out of character from time to time for interaction with the audience.
The story centers around a crafty slave named Pseudolus (Brian K. McCann, Sr.), who desires his freedom and discovers a way to get it.
McCann provides the quality performance DMTC fans have come to expect from an actor who has given such memorable interpretations as Mr. Bumble in "Oliver!" and Juan Peron in "Evita." Pseudolus is the quintessential con artist and McCann plays him to perfection.
Balancing McCann's bombast is Hysterum (Aaron Gaines), the eunich who runs the house of Senex (Steve Isaacson), father of Hero. Gaines gives an interpretation which is believable and just effeminate enough, without going overboard.
Pseudolus' young master, Hero (Jason Stevens), is in love with Philia (Pheonix Vaughn [Derrick--yes it is "Pheonix", not Phoenix], a would-be courtesan (though still a virgin) in the house of Marcus Lycus (David Holmes). Pseudolus makes a bargain with Hero that if he can get Philia for him, Hero will grant his freedom.
The choice of Vaughn to play Philia was a perfect one. With ivory soap clear skin and wide eyes, framed by curly blonde hair and dressed in virginal white, she is the picture of innocence. When she sings "I'm lovely," we believe her.
Philia has already been sold to the great warrior Miles Gloriosus (Jeremiah Lowder), which means Pseudolus has a lot of conniving and weaseling to do if he's going to capture the girl for Hero and win his own freedom. Lowder is an experienced hand at doing "A Funny Thing Happened on the Way to the Forum," as this is his third production of the show. He was previously seen as a protean in one production and in another production as Hero.
Steve Isaacson tickles the funnybone as the henpecked Senex, a dirty old man who wants to sew a few wild oats while his wife Domina (Becky Luther) is out of town. His "Everybody ought to have a Maid" (sung with Pseudolus, Hysterium and Marcus Lycus) is one of the evening's highlights.
Adding to the fun is a series of mistaken identies and interesting chases which resemble a French bedroom farce. And, since this is a comedy, there's a happy ending, of course.
There are no minor roles in this show. The "Proteans," (Clocky McDowell, James Stark, Tim O'Laughlin, Aaron Rogers ) are jacks of all trades, performing all the smaller roles such as citizens and soldiers (but they are particularly effective as cupids) and are very funny.
There is also a houseful of wonderful courtesans--Laura Nelson as Tintinabula, Keri Newton and Kristen Heitman as the Gemini Twins, Lori Jones as Vibrata, Abby Johnson as Panacea and the statuesque Amy Graves, in the tallest-heeled leather boots imaginable, as Gymnasia.
Dick Mangrum as Erronius makes the very most of a small part and each time he appears on stage it is to a bigger laugh.
Mark Allen has created a delightful set, which combines the stately manor of Senex with the wildly decadent brothel of Marcus Lycus, which could easily have been plucked from San Francisco's Haight-Ashbury district during the 60s.
As always, the 8-member DMTC orchestra kept the tempos brisk, though there were moments throughout when the volume made it difficult to understand some of the lyrics.
Costumer Jean Henderson had a lot of fun designing this show, with togas for the citizens, military costumes for Miles Gloriosus and his men, and the wonderful costumes for the courtesans. A little body make up could have been used to cover up 21st century tan lines, but it's a minor complaint in an otherwise good looking show.
DMTC has picked a rousing start to its new season. It's a show with no message, except to sit back, relax, and forget about the troubles of the world for a couple of hours. You won't be disappointed.
Director Bobby Grainger addressed the audience before the show began. "I've assembled a wonderful cast," he beamed. He had every right to be proud. The cast for "Forum" is one of the consistently strongest DMTC has seen. It would be difficult to find a weakest link.
Stephen Sondheim's most tuneful musical is a madcap musical sex farce set in ancient Rome and based on the comedies of Plautus (254-182 BC). It's presented as a play within a play and we watch the actors on stage get into character, begin the story, and step out of character from time to time for interaction with the audience.
The story centers around a crafty slave named Pseudolus (Brian K. McCann, Sr.), who desires his freedom and discovers a way to get it.
McCann provides the quality performance DMTC fans have come to expect from an actor who has given such memorable interpretations as Mr. Bumble in "Oliver!" and Juan Peron in "Evita." Pseudolus is the quintessential con artist and McCann plays him to perfection.
Balancing McCann's bombast is Hysterum (Aaron Gaines), the eunich who runs the house of Senex (Steve Isaacson), father of Hero. Gaines gives an interpretation which is believable and just effeminate enough, without going overboard.
Pseudolus' young master, Hero (Jason Stevens), is in love with Philia (Pheonix Vaughn [Derrick--yes it is "Pheonix", not Phoenix], a would-be courtesan (though still a virgin) in the house of Marcus Lycus (David Holmes). Pseudolus makes a bargain with Hero that if he can get Philia for him, Hero will grant his freedom.
The choice of Vaughn to play Philia was a perfect one. With ivory soap clear skin and wide eyes, framed by curly blonde hair and dressed in virginal white, she is the picture of innocence. When she sings "I'm lovely," we believe her.
Philia has already been sold to the great warrior Miles Gloriosus (Jeremiah Lowder), which means Pseudolus has a lot of conniving and weaseling to do if he's going to capture the girl for Hero and win his own freedom. Lowder is an experienced hand at doing "A Funny Thing Happened on the Way to the Forum," as this is his third production of the show. He was previously seen as a protean in one production and in another production as Hero.
Steve Isaacson tickles the funnybone as the henpecked Senex, a dirty old man who wants to sew a few wild oats while his wife Domina (Becky Luther) is out of town. His "Everybody ought to have a Maid" (sung with Pseudolus, Hysterium and Marcus Lycus) is one of the evening's highlights.
Adding to the fun is a series of mistaken identies and interesting chases which resemble a French bedroom farce. And, since this is a comedy, there's a happy ending, of course.
There are no minor roles in this show. The "Proteans," (Clocky McDowell, James Stark, Tim O'Laughlin, Aaron Rogers ) are jacks of all trades, performing all the smaller roles such as citizens and soldiers (but they are particularly effective as cupids) and are very funny.
There is also a houseful of wonderful courtesans--Laura Nelson as Tintinabula, Keri Newton and Kristen Heitman as the Gemini Twins, Lori Jones as Vibrata, Abby Johnson as Panacea and the statuesque Amy Graves, in the tallest-heeled leather boots imaginable, as Gymnasia.
Dick Mangrum as Erronius makes the very most of a small part and each time he appears on stage it is to a bigger laugh.
Mark Allen has created a delightful set, which combines the stately manor of Senex with the wildly decadent brothel of Marcus Lycus, which could easily have been plucked from San Francisco's Haight-Ashbury district during the 60s.
As always, the 8-member DMTC orchestra kept the tempos brisk, though there were moments throughout when the volume made it difficult to understand some of the lyrics.
Costumer Jean Henderson had a lot of fun designing this show, with togas for the citizens, military costumes for Miles Gloriosus and his men, and the wonderful costumes for the courtesans. A little body make up could have been used to cover up 21st century tan lines, but it's a minor complaint in an otherwise good looking show.
DMTC has picked a rousing start to its new season. It's a show with no message, except to sit back, relax, and forget about the troubles of the world for a couple of hours. You won't be disappointed.
Saturday, November 03, 2001
Little Shop of Horrors
If you find a strange plant which appears suddenly following a total eclipse of the sun, walk by and leave it alone. That seems to be the message of Director Peggy Shannon's sparkling new production of the high-spirited "Little Shop of Horrors," which opened Friday night on the main stage at UC Davis.
From the moment the "Do-Wop girls," high school drop outs who hang around Mushnik's flower shop "down on skid row" make their entrance, dancing in snappy precision, the audience knows it is in for a real treat. The girls are played by Antonia Carrillo McCabe, Georgia Boyd, and Linda Noveroske Rentner and act as a quasi Greek chorus, filling in the story between scenes. Each of the girls gets her own chance to shine in solo bits. Boyd in particular is a knockout when she gets "down and funky."
"Little Shop of Horrors, by lyricist/librettist Howard Ashman and composer Alan Menken (whose more familiar credits include Disney's "Beauty and the Beast," "The Little Mermaid," and "Aladdin"), is a musical adaptation of on the 1960's Roger Corman science fiction movie of the same name.
Its hero, Seymour Krelborn, is the timid employee of a failing skid row flower shop. Seymour was rescued from a skid row orphanage by the irrascible Mr. Mushnik (Adam Sartain), and has spent his life living in the flower shop, working for Mr. Mushnik, and hiding his love for the sweet, dippy shop girl, Audrey.
Seymour sees the chance to transform his life and win the heart of Audrey when the curious plant he has been nurturing flourishes under his care. The plant, which he names "Audrey II," is actually a talking creature from outer space and the only way to keep it alive is by feeding it human blood. When Seymour becomes anemic from Audrey II's nightly feedings, he is forced to find alternative sources of nourishment for the plant.
One could not find a better Seymour than Drew Hirshfield. The talented actor portrays the nerdy shop clerk perfectly, and with a rubbery body that would do justice to Ray Bolger, his physical comedy is marvelous.
Stephanie Gougé has captured the essence of the caricature of Audrey beautifully. Mincing around in high heels, with a generous décolletage, and a stiffly sprayed blonde hairdo, she embodies the essence of the naive shopgirl. Audrey yearns to leave skid row and live "somewhere that's green," dressed like Donna Reed and watching Lucy on "a giant 12" TV screen," but her lack of self esteem keeps her tied to a go-nowhere job with an abusive boyfriend. She is, after all, a "woman with a past" and unworthy of the love of someone as nice as Seymour.
Sniffing laughing gas and gyrating across the stage, Isaac Woofter as the sadistic leather-clad biker/dentist Orin Scrivello, is a real crowd pleaser. Woofter takes command whenever he appears, and he is the man you love to hate.
(Scrivello also plays two other minor characters. Notice should be given, as well, to Michael Yap, Jennifer Anson, Sam Tanng, and Hiroshi Osaza, who also play several minor charactes.)
Seymour gains the attention of the world when he begins to display Audrey II and when the plant begins to grow to monstrous size (special recognition needs to go to Bryan Martin and Jessie J. Eting, Jr. who give Audrey II life). Unfortunately, as it grows larger, Audrey II becomes more demanding and Seymour finds himself caught in a frenzy of greed and deception which spirals out of control. The results are both hilarious and harrowing.
At the end, the true mission of Audrey II is revealed and the audience is warned not to feed the plants.
There was no skimping on the set, the obvious recipient of much care and attention. Robert Frye has effectively created the look of a skid row neighborhood, with Mushnik's shop on a huge turntable which dominates the stage. (A particularly nice touch was a clock on the flower shop wall that actually changes time--an interesting challenge on a set which is always in view of the audience)
Music is under the direction of trumpet virtuoso Peter Nowlen, whose five piece band plays offstage, with projection of Nowlen himself on a screen under the light booth, to aid the singers to keep on beat.
Choreographer Sunny Smith has taken a group of mostly non-dancers and made believable dancers out of them. She has succeeded particularly well with the do-wop girls.
Clare Henkel's costumes are fun--from the drab, nondescript outfit of Seymour, to the provocative dresses of Audrey, to the glitz of the do-wop girls.
Shannon has created a tight, fast-paced production that never fails to delight. While there is no deep message here, "Little Shop of Horrors" is a fable of what can happen when you wish for it all, get it, and then have to deal with the consequences.
From the moment the "Do-Wop girls," high school drop outs who hang around Mushnik's flower shop "down on skid row" make their entrance, dancing in snappy precision, the audience knows it is in for a real treat. The girls are played by Antonia Carrillo McCabe, Georgia Boyd, and Linda Noveroske Rentner and act as a quasi Greek chorus, filling in the story between scenes. Each of the girls gets her own chance to shine in solo bits. Boyd in particular is a knockout when she gets "down and funky."
"Little Shop of Horrors, by lyricist/librettist Howard Ashman and composer Alan Menken (whose more familiar credits include Disney's "Beauty and the Beast," "The Little Mermaid," and "Aladdin"), is a musical adaptation of on the 1960's Roger Corman science fiction movie of the same name.
Its hero, Seymour Krelborn, is the timid employee of a failing skid row flower shop. Seymour was rescued from a skid row orphanage by the irrascible Mr. Mushnik (Adam Sartain), and has spent his life living in the flower shop, working for Mr. Mushnik, and hiding his love for the sweet, dippy shop girl, Audrey.
Seymour sees the chance to transform his life and win the heart of Audrey when the curious plant he has been nurturing flourishes under his care. The plant, which he names "Audrey II," is actually a talking creature from outer space and the only way to keep it alive is by feeding it human blood. When Seymour becomes anemic from Audrey II's nightly feedings, he is forced to find alternative sources of nourishment for the plant.
One could not find a better Seymour than Drew Hirshfield. The talented actor portrays the nerdy shop clerk perfectly, and with a rubbery body that would do justice to Ray Bolger, his physical comedy is marvelous.
Stephanie Gougé has captured the essence of the caricature of Audrey beautifully. Mincing around in high heels, with a generous décolletage, and a stiffly sprayed blonde hairdo, she embodies the essence of the naive shopgirl. Audrey yearns to leave skid row and live "somewhere that's green," dressed like Donna Reed and watching Lucy on "a giant 12" TV screen," but her lack of self esteem keeps her tied to a go-nowhere job with an abusive boyfriend. She is, after all, a "woman with a past" and unworthy of the love of someone as nice as Seymour.
Sniffing laughing gas and gyrating across the stage, Isaac Woofter as the sadistic leather-clad biker/dentist Orin Scrivello, is a real crowd pleaser. Woofter takes command whenever he appears, and he is the man you love to hate.
(Scrivello also plays two other minor characters. Notice should be given, as well, to Michael Yap, Jennifer Anson, Sam Tanng, and Hiroshi Osaza, who also play several minor charactes.)
Seymour gains the attention of the world when he begins to display Audrey II and when the plant begins to grow to monstrous size (special recognition needs to go to Bryan Martin and Jessie J. Eting, Jr. who give Audrey II life). Unfortunately, as it grows larger, Audrey II becomes more demanding and Seymour finds himself caught in a frenzy of greed and deception which spirals out of control. The results are both hilarious and harrowing.
At the end, the true mission of Audrey II is revealed and the audience is warned not to feed the plants.
There was no skimping on the set, the obvious recipient of much care and attention. Robert Frye has effectively created the look of a skid row neighborhood, with Mushnik's shop on a huge turntable which dominates the stage. (A particularly nice touch was a clock on the flower shop wall that actually changes time--an interesting challenge on a set which is always in view of the audience)
Music is under the direction of trumpet virtuoso Peter Nowlen, whose five piece band plays offstage, with projection of Nowlen himself on a screen under the light booth, to aid the singers to keep on beat.
Choreographer Sunny Smith has taken a group of mostly non-dancers and made believable dancers out of them. She has succeeded particularly well with the do-wop girls.
Clare Henkel's costumes are fun--from the drab, nondescript outfit of Seymour, to the provocative dresses of Audrey, to the glitz of the do-wop girls.
Shannon has created a tight, fast-paced production that never fails to delight. While there is no deep message here, "Little Shop of Horrors" is a fable of what can happen when you wish for it all, get it, and then have to deal with the consequences.
Thursday, October 25, 2001
Aida
While standing ovations have become the norm in this country for just about everything, it is rare that an audience rises to its feet as one body before the performers have even had a chance to come out on stage for their bows.
Such was the situation with Wednesday night's opening of Elton John and Tim Rice's Tony award winning musical, "Aida" at the Sacramento Community Center, as part of the first official national touring company. Seldom has such an ovation been more deserved.
With a uniformly excellent cast, it's difficult to know exactly where to begin, but it seems appropriate to begin with the visuals. The scenic and costume design by Bob Crowley and particularly the lighting design by Natasha Katz had a real starring role in this production. The vivid primary colored backdrops, the minimal but effective sets, an amazing sailing ship, and the incredible lighting effects for everything from a standout solo by Aida, bathed in a dozen spotlights, to inventive use of laser lighting and one special effect at the end, which I will not spoil by revealing here. Even if the cast had been mediocre, the show would be worth seeing for the stage design alone.
Fortunately, however, the cast is anything but mediocre.
Giuseppe Verdi it ain't, and those expecting a "Grand March" may be disappointed, but Elton John and Tim Rice have faithfully retold the well-known story (adding a new character, Mereb, Radames' Nubian servant, for what seems to be occasional comic effect). This is the classic love triangle of an Egyptian princess, Amneris, the captured Nubian princess, Aida, who has become her slave, and the noble Egyptian soldier, Radames, whom both women love.
As Aida, Simone (daughter of world-renowned singer, Nina Simone) is sheer perfection. She was firey as the princess who finds herself captured and treaded as a slave, tender in her love scenes with Radames, and an absolute knockout in her solos. The Act 1 finale, "The Gods Love Nubia," Aida's promise to her enslaved people that Nubia will never die, leaves the audience breathless.
An equal match for Simone is Patrick Cassidy (the youngest son son of Shirley Jones and Jack Cassidy and brother of Shaun and David Cassidy) as Radames, who gives a powerful performance as the reluctant Pharoah-to-be, torn between his duty to marry a woman he does not love for political reasons, and his growing love for Aida.
Kelli Fournier as Amneris, acted both as narrator and as participant in the action. She's a princess interested only in clothes and fashion ("My Strongest Suit"), but acquires more queenly virtues as the play progresses. (Both Simone and Fournier are from the Broadway company of "Aida.")
An outstanding trio, both vocally and visually was "A Step Too Far," which opens the second act with the three principal characters describing how they find themselves entangled in conflicted loyalties and emotions.
Neal Bernari injected an incredible amount of power into his role as Zoser, Radames' father. He took command of the stage whenever he stepped into a scene.
Substituting in the role of Mereb, Tim Hunter gave a memorable performance as the Nubian slave who delivers Aida from the slave ship to the palace, and suddenly recognizes her as his princess ("How I know you"). He takes her to the Nubian camp, where her people plead with her to lead them.
It is also Mereb who guides Aida to the prison cell of her father Amonasro (Jerald Vincent), captured by Radames' army. Together the three plan an escape for Amonasro during the wedding of Radames and Amneris. To save her father and nation, Aida must betray the man she loves ("Easy As Life").
Amneris overhears a conversation between Radames and Aida, and discovers their affair, and that her upcoming marriage is a sham. Aida attempts to flee to Nubia with her father, there is a tragic end for the star-crossed lovers, but in this Disney-produced version of the story, there is also hope for future happiness.
Choreographer Wayne Cilento paints beautiful visual portraits with his dancers. Of particular note is a number featuring warriors dancing with bows and arrows, silhouetted against a red backdrop.
Robert Falls has directed a stunning, seamless production with a strong cast which will not disappoint any audience. You may not exactly go out humming the score, but you certainly will remember the look of this sumptuous production for a long time.
Such was the situation with Wednesday night's opening of Elton John and Tim Rice's Tony award winning musical, "Aida" at the Sacramento Community Center, as part of the first official national touring company. Seldom has such an ovation been more deserved.
With a uniformly excellent cast, it's difficult to know exactly where to begin, but it seems appropriate to begin with the visuals. The scenic and costume design by Bob Crowley and particularly the lighting design by Natasha Katz had a real starring role in this production. The vivid primary colored backdrops, the minimal but effective sets, an amazing sailing ship, and the incredible lighting effects for everything from a standout solo by Aida, bathed in a dozen spotlights, to inventive use of laser lighting and one special effect at the end, which I will not spoil by revealing here. Even if the cast had been mediocre, the show would be worth seeing for the stage design alone.
Fortunately, however, the cast is anything but mediocre.
Giuseppe Verdi it ain't, and those expecting a "Grand March" may be disappointed, but Elton John and Tim Rice have faithfully retold the well-known story (adding a new character, Mereb, Radames' Nubian servant, for what seems to be occasional comic effect). This is the classic love triangle of an Egyptian princess, Amneris, the captured Nubian princess, Aida, who has become her slave, and the noble Egyptian soldier, Radames, whom both women love.
As Aida, Simone (daughter of world-renowned singer, Nina Simone) is sheer perfection. She was firey as the princess who finds herself captured and treaded as a slave, tender in her love scenes with Radames, and an absolute knockout in her solos. The Act 1 finale, "The Gods Love Nubia," Aida's promise to her enslaved people that Nubia will never die, leaves the audience breathless.
An equal match for Simone is Patrick Cassidy (the youngest son son of Shirley Jones and Jack Cassidy and brother of Shaun and David Cassidy) as Radames, who gives a powerful performance as the reluctant Pharoah-to-be, torn between his duty to marry a woman he does not love for political reasons, and his growing love for Aida.
Kelli Fournier as Amneris, acted both as narrator and as participant in the action. She's a princess interested only in clothes and fashion ("My Strongest Suit"), but acquires more queenly virtues as the play progresses. (Both Simone and Fournier are from the Broadway company of "Aida.")
An outstanding trio, both vocally and visually was "A Step Too Far," which opens the second act with the three principal characters describing how they find themselves entangled in conflicted loyalties and emotions.
Neal Bernari injected an incredible amount of power into his role as Zoser, Radames' father. He took command of the stage whenever he stepped into a scene.
Substituting in the role of Mereb, Tim Hunter gave a memorable performance as the Nubian slave who delivers Aida from the slave ship to the palace, and suddenly recognizes her as his princess ("How I know you"). He takes her to the Nubian camp, where her people plead with her to lead them.
It is also Mereb who guides Aida to the prison cell of her father Amonasro (Jerald Vincent), captured by Radames' army. Together the three plan an escape for Amonasro during the wedding of Radames and Amneris. To save her father and nation, Aida must betray the man she loves ("Easy As Life").
Amneris overhears a conversation between Radames and Aida, and discovers their affair, and that her upcoming marriage is a sham. Aida attempts to flee to Nubia with her father, there is a tragic end for the star-crossed lovers, but in this Disney-produced version of the story, there is also hope for future happiness.
Choreographer Wayne Cilento paints beautiful visual portraits with his dancers. Of particular note is a number featuring warriors dancing with bows and arrows, silhouetted against a red backdrop.
Robert Falls has directed a stunning, seamless production with a strong cast which will not disappoint any audience. You may not exactly go out humming the score, but you certainly will remember the look of this sumptuous production for a long time.
Sunday, September 09, 2001
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.
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.
Saturday, September 08, 2001
Sound of Music
At the curtain call for "The Sound of Music," which inaugurated Davis Music Theatre's 17th season, there were cheers and lots of flowers for the performers. The audience of friends, relatives, and long-time supporters were celebrating what DMTC does best: give local actors and actresses the chance to do what they love most. DMTC epitomizes the word "amateur" in its best sense: People who perform for the love of it.
And what's not to love in this popular musical by Rodgers and Hammerstein? The familiar tunes are those many have grown up with--"My Favorite Things," "Do-Re-Mi," "Climb Ev'ry Mountain," "Edelweiss," and of course the title song.
"The Sound of Music," directed by Jan Isaacson, with musical direction by husband Steve, is a family affair. It features Wendy Young as Maria, the young postulant who leaves the convent to become governess for a family of motherless children. In her long history with DMTC, Young, who has been performing since age 7, played Liesl in a previous production of this same show. She has now grown into a mature young woman and was a warm and affectionate Maria.
Also in the cast is Wendy's mother, Mary Young as the blustery Sister Berthe, who struggles to find the answer to "how do we solve a problem like Maria?" Young has long been a favorite of DMTC audiences.
The Bruening family is represented by Ben, as an energetic Max Detweiller, the opportunistic entrepreneur who is determined to exploit the singing Von Trapp children for his own benefit.
Ben's wife, Noelle has several small roles, including the "Danke Lady," winning second place at the Salzburg musical festival. Her enthusiastic acceptance is very cute.
Two of the von Trapp children are played by real life brother and sister, Edward (Kurt) and Amber (Gretl) Bianchi. (the other children are Melody Davi as Liesl, Steven Garman as Friedrich, Maggie Roesser as Louisa, Julia Spangler as Brigitta and Ariel Pytel as Marta. Amber's mother, Jeannie, also plays the Baroness Elberfeld)
The von Trapp children are perennial crowd pleasers, and this group works together quite well, even if their harmonies aren't always right on.
Colby Salmon plays Rolf, the young Nazi torn between his love for Liesl and his dedication to the Fatherland. Colby's father Chris also appears on stage as one of the "Nazis/Party Guests" and also plays in the orchestra along with several other Salmons. (There are about as many Salmons in this production as there are von Trapps).
Reprising his role from the 1989 production, Warren Harrison is the rigid, widowed Georg von Trapp, a retired officer in the Imperial Navy. Since his wife died, von Trapp has strictly run his house like a militaristic, humorless naval ship - there is no time for play and his regimented children function like a troop of automaton-sailors. He learns from Maria what it is to be a father
Laura Parkes is outstanding in the supporting role of Elsa Schrader, who has her cap set for Georg until she realizes his obvious affection for the young Maria. This is Parkes' return to the theatre after a long hiatus, and one hopes this is the start of a long association with DMTC.
Dannette Bell, in the small role of Frau Schmidt, the housekeeper, is charming.
Janet McNeil, in her DMTC debut, gives a notable performance as the Mother Abbess, whose affection for Maria leads her to send the young girl off from the convent to find the will of God regarding her true vocation.
Cheryl Barker is making her on-stage debut as Sister Margretta, after years of playing piano in several DMTC orchestras.
The chorus of nuns has been well trained and brings back memories of Catholic school days and singing Gregorian chant. Their habits could be a little more uniform to make the picture complete, but one can't fault their singing.
Costume design is by Jean Henderson and one does have to wonder why the von Trapp children appear at the Salzburg Music Festival wearing the same clothes made from curtains which so upset their father in Act 1. But overall, Henderson has given us a good looking show--and Elsa's party gown is a knockout.
Sets by Steve Isaacson are minimal in spots, but the stained glass window for the convent was very impressive.
The notable thing about this production is the enunciation. Without exception every single performer could be heard and understood throughout the theatre. In these days of amplified performances, this is a rarity.
The expanded 19 piece DMTC orchestra, under Isaacson's direction, was excellent, and greatly added to the production.
Amateur groups don't always have the most trained voices or advanced acting skills but there's a quaint innocence and sincerity that lies at the heart of enjoyable theatre experiences. The connection between audience and performers at "The Sound of Music"'s opening night proves that this enduring musical will continue to draw large audiences. It's a wonderful show for children. And it is in the very best tradition of amateur theatre.
Stars: 3
And what's not to love in this popular musical by Rodgers and Hammerstein? The familiar tunes are those many have grown up with--"My Favorite Things," "Do-Re-Mi," "Climb Ev'ry Mountain," "Edelweiss," and of course the title song.
"The Sound of Music," directed by Jan Isaacson, with musical direction by husband Steve, is a family affair. It features Wendy Young as Maria, the young postulant who leaves the convent to become governess for a family of motherless children. In her long history with DMTC, Young, who has been performing since age 7, played Liesl in a previous production of this same show. She has now grown into a mature young woman and was a warm and affectionate Maria.
Also in the cast is Wendy's mother, Mary Young as the blustery Sister Berthe, who struggles to find the answer to "how do we solve a problem like Maria?" Young has long been a favorite of DMTC audiences.
The Bruening family is represented by Ben, as an energetic Max Detweiller, the opportunistic entrepreneur who is determined to exploit the singing Von Trapp children for his own benefit.
Ben's wife, Noelle has several small roles, including the "Danke Lady," winning second place at the Salzburg musical festival. Her enthusiastic acceptance is very cute.
Two of the von Trapp children are played by real life brother and sister, Edward (Kurt) and Amber (Gretl) Bianchi. (the other children are Melody Davi as Liesl, Steven Garman as Friedrich, Maggie Roesser as Louisa, Julia Spangler as Brigitta and Ariel Pytel as Marta. Amber's mother, Jeannie, also plays the Baroness Elberfeld)
The von Trapp children are perennial crowd pleasers, and this group works together quite well, even if their harmonies aren't always right on.
Colby Salmon plays Rolf, the young Nazi torn between his love for Liesl and his dedication to the Fatherland. Colby's father Chris also appears on stage as one of the "Nazis/Party Guests" and also plays in the orchestra along with several other Salmons. (There are about as many Salmons in this production as there are von Trapps).
Reprising his role from the 1989 production, Warren Harrison is the rigid, widowed Georg von Trapp, a retired officer in the Imperial Navy. Since his wife died, von Trapp has strictly run his house like a militaristic, humorless naval ship - there is no time for play and his regimented children function like a troop of automaton-sailors. He learns from Maria what it is to be a father
Laura Parkes is outstanding in the supporting role of Elsa Schrader, who has her cap set for Georg until she realizes his obvious affection for the young Maria. This is Parkes' return to the theatre after a long hiatus, and one hopes this is the start of a long association with DMTC.
Dannette Bell, in the small role of Frau Schmidt, the housekeeper, is charming.
Janet McNeil, in her DMTC debut, gives a notable performance as the Mother Abbess, whose affection for Maria leads her to send the young girl off from the convent to find the will of God regarding her true vocation.
Cheryl Barker is making her on-stage debut as Sister Margretta, after years of playing piano in several DMTC orchestras.
The chorus of nuns has been well trained and brings back memories of Catholic school days and singing Gregorian chant. Their habits could be a little more uniform to make the picture complete, but one can't fault their singing.
Costume design is by Jean Henderson and one does have to wonder why the von Trapp children appear at the Salzburg Music Festival wearing the same clothes made from curtains which so upset their father in Act 1. But overall, Henderson has given us a good looking show--and Elsa's party gown is a knockout.
Sets by Steve Isaacson are minimal in spots, but the stained glass window for the convent was very impressive.
The notable thing about this production is the enunciation. Without exception every single performer could be heard and understood throughout the theatre. In these days of amplified performances, this is a rarity.
The expanded 19 piece DMTC orchestra, under Isaacson's direction, was excellent, and greatly added to the production.
Amateur groups don't always have the most trained voices or advanced acting skills but there's a quaint innocence and sincerity that lies at the heart of enjoyable theatre experiences. The connection between audience and performers at "The Sound of Music"'s opening night proves that this enduring musical will continue to draw large audiences. It's a wonderful show for children. And it is in the very best tradition of amateur theatre.
Stars: 3
Tuesday, August 21, 2001
Show Boat
The title on the program for Music Circus' final offering of the 2001 season says "Show Boat," but there were times during the interminable 3 hours when it felt more like "Titanic," and it would have been a blessing to let the captain go down with the ship.
Alan Young as Cap'n Andy, the captain of a showboat on the Mississippi river, is an embarrassment. Despite use of a body mic he could not be heard, which probably didn't matter, since he couldn't remember half of his lines anyway (and I swear was reading them from a script at one point, though supposedly in character, giving directions to the performers on the show boat stage). His Cap'n Andy had no personality whatsoever and he only became believable in the nightclub scene on New Year's Eve where he's supposed to be drunk and bumbling as he listens to his daughter Magnolia make her singing debut at the Trocadero night club.
It is a shame that the "name" performer for this production is so weak when there were others in the cast who are so strong.
At the top of the list is Derrick Smith, as Joe, a deck hand on the Cotton Blossom. His "Old Man River" was a show stopper and he received the highest accolades at the end of the show. But not even "Old Man River" could save this production.
As Joe's wife Queenie, Inga Ballard is outstanding. Queenie is a small role, but she stood out from the rest of the cast. Her duet ("Can't Help Lovin' That Man") with the showboat chanteuse Julie Lavern is terrific.
Beverly Ward and Kerby Ward as Frank and Ellie, the comic/dance duo are wonderful. Beverly Ward is a funny commedienne and the dance numbers for the two of them, especially the tap number, "Goodbye My Lady Love" were great fun.
Magnolia, the daughter of Cap'n Andy and his wife Parthy, who steps into the lead in the showboat's melodramas when Julie is forced off the showboat, is played by Dale Kristien. Kristien has an operetta quality voice and a face that could grace a cameo. She made a lovely Magnolia.
Marcia Mitzman Gaven gives an uneven performance as the singer Julie, who is of mixed race, but who passes for white until she is betrayed by a spurned suitor. She is re-discovered in Act 2, having fallen into decline. Though obviously under the influence of the liquor in the bottle she carries around before and after her singing the song "He's Just My Bill," the song is performed straight, with no hint of the ravages that alcohol have taken on her body and her voice. Though the voice is beautiful, the performance is not always credible.
Likewise there is an unevenness to the performance of Richard White as the river boat gambler Gaylord Ravenal. Though White sings well and seems to do everything right, he lacks the suave personality that one expects of Ravenal. There is little chemistry between him and Magnolia. He is at times so stiff that their love scenes might have been from one of Cap'n Andy's melodramas.
Patti Karr's Parthy, Andy's sharp-tongued wife, had some trouble with her lines as well, though it may just have been difficulty working off Young's Andy. It would have been nice to see some hint of real affection for Andy shine through that harsh exterior.
In a small bit of pantomime, Chris Weikel is outstanding and, along with Derrick Smith, was one of the highlights of the evening.
Abby Sassoon as the young Kim, Gaylord and Magnolia's daughter, was very believable, and provided one of the few scenes where Ravenal seemed to genuinely show affection.
Costumes designed by Dione H. Lebhar are lush and colorful and seem to be authentic down to the high button shoes. Parthy's dress for Act 2 was a knockout.
Once again Choreographer Bob Richard has provided an energetic, fast paced, well rehearsed, visually pleasant set of dances.
However, there is absolutely no excuse for Leland Ball's direction of this show. We were seated on the side of the house opposite the orchestra and must have watched 3/4 of the show from the back. One wonders if the actors were directed to face the orchestra, or whether they were so under-rehearsed that they needed the exaggerated conducting of Music Director Dennis Castellano to keep up with the tempo. Even when Ball used the turntable (which he did often), as the table would turn, the actors would pivot to continue facing the orchestra. At first it was annoying, and then it became irritating.
However, the coup de grace came in the final scene. For the dramatic moment when Gaylord and Magnolia are reunited after 20 years, Ball has placed chorus members in the aisles close to the stage, which effectively blocks large portions of the audience from seeing any of the action on stage whatsoever. I have absolutely no idea what Magnolia's reaction was because all I saw was the back of a chorus member's head.
For the price of Music Circus tickets, patrons deserve better than this show.
Stars: 2
Alan Young as Cap'n Andy, the captain of a showboat on the Mississippi river, is an embarrassment. Despite use of a body mic he could not be heard, which probably didn't matter, since he couldn't remember half of his lines anyway (and I swear was reading them from a script at one point, though supposedly in character, giving directions to the performers on the show boat stage). His Cap'n Andy had no personality whatsoever and he only became believable in the nightclub scene on New Year's Eve where he's supposed to be drunk and bumbling as he listens to his daughter Magnolia make her singing debut at the Trocadero night club.
It is a shame that the "name" performer for this production is so weak when there were others in the cast who are so strong.
At the top of the list is Derrick Smith, as Joe, a deck hand on the Cotton Blossom. His "Old Man River" was a show stopper and he received the highest accolades at the end of the show. But not even "Old Man River" could save this production.
As Joe's wife Queenie, Inga Ballard is outstanding. Queenie is a small role, but she stood out from the rest of the cast. Her duet ("Can't Help Lovin' That Man") with the showboat chanteuse Julie Lavern is terrific.
Beverly Ward and Kerby Ward as Frank and Ellie, the comic/dance duo are wonderful. Beverly Ward is a funny commedienne and the dance numbers for the two of them, especially the tap number, "Goodbye My Lady Love" were great fun.
Magnolia, the daughter of Cap'n Andy and his wife Parthy, who steps into the lead in the showboat's melodramas when Julie is forced off the showboat, is played by Dale Kristien. Kristien has an operetta quality voice and a face that could grace a cameo. She made a lovely Magnolia.
Marcia Mitzman Gaven gives an uneven performance as the singer Julie, who is of mixed race, but who passes for white until she is betrayed by a spurned suitor. She is re-discovered in Act 2, having fallen into decline. Though obviously under the influence of the liquor in the bottle she carries around before and after her singing the song "He's Just My Bill," the song is performed straight, with no hint of the ravages that alcohol have taken on her body and her voice. Though the voice is beautiful, the performance is not always credible.
Likewise there is an unevenness to the performance of Richard White as the river boat gambler Gaylord Ravenal. Though White sings well and seems to do everything right, he lacks the suave personality that one expects of Ravenal. There is little chemistry between him and Magnolia. He is at times so stiff that their love scenes might have been from one of Cap'n Andy's melodramas.
Patti Karr's Parthy, Andy's sharp-tongued wife, had some trouble with her lines as well, though it may just have been difficulty working off Young's Andy. It would have been nice to see some hint of real affection for Andy shine through that harsh exterior.
In a small bit of pantomime, Chris Weikel is outstanding and, along with Derrick Smith, was one of the highlights of the evening.
Abby Sassoon as the young Kim, Gaylord and Magnolia's daughter, was very believable, and provided one of the few scenes where Ravenal seemed to genuinely show affection.
Costumes designed by Dione H. Lebhar are lush and colorful and seem to be authentic down to the high button shoes. Parthy's dress for Act 2 was a knockout.
Once again Choreographer Bob Richard has provided an energetic, fast paced, well rehearsed, visually pleasant set of dances.
However, there is absolutely no excuse for Leland Ball's direction of this show. We were seated on the side of the house opposite the orchestra and must have watched 3/4 of the show from the back. One wonders if the actors were directed to face the orchestra, or whether they were so under-rehearsed that they needed the exaggerated conducting of Music Director Dennis Castellano to keep up with the tempo. Even when Ball used the turntable (which he did often), as the table would turn, the actors would pivot to continue facing the orchestra. At first it was annoying, and then it became irritating.
However, the coup de grace came in the final scene. For the dramatic moment when Gaylord and Magnolia are reunited after 20 years, Ball has placed chorus members in the aisles close to the stage, which effectively blocks large portions of the audience from seeing any of the action on stage whatsoever. I have absolutely no idea what Magnolia's reaction was because all I saw was the back of a chorus member's head.
For the price of Music Circus tickets, patrons deserve better than this show.
Stars: 2
Tuesday, July 24, 2001
Music Man
There were somewhat fewer than 76 trombones at the finale of Music Circus' opener, "The Music Man" Lawsuits by five people in the neighborhood prevented the traditional inclusion of a local high school band for the closing musical number. However, even without the splash that the addition of a band would have made, opening production to Music Circus' 2001 season does not lack for energy or enthusiasm.
Meredith Wilson's story of River City, Iowa and the effect of a
traveling salesman on small town life in early part of the 20th
century has been delighting audiences for decades and the current
production, directed by Leland Ball, does not disappoint. Ball's
direction makes use of every bit of space in the Music Circus tent,
imaginatively setting scenes in the aisles, giving the amazing Music
Circus tech crew the opportunity to rush onto the stage in the dark
and change the scenery. The end result is a high energy, fast moving
show which keeps the audience involved until the final notes.
Michael G. Hawkins commands the stage as Harold Hill, the con artist
who intends to bilk the town out of its money by selling them on the
idea of a boys band.
Sarah Tattersall is Marian, the Librarian who suspects Hill, but
succumbs to his charm, and to the difference he brings in the life of
her young brother, Winthrop. She has a clear soprano that soars in
numbers like "Goodnight, My Someone" and "My White Knight."
Michael Federan steals the show in his scenes as Winthrop, a winsome
lad with a lisp who is brought out of his shell by the notion of
playing a trumpet and marching in a band. Director Ball has given
Winthrop the chance to shine by doing backflips and walking on his
hands across the stage at one point.
Hannah Mae Sturges as the young Amaryllis sings a lovely duet with
Marian, nicely expresses her frustration in trying to be friends with
Winthrop, and she plays a mean "cross-hand piece" as well.
Another scene stealer is Casey Nicholaw as Marcellus Washburn, Hill's
accomplice. He dances a lively "Shipoopi," but is at his best in "The
Sadder but Wiser Girl."
Veteran Music Circus performer Lenny Wolpe is a marvelously droll
Mayor Shinn, whose malaprops and bluster make him the perfect
stereotypical small town mayor.
As his wife, Eulalie MacKecknie Shinn, Gina Ferrall is a delight. Her
ode to a Grecian urn or two is especially fun.
The School board--Michael Dotson, Bob Sutton, Matt Castle and Chris
Weikel--sing those great barbershop melodies and, with their
increasingly complementary costumes (ending with a white ensemble
trimmed in red, even down to the shoes), are wonderfully reminiscent
of that bygone era.
Brian Shepard and Mia Price as the lovers Tommy Djilas and Zaneeta
Shinn are cute and gawky and fantastic dancers.
Choreographer Bob Richard has assembled an energetic and talented
group of dancers and works well within the limitations of the small
Music Circus stage. Small numbers, such as "Sadder but Wiser Girl"
and "Pickalittle" are fun, but he shines in the bigger numbers like
"Iowa Stubborn," "Seventy-Six Trombones" and "Wells Fargo Wagon."
There is great difficulty in staging a show like "Music Man" in the
round. Much of the action does not lend itself to easily playing to
the entire house, and so we saw several scenes from the back side, but
Director Ball seems to have compensated for this by alternating the
direction in which the scenes are played--the gymnasium scene faces
one direction, the Paroo porch faces another, etc. When the action
lends itself to lots of movement, the set is a raised platform in the
middle of the stage, from which the action can rotate to face each
section of the house, in turn.
The sets by Michael Schweikardt are simple, but work well. Local
establishments are represented by signs which hang from the lighting
rig, the 4th of July celebration in the gymnasium becomes bunting
which is lowered to drape the upper portion of the stage, the
footbridge sets squarely in the middle of the stage and is easily
shuttled off by the hard-working tech crew.
"The Music Man" takes us back to the simple days when the town social
was the biggest event of the week, and when the arrival of a stranger
in town could set the town on its ear. You'll tap your toes and clap
your hands, and leave the theatre humming "76 Trombones." (But hum
softly so you don't disturb the curmudgeons in the neighborhood.)
Meredith Wilson's story of River City, Iowa and the effect of a
traveling salesman on small town life in early part of the 20th
century has been delighting audiences for decades and the current
production, directed by Leland Ball, does not disappoint. Ball's
direction makes use of every bit of space in the Music Circus tent,
imaginatively setting scenes in the aisles, giving the amazing Music
Circus tech crew the opportunity to rush onto the stage in the dark
and change the scenery. The end result is a high energy, fast moving
show which keeps the audience involved until the final notes.
Michael G. Hawkins commands the stage as Harold Hill, the con artist
who intends to bilk the town out of its money by selling them on the
idea of a boys band.
Sarah Tattersall is Marian, the Librarian who suspects Hill, but
succumbs to his charm, and to the difference he brings in the life of
her young brother, Winthrop. She has a clear soprano that soars in
numbers like "Goodnight, My Someone" and "My White Knight."
Michael Federan steals the show in his scenes as Winthrop, a winsome
lad with a lisp who is brought out of his shell by the notion of
playing a trumpet and marching in a band. Director Ball has given
Winthrop the chance to shine by doing backflips and walking on his
hands across the stage at one point.
Hannah Mae Sturges as the young Amaryllis sings a lovely duet with
Marian, nicely expresses her frustration in trying to be friends with
Winthrop, and she plays a mean "cross-hand piece" as well.
Another scene stealer is Casey Nicholaw as Marcellus Washburn, Hill's
accomplice. He dances a lively "Shipoopi," but is at his best in "The
Sadder but Wiser Girl."
Veteran Music Circus performer Lenny Wolpe is a marvelously droll
Mayor Shinn, whose malaprops and bluster make him the perfect
stereotypical small town mayor.
As his wife, Eulalie MacKecknie Shinn, Gina Ferrall is a delight. Her
ode to a Grecian urn or two is especially fun.
The School board--Michael Dotson, Bob Sutton, Matt Castle and Chris
Weikel--sing those great barbershop melodies and, with their
increasingly complementary costumes (ending with a white ensemble
trimmed in red, even down to the shoes), are wonderfully reminiscent
of that bygone era.
Brian Shepard and Mia Price as the lovers Tommy Djilas and Zaneeta
Shinn are cute and gawky and fantastic dancers.
Choreographer Bob Richard has assembled an energetic and talented
group of dancers and works well within the limitations of the small
Music Circus stage. Small numbers, such as "Sadder but Wiser Girl"
and "Pickalittle" are fun, but he shines in the bigger numbers like
"Iowa Stubborn," "Seventy-Six Trombones" and "Wells Fargo Wagon."
There is great difficulty in staging a show like "Music Man" in the
round. Much of the action does not lend itself to easily playing to
the entire house, and so we saw several scenes from the back side, but
Director Ball seems to have compensated for this by alternating the
direction in which the scenes are played--the gymnasium scene faces
one direction, the Paroo porch faces another, etc. When the action
lends itself to lots of movement, the set is a raised platform in the
middle of the stage, from which the action can rotate to face each
section of the house, in turn.
The sets by Michael Schweikardt are simple, but work well. Local
establishments are represented by signs which hang from the lighting
rig, the 4th of July celebration in the gymnasium becomes bunting
which is lowered to drape the upper portion of the stage, the
footbridge sets squarely in the middle of the stage and is easily
shuttled off by the hard-working tech crew.
"The Music Man" takes us back to the simple days when the town social
was the biggest event of the week, and when the arrival of a stranger
in town could set the town on its ear. You'll tap your toes and clap
your hands, and leave the theatre humming "76 Trombones." (But hum
softly so you don't disturb the curmudgeons in the neighborhood.)
Tuesday, June 19, 2001
Peter Pan
From the moment that Megan Houpt flies through the window of the Darling family nursery and onto the stage as Peter Pan, in the show of the same name currently being presented by Davis Musical Theatre Company, the audience sits up and takes notice. Houpt is wonderful as the boy who refused to grow up. She brings electricity to the role, and is able not only to walk and talk at the same time (and quite well), but also to sing and fly at the same time. She simply MAKES the production.
Peter Pan, closes DMTC’s 2001 season, and brings full circle 17 years of musical theatre in Davis. Seventeen years ago, Peter Pan was the first production done by this then-fledgling company, which now has 165 productions under its belt.
The current production is an example of DMTC at its best. Director Michael Miller, in his fourth production for the company, has assembled a very strong cast. In addition to Houpt, Rodger McDonald in the dual role of Mr. Darling (the father of Wendy, John and Michael), and Capt. Hook, the pirate out to get Peter Pan, is outstanding. He is a strong presence as Mr. Darling, but he excels as Hook, directing his pirate band in bumbling attempts to capture Pan, the Lost Boys, and the Indian Princess, Tiger Lily, yet terrified of the jaws of the crocodile who once ate the pirate’s hand and is always looking for a chance to finish the rest of the meal.
Michael Campbell as Smee, Hook’s right hand man, is very funny, as the delighted giggles from the youngsters in the audience will attest.
As the Darling children, Maggie Roesser (Wendy), Steven Garman (John) and Sarah Yablon (John) are wonderful. Roessner, in her DMTC debut, is a marvelous addition to the company. She and Houpt play well off each other. Yablon seems to be specializing in “pants” role early in her life. She was last seen as the young Tommy in “The Who’s Tommy.” She is adorable and completely convincing as a young teddy-bear toting young boy.
Vanessa Born is delightful to watch as Tiger Lily, particularly in the dance numbers, choreographed by Ron Cisneros. (Be advised that the Indian dialog is terribly dated and decidedly not politically correct. In an era where Disney Studios has refused to re–release “Song of the South” because of racial stereotypes, one questions the wisdom of bringing back this version of “Peter Pan”)
Others in the cast include Karen Day as Mrs. Darling and the grown up Wendy, Christina Day as Liza, Kelly Daniells as Jane, and enough actors of all ages as Lost Boys, Pirates, Indians, Trees, Animals and Shadow Dancers, to rival the Davis Children’s Nutcracker at the final curtain. There was some opening night nervousness and missed lines, but ones assumes that will improve through the run of the show.
Cisneros’ choreography is outstanding. Whether it’s Pirates dancing the tango or the tarantella or Indians doing what amounts to a close order drill, the dance numbers add immeasurably to the fun of the production.
Miller’s staging keeps the production moving at a fast clip, and also provides some stunning visual moments, such as one scene where the Indians are seated in a line across the top of a wall and down the steps, providing an notably artistic backdrop to the scene.
Costume design by Anna Johnson run the gamut from the plush red velvet of Hook’s costume through the rag-taggle clothes of the Lost Boys, to several animal suits. Nana, the nursemaid dog (played by Aaron Rogers) is wonderfully shaggy and huggable. Costumes for the lion (Scott Griffith), Ostrich (Heather Tinling), Kangaroo (Marc Valdez) and Bear (Wendy Young) are fun, though the ostrich bears a striking resemblance to a bald eagle. The best of the lot, however, is the crocodile. The marriage of costume and actor (Carrie Gifford) is reminiscent of the stage version of “The Lion King,” and both costumer and actor are to be congratulated.
Special mention should be given to Carrie Gifford, Ryan Gifford and Michael Miller, who are listed as “flight instructors.” Flying four actors around the stage at the same time can be a difficult and dangerous thing to do, but at least from the audience perspective, it all seemed to go off without problem. Miller has staged his flying sequences so that attaching and unattaching actors from the rigging is done as inconspicuously as possible (though it’s obviously not possible to entirely eliminate the sight of harnesses and cables)
Carol Callahan has created an imaginative set, which includes the Darling nursery, with a lovely brass bed for Wendy, and doghouse for Nana, and the Neverland forest, with cloth tree trunks which can be rolled up into the flies for a quick scene change to the pirate ship.
The small DMTC orchestra was again adequate in accompanying the production, but does make one wish for an orchestra pit.
When the Tinker Bell (clever use of a laser light) is in danger of dying, Peter Pan asks the audience to clap if they believe in fairies. The applause restores the fairy to life and all ends happily.
“Peter Pan” will make you believe in fairies. And in pirates, in Indians, and in little boys who never want to grow up.
Bring the kids and let yourself be transported back to Never-Never Land. It’s a trip that you will very much enjoy.
Peter Pan, closes DMTC’s 2001 season, and brings full circle 17 years of musical theatre in Davis. Seventeen years ago, Peter Pan was the first production done by this then-fledgling company, which now has 165 productions under its belt.
The current production is an example of DMTC at its best. Director Michael Miller, in his fourth production for the company, has assembled a very strong cast. In addition to Houpt, Rodger McDonald in the dual role of Mr. Darling (the father of Wendy, John and Michael), and Capt. Hook, the pirate out to get Peter Pan, is outstanding. He is a strong presence as Mr. Darling, but he excels as Hook, directing his pirate band in bumbling attempts to capture Pan, the Lost Boys, and the Indian Princess, Tiger Lily, yet terrified of the jaws of the crocodile who once ate the pirate’s hand and is always looking for a chance to finish the rest of the meal.
Michael Campbell as Smee, Hook’s right hand man, is very funny, as the delighted giggles from the youngsters in the audience will attest.
As the Darling children, Maggie Roesser (Wendy), Steven Garman (John) and Sarah Yablon (John) are wonderful. Roessner, in her DMTC debut, is a marvelous addition to the company. She and Houpt play well off each other. Yablon seems to be specializing in “pants” role early in her life. She was last seen as the young Tommy in “The Who’s Tommy.” She is adorable and completely convincing as a young teddy-bear toting young boy.
Vanessa Born is delightful to watch as Tiger Lily, particularly in the dance numbers, choreographed by Ron Cisneros. (Be advised that the Indian dialog is terribly dated and decidedly not politically correct. In an era where Disney Studios has refused to re–release “Song of the South” because of racial stereotypes, one questions the wisdom of bringing back this version of “Peter Pan”)
Others in the cast include Karen Day as Mrs. Darling and the grown up Wendy, Christina Day as Liza, Kelly Daniells as Jane, and enough actors of all ages as Lost Boys, Pirates, Indians, Trees, Animals and Shadow Dancers, to rival the Davis Children’s Nutcracker at the final curtain. There was some opening night nervousness and missed lines, but ones assumes that will improve through the run of the show.
Cisneros’ choreography is outstanding. Whether it’s Pirates dancing the tango or the tarantella or Indians doing what amounts to a close order drill, the dance numbers add immeasurably to the fun of the production.
Miller’s staging keeps the production moving at a fast clip, and also provides some stunning visual moments, such as one scene where the Indians are seated in a line across the top of a wall and down the steps, providing an notably artistic backdrop to the scene.
Costume design by Anna Johnson run the gamut from the plush red velvet of Hook’s costume through the rag-taggle clothes of the Lost Boys, to several animal suits. Nana, the nursemaid dog (played by Aaron Rogers) is wonderfully shaggy and huggable. Costumes for the lion (Scott Griffith), Ostrich (Heather Tinling), Kangaroo (Marc Valdez) and Bear (Wendy Young) are fun, though the ostrich bears a striking resemblance to a bald eagle. The best of the lot, however, is the crocodile. The marriage of costume and actor (Carrie Gifford) is reminiscent of the stage version of “The Lion King,” and both costumer and actor are to be congratulated.
Special mention should be given to Carrie Gifford, Ryan Gifford and Michael Miller, who are listed as “flight instructors.” Flying four actors around the stage at the same time can be a difficult and dangerous thing to do, but at least from the audience perspective, it all seemed to go off without problem. Miller has staged his flying sequences so that attaching and unattaching actors from the rigging is done as inconspicuously as possible (though it’s obviously not possible to entirely eliminate the sight of harnesses and cables)
Carol Callahan has created an imaginative set, which includes the Darling nursery, with a lovely brass bed for Wendy, and doghouse for Nana, and the Neverland forest, with cloth tree trunks which can be rolled up into the flies for a quick scene change to the pirate ship.
The small DMTC orchestra was again adequate in accompanying the production, but does make one wish for an orchestra pit.
When the Tinker Bell (clever use of a laser light) is in danger of dying, Peter Pan asks the audience to clap if they believe in fairies. The applause restores the fairy to life and all ends happily.
“Peter Pan” will make you believe in fairies. And in pirates, in Indians, and in little boys who never want to grow up.
Bring the kids and let yourself be transported back to Never-Never Land. It’s a trip that you will very much enjoy.
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