Review

"Master Harold and the Boys" last chance to see what the critics raved about

2013-05-04T06:37:08Z

I had read all the critical acclaim for "Master Harold and the Boys" Athol Fugard's masterpiece of a play set in 1950 apartheid South Africa playing in the Sacramento Theatre Company Pollock Stage. I finally found time to go see it and found out I could barely get a ticket to tonight Friday's show. The show ends this weekend and is well worth seeing.

I saw one of the early productions of the play at the Seattle Repertory Theater in 1984. Not surprising it is the only play I remember from that season.

Michael J. Asberry, Rob Anthony, and Will Block all give outstanding performances. All the more amazing for the 18 year old Block a graduate of the STC Young Professionals Conservatory off to UCLA this fall. His role is usually played by an adult actor that can be convincing as someone much younger.

The full 95 minutes is well paced with Buddy Butler's direction making full use of the very intimate Pollock Stage with everything very up close.

Three final shows this weekend:

Saturday 2 and 8 pm good availablity

Final Show Sunday 2 pm heavily sold

More Info and Tickets

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"A Little Princess" STC world premier a major sucess

2013-05-02T06:10:11Z

A major theatrical event took place in Sacramento on Saturday night, April 27, with the Sacramento Theater Company’s world premiere of “A Little Princess.” It is a musical with close creative ties to Sacramento, a show with a potential to reach a huge audiences, given its launch in a Sacramento Theater Company production that could not be more pitch perfect in any way.

William J. Brooke has created a wonderful playbook based on popular English-American writer Frances Hodgson Burnett’s children’s novel of the same name. Burnett is best known for her children’s books published just before and after the turn of the 19th century, “Little Lord Fauntleroy,” “The Little Princess” and “A Secret Garden.” The great popularity of the books, along with her other writing, and her family’s resources, allowed Burnett to live like the little princess she describes.

The book’s elements are present in the production, such as British rigid classism: men escaping responsibility in the name of country and fortune to hang out in the jungles with their drinking buddies of the same class, paying others to deal with family responsibilities. The production also shows some of those most negatively impacted by the classism and unforgiving roles work the hardest to maintain them, Brooke has chosen to focus on developing parent-child bonds and how having an imagination can be a powerful resource even in times of great adversity.

Lyricist Margaret Rose has crafted wonderful words for songs that could easily stand on their own, but also move the story forward in a poetic way. A sign of a successful Broadway musical is that it contains songs that will be covered by artists who are well-known and those who are now, from hit recordings to performances on cabaret stages around the world. What Rose and composer Eric Rockwell have created with “A Little Princess” has a very strong potential to reach that level as a musical.

Rockwell’s score does much to propel “A Little Princess” into the eventual Broadway production territory. Who but a composer that has made a hit show out of sending up Broadway with “Musical of Musicals, the Musical,” can go to the other side and create a pitch-perfect score for what could be viewed as a very traditional Broadway musical. (Search for Matt Stone, Trey Parker, Robert Lopez, Tony Award, “Book of Mormon,” “Avenue Q.”)

But please do not confuse “A Little Princess” with either of the last two plays mentioned as to thematic elements, but in terms of collaborative development among artists with a history of skewing exactly what they are now producing. All three are in the same boat and that boat has won several well-deserved Tony Awards.

Just as outstanding as I found the play, Sacramento Theatre Company in its entirety has produced just as outstanding a production of “A Little Princess.” Everything simply shines here, from the performances, sets and costuming, to Michael Laun’s direction. This production has the feel of a show that became popular, and having now been released to regional theatre, has been given a rousing original production, not the first production of a new show.
Of all the many perfect performances in “A Little Princess,” I have to begin with the opening night pairing of professional and beloved Sacramento actor Jerry Lee and STC Young Professionals Conservatory fifth-year actor Alyssa Middleton.

What is so amazing about Lee’s performance of Captain Crewe is how he demonstrates a growth in maturity in a character, so believable that it echoes his 2011 staged reading performance as Marvin (Graham-A-Rama “In Trousers”).

Middleton, another very impressive YPC actor who plays Sara, has great chemistry with Lee and demonstrates the same level of growth in maturity in the parent-child relationship from their first duet “I Know You By Heart.” The song received a well-deserved loud ovation, and has the potential to be the first popularly performed number from “A Little Princess” for writers Rockwell and Rose.

Middleton gave an inspiring performance opposite both her fellow YPC classmates and the far more experienced adult and professional actors. She did embody a little princess. The show is being compared to “Annie,” but Sara is a little more like Shirley Temple who, in fact, played Sara Crewe in a 1939 film version. Middleton eschewed both the comic book and the cutesy to create her own more balanced, real girl that connected so strongly with the audience.

Josh Powell is well-cast as Tom Carrisford, who leads Crewe into the misadventure that bankrupts and kills him. Carrisford, while remaining a British upper-class twit, feels an obligation to find Sara and give to her the share of the fortune that was eventually found back in India. Powell is beautiful to listen to, including in a beautiful duet with Lee’s Crewe, “You Need Me.”

New York-based actress Deborah Tranelli plays Miss Minchin, owner of the girls’ boarding school where Sara Crewe goes from princess to lowest servant. Miss Minchin is a character damaged by both a relationship and her finances gone wrong. Tranelli never veers off into the comic or overwrought, making Minchin frighteningly real. We do learn why Minchin is the way she is, mostly through the songs, which are some of the best in the show, and are powerfully delivered by Tranelli.
The narrator that keeps the audience informed of much of the goings-on is Ram Dass, Carrisford’s trusted (maybe), loyal (not sure), smarter-than-the-boss (definitely) native servant. Brazilian native and recent drama school graduate Michael De Souza plays Ram Dass with wry humor. With a slight move of his hand, De Souza had the audience roaring with laughter over the native servant outsmarting the colonial boss.

Another STC YPC graduate who has gone on to attain a prestigious education (Oklahoma City University for music theatre, under Florence Birdwell), Tyler Wipfli is quite charming and shows off her vocal talent well as Mariette, Sara’s kind and understanding French maid.

Martha Omiyo Kight, long popular as an actor-singer in the area, is reunited here with composer Rockwell and actor Lee, having appeared in the STC production of “Musical.” She fits the role of Amelia, Miss Minchen’s not-so-evil sister, very well, and as always is a joy to hear.

There are two rotating casts of seven actors from the Young Professionals Conservatory that perform the children’s roles. I have spoke of Middleton’s performance in the title role. Having seen Lauren Metzinger in other roles and performances (“Ruthless!” and “ Brighton Beach Memoirs”) at STC, I am sure that she gives just as powerful a performance.

Other standouts from the YPC on opening night included Tori Johnston as Becky, a scullery maid and Sara’s roommate in the attic; Devin Hayakawa as Ermengarde, Sara’s biggest fan; and Abbey Williams-Campbell as Lavinia, Sara’s biggest skeptic.

STC Executive Producing Director Michael Laun’s staging and direction of “A Little Princess” brings with it all his experience and knowledge of directing large-scale musicals on the STC Mainstage, such as “A Christmas Carol.” His incorporation of Michelle Hillen-Noufer’s lovely choreography into the show, just the general staging and especially the performances he elicited from his actors make this some of Laun’s best work.

Backing up this cast is an orchestra with Elaine Lord, percussion; Alex Winter, cello; John Dolittle, reeds; and Beverly Wesner Hoehn, harp, all led by one of Sacramento’s most popular music directors, Erik Daniells, on piano. Daniells was also the music director with Laun when he directed the STC production of “Musical of Musicals.”

Kelly James Tighe’s scenic design, lit by Jordan Burkholder, along with Jessica Minnihan’s costumes, gives “A Little Princess” just the right look.

Sacramento should rightly be proud of how much local talent went into creating its world-premier production. It is a great play, with the production it deserves. Those who attend not only get an afternoon or evening’s entertainment, but will also be some of the first to experience what could very likely become a long-running Broadway musical.

STC Cabaret this weekend. Another winner.

2012-11-17T01:44:57Z

I caught the latest Sacramento Theatre Company Cabaret production “Wouldn’t It Be Loverly-The Songs of Learner and Loewe” at the Ethyl MacLeod Hart Senior Center in Midtown. They had the seniors cheering and so will anyone that sees this production.

From the late 40s to the mid 70s Learner and Loewe were one of the most popular and critically acclaimed musical writing team in the business. This production reminded me that there is so much more to to Learner and Loewe than “My Fair Lady,” not that they didn’t do some very loverly numbers from that show. “Brigadoon,” “Paint Your Wagon,” “Gigi,” “The Little Prince” and “Camelot” along with songs from a couple of shows from a couple of shows from the 40s, “What’s Up” (1943) and “The Day Before Spring” (1945) are performed.

Musical Director Sam Schieber’s (Samantics) has created some great arrangements of the songs he selected, both well known and rare from nearly three decades of musical output. Speaking with Schieber after the show, he talked about writing the arrangements to fit each of the performers and it shows.

STC executive producing director Michael Laun chose nearly all new performers to join him for “Wouldn’t It Be Loverly.”

STC Young Professional Conservatory third year student, Sydney Cristofferson opened the show with the beginning of “Almost Like Being in Love” from "Brigadoon." She was especially nice on “Follow Me” (“Brigadoon.”) Congratulations, you have an other wonderful performer Michele Hillen-Noufer (STC education director).

Fellow performers including some of their best songs and what show they were from include: Bob Cooner, “They Call The Wind Maria,” (“Paint Your Wagon) and “Gigi” (“Gigi”). Jessica Futrell, “Show Me,” (“My Fair Lady”) and “Before I Glaze at You Again,” (“Camelot”). Michael Laun, “With a Little Bit of Luck,” (“My Fair Lady”) and “Snake in the Ground,” (“Little Prince”). Andrew J. Perez, “I Talk to the Trees,” (“Paint Your Wagon”) and “You Wash and I’ll Dry, (“What’s Up?”). Madeline Wieland, “My Love is a Married Man,” (“The Day Before Spring”) and “The Simple Joys of Maidenhood,” (“Camelot). Many of the songs were also accompanied by Patrick Claypool on viola.

Musical theatre enthusiasts, especially those who enjoy Learner and Loewe, will really love “Wouldn’t It Be Loverly.” Everyone else that enjoy great performances of some of the most enduring music from the musical stage will have a very enjoyable afternoon or evening.

“Wouldn’t It Be Loverly-The Songs of Learner and Loewe”
Sacramento Theatre Company
One weekend only. Tonight 8:00 pm and tomorrow at 2 and 8 pm
Tickets and information

Rember this is a cabaret, so bring a little extra change for cheese plates etc. and Revolution Wines

"next to normal," New Helvetia Theatre, facinating play, great acting

2012-10-28T02:28:14Z

The second show I saw this week that local critics have been raving about (and for good reason) is New Helvetia Theatre production of “next to normal.” The production features uniformly powerful performances by the actors, both singing and acting.

Brian Yorkey’s book (story), told mostly through his lyrics, touches on subjects such as mental illness, grieving, suicide, and a few other unlikely subjects for a musical. The music by Tom Kitt works perfectly with Yorkey’s lyrics. The play won them the Pulitzer prize for Drama which is very rarely given to a musical.

When a story is told almost exclusively through the lyrics, diction if of upmost importance. Without it the musical is just something pretty to listen to. Each actor in “next to normal” was easy to understand.

I can not rave enough about Melinda Parrett in the role of Diana, the suburban housewife who has never quite pulled herself together after a traumatic incident early in her marriage. Parrett’s astounding vocal performance is matched by her acting and dancing.

Equally powerful is Michael Hunsaker as Dan, Diana’s husband. He is a man who is drowning and looking for a life ring to help him hold his family together. Hunsaker is a strong presence on the stage with a voice to match.

Casey Canino and Matthew Provencal as Natalie the daughter who is often forgotten in the family drama and her ever patient, loving boyfriend Henry very much hold their own in this play where there are really no minor rolls.

The role of the psychiatrist who’s treatment of Diana seems to do little good and perhaps a lot of harm is performed by Mike Yee who has performed in several New Helvetia productions. This is a great roll for Yee and he does his best work yet at New Helvetia.

The major scene stealer of this show is Garrett Bruce as the 16 to 17 year old son. Bruce is a consummate singer, dancer, and actor. Every time he appeared on stage his presence was strongly felt much as is his character’s presence is constantly felt by the household. It was quite clear that his character very much enjoyed the trouble that he causes.

It was easy for me to hear the influence of musical director Maggie Hollinbeck a wonderful actress-singer herself, who has appeared on many Sacramento stages. She most recently performed a reprise of her show “Blue” with her and guests performing the entire Joni Mitchell album “Blue.”

The unseen band led by conductor Richanne Roope on piano did an amazing job of split second timing with the singers and the dance moves.

New Helvetia associate producer Matthew Schneider directs, showing his strong eye for the look and feel of this style of musical. Schneider makes good use of Brian Watson’s set design for staging.

The bad news is that “next to normal” is sold out for what was to be the show’s last weekend. The good news for lovers of not the usual musical, “next to normal” has been extended for three more performances. Thursday, November 1, Friday November 2, and Saturday November 3, all at 8:00 pm.

“next to normal” New Helvetia Theatre
Box office (916) 916-469-9850 online newhelvetia.org
November 1-3 8:00 pm

Don't Miss "The Miracle Worker" STC Ends Sunday

2012-10-26T21:36:38Z

A wealth of shows that have the local critics raving has pulled me out of my sabbatical from writing. First up is Sacramento Theatre Company’s Mainstage production of “The Miracle Worker.”

The production deserves all the praise that has been heaped on it. Beginning with William Gibson play, based on Helen Keller’s biography,though over 50 years old still strongly resonates today, with a look at how hard it can be the family of a special needs child and how a combination of knowledge, persistence dedication and so forth can create a miracle.

What drew me to the production was that some of my favorite actors were cast in the production and they didn’t disappoint. Starting with Brittni Barger who is superb as Annie Sullivan the very young woman that manages to open the deaf, mute, blind Helen to the world.

Two actors from the SCT Young Professionals Conservatory play each of the younger characters in alternating performances. Helen is played by Bella Bagatelos, about whom SacPress contributor Barry Wisdom wrote a nice article about and Courtney Shannon who’s performance I saw at yesterday's matinée.

Shannon’s performance as the deaf, mute, blind girl was so believable it was frightening. She also has great chemistry with Barger.

Fellow YPC member Griffith Munn really shined as James Keller, Helen’s older half brother, who finds the courage to stand up to their imperious father.

The cast member that has to be the most proud would have to be Michele Hillen education director at STC, whose students do such a great job performing along side Hillen who as Helen’s mother Kate gives a performance that I could only describe as very sweet in every positive sense.

Director Greg Alexander, a fine actor himself, brought out wonderful performance from all of this talented cast, while pacing the play with the action feeling neither rushed or dragging.

Warning, there are only three performances left, Friday and Saturday 8:00 pm and last performance Sunday 2:00 pm.

“The Miracle Worker” Sacramento Theater Company
Box Office (916)443-6672 On Line www.sactheatre.org

"How I Learned to Drive" Powerful Drama at Capital Stage

2012-05-26T05:41:00Z

Capital Stage’s latest production, “How I Learned to Drive,” fits right in with the theater’s mission which reads in part: "dedicated to bringing bold, lively productions" with "intimate" as a by word. The play certainly is bold, some critics call controversial. It is a very intimate view into an inappropriate relationship. Yes there are lots of lively, even very funny, scenes. And it is all very live thanks to Cap Stage's new J Street space.

American playwright Paula Vogel won a Pulitzer Prize for this fictional story of a girl who was molested by her aunt’s husband throughout her teens. The family’s reaction to the abuse might be more shocking that what actually took place. Your reaction to the play may surprise or even shock you. A lot is left to each audience member to decide what really did happen and then think about how they react of what did go on between this girl and her uncle.

Much of this enterprise rests on the shoulders of Capital Stage founder and artistic director Stephanie ~~Gilarte~~ Gularte. She takes on the leading role of Li’Bit from the troubled 11-year-old to well into adulthood, but not in that order. It is pure ~~Gilarte~~ Gularte magic.

~~Gilarte’s~~ Gularte performance is scary in a very good way throughout the play, as her character drops into different ages and raises questions like seduced/seductress?, severely damaged/healthy?

James Hiser, MFA- UC Davis, matches ~~Gilarte’s~~ Gularte's intensity as Uncle Peck. He works to seduce the audience along with Li’Bit, giving an eye-opening look at how slick abusers can be, plying attention on the victim, while repeating creepy phrases like, “Nothing is going to happen until you want it to.”

Vogel’s plot makes it clear it isn’t about gender for Uncle Peck — it’s the age difference and the power over the victim. His line, “Then I’ll wait. I’m a very patient man. I’ve been waiting for a very long time. I don’t mind waiting,” sends shivers down the spine.

A Greek chorus comments on the actions and performs several other roles, including other family members.

If there is any quibble with Vogel’s play, it is that the other family members lean toward stereotypes, suggesting that predatory behavior, incest and child abuse are a white trash phenomenon.

Jamie Jones, who has given wonderful performances on every Equity stage in Sacramento, performs the role of the female Greek chorus. One of the funnier scenes in the play involves Jones as the mother in a long-running monologue about how a young girl protects herself from predatory men, while still managing to drink copious amounts of alcohol.

Cap Stage regular Erik Wheeler plays the male Greek chorus with the grandfather character as the most central. Wheeler brings his sly performance to the other characters as well, especially the waiter.

Melanie Marshall is the teenage Greek chorus. While also dealing with a somewhat stereotypic character in the grandmother, she is very funny.

Associate artist Janis Stevens, known as a powerful actor and director, directs with a steady hand. She makes great use of Jonathan Williams’ sparse but clever set design with action starting in one location while it is ending on another. Central to Williams design and much of the action is the cherry red vinyl front bench car seat, the place where Uncle Peck is most in control.

Stevens lets the action pause for a moment here and there to allow some things to sink in just a little.

Tough stories can make great drama. Were you not entertained by “How to Kill a Mockingbird” while learning several lessons about life? “How I Learned to Drive” addresses the tough but common and intertwined issues of predatory behavior, child abuse and incest in a truly dramatic, engaging, and yes, entertaining way. The Capital Stage cast have a strong grasp of the material and give a near perfect performance. In great theater it does not always take lighting effects, pyrotechnics, and tricks to create fireworks on the stage. Cap Stage proves again with "How I Learned to Drive" that good material plus great talent equals great theatre.

“How I Learned to Drive” by Paula Vogel Capital Stage
Through June 17, 2012 More Information and Tickets

Editor's note: Edits have been made to actress Stephanie Gularte's name after publishing.

"Little Shop of Horrors" Great Show-Great Cast-Great Fun STC Mainstage

2012-05-04T04:43:14Z

Images by Kelly Christofferson New exclusive SacPress images by Barry Wisdom

The Sacramento Theatre Company is ending its 2011-2012 season of “Mystery, Music, and Mayhem" with the return of a huge hit for STC 20-some odd years ago, the highly successful Howard Ashman-Alan Menken collaboration, “Little Shop of Horrors." It won’t be a mystery if this new STC production turns out to be its own smash hit.

As for the music, Ashman’s lyrics and Menken’s music are equally infectious and the cast and band gave a wonderful performance. The two went on to do several successful and award-winning collaborations with Disney.

There is lots of mayhem, mostly of the human-eating plant variety. Ashman’s book is based on Charles B. Griffith’s screenplay for the 1960 Roger Corman B Grade movie of the same name. Barry Wisdom’s preview gives a good background on the show.

The current production is cast well, with several vets of highly successful STC productions and a new rising star.

Andrew J. Perez steals the show as the long suffering Seymour Krelboyne, and that is saying something given this scene-stealing cast. The Sacramento native and product of local youth theatrical training, now having returned from his education at Seattle University, really shows what he can do here. His Seymour is very funny and endearing. Perez sings his parts with a beautiful, clear voice. With this performance Perez’s stock on the Sacramento stages will definitely rise.

Seymour’s unrequited love interest and co-worker Audrey Fuquard is portrayed by Jessica Goldman, who returns to STC following her performance as June in the STC smash hit, “The Musical of Musicals the Musical” It is great to hear Goldman’s voice in Sacramento again. The sweet, simple Audrey is a great role and she shines in it. Her performance of “Somewhere it’s Green” and duet with Perez on “Suddenly Seymour" are simply wonderful.

Audrey’s other love interest, if you could call him that, is the highly abusive Orin Scrivello D.D.S., played by STC favorite William Elsman. Scrivello’s treatment of Audrey leads to him becoming plant food. Elsman opened this season in the title role of “Frankenstein.” He again proves himself fearless in what he will do on stage for a laugh. Besides the role of Orin, Elsman portrays several walk on characters, some in rapid succession. It reached a point where he would walk on the stage as another character and the audience would start laughing before he said a word.

Mr. Mushnik, the proprietor of Mushnik's Skid Row Florists where most of the action takes place, is played by STC acting company member and one of the most popular actors, Michael RJ Campbell, last seen in “Ruthless” as Sylvia St.Croix.

Speaking with Campbell after the show, he talked about how the role was different than most he portrays, but that this was part of the fun of this show. Never mind that the role may be different than he usually plays, he did a great job.

Campbell had previously worked with Goldman on “Musical of Musicals” and with Elsman on “Sherlock Holmes: The Final Adventure” as Dr. Watson to Elsman’s Sherlock Holmes, along with their drag roles in “Cinderella.”

The strolling backup girls that are like a 60s doo-wop Greek Chorus, Crystal, Ronnette and Chiffon, are played by Miranda Lawson, Ure Egbuho and Gabriella "Ella" Isaguirre, respectively add musical commentary and comedy to action.

Jeffrey Lloyd Heatherly voices Audrey II the killer plant with booming authority while Aaron Hitchcock brings the plant to life with the assistance of Tom Block, Javen Crosby, Dafydd Wynn and Garrick Sigl as assistant puppeteers.

Michael Laun, who has worked several times with several of these actors in the past, keeps pace with Menken’s score in his direction. He has also brought out really great fun, funny performances from his actors.

Jarred Bodensteiner’s set design manages to fit a large-scale production nicely on the STC Mainstage while Jessica Minnihan has a field day with costuming - from the nerdy Seymour to the beautifully, if inappropriately dressed, Audrey, to the many costume changes for William Elsman’s several characters.

“Little Shop of Horrors” is such a fun show to start with and the cast of this Sacramento Theatre Company do the composers proud. It is an all-ages show that had those of every age in near hysterical laughter throughout the show. The show’s approximate running time of just short of two hours with intermission goes so fast. After seeing “Little Shop of Horrors,” you may want to change the ominous lyrics of “Don’t Feed the Plant!” to please, please, feed the plant!

“Little Shop of Horrors” Sacramento Theatre Company Mainstage
April 25-May 20, 2012 Tickets and more information

‘A Whole Lot of Shakin’ Goin’ On’ at Broadway Sacramento

2012-04-19T22:21:25Z

Broadway Sacramento blew the roof of the Community Center Theater with another highly popular musical built around music by individuals or groups who greatly changed popular music in the last half of the 20th century.

“Million $ Quartet” revolves around Sam Phillips (an excelent Christopher Ryan Grant) — owner, record product and just about everything else at Memphis-based label Sun Records — and his four most famous discoveries Jerry Lee Lewis, Carl Perkins, Jonny Cash, and Elvis Presley. The show gives us insight to how Phillips, through his artists, bridged racial, social, economic, and other divides to create music that endures and influences music a half century later.

The scene is Sun Records, December 4, 1956. A recording session for Sun star Carl Perkins (Lee Farris), who badly needs a hit, has been set for the night. Perkins is accompanied by his brother Jay (Chuck Zayas) on bass, drummer Fluke (Billy Shaffer) and a new Sun recording star, the very wild Jerry Lee Lewis (Martin Kay).

The big surprise guests for the evening are Elvis Presley (Cody Slaughter), who had recently left Sun for RCA, accompanied by his girlfriend Dyanne (Kelly Lamont) and Johnny Cash (Derek Keeing), who is soon to leave Sun for Columbia.

The star in “Million $ Quartet” is the music, which is so well performed. These young actors take the music of their parents’ and grandparents’ generations and make it sound like they were there. What makes “Million $ Quartet” special is hearing the characters back each other’s songs including Perkins playing on "Blue Suede Shoes" for Elvis even though Perkins wrote it and it was his first hit for Sun. Phillips gave that song to Presley for his first big television performance and few today would associate "Blue Suede Shoes" with anyone but the king.

Kelly Lamonts two solos as Dyanne, "Fever," strongly associated with Peggy Lee, and "I Hear You Knocking" recieved strong applause while giving the audience a feeling for the non rock pop music of the day.

The creative staff for the show is a who’s-who of major theatrical, film and concert production. Many have worked on the original Broadway and Chicago productions. It really shows in the quality of the production.

Jane Greenwood deserves a shout-out for creating the costumes, from artists dressing up to record, to performance outfits of some of the flashiest dressers pre-Elton John.

Much more than a cover band tribute show (not that Broadway Sacramento hasn’t already brought us a spectacular version of that this season), “Million $ Quartet” does morph to just that, at one point, giving a great feel for what a mega concert of Presley, Cash, Perkins and Lewis might have been like.

There is no denying that Sam Phillips, his record company and the artists he recorded and promoted, especially these four, had a major impact on what we listen to today. Tuesday night’s audience had the rare experience of hearing live performances of this great music as close to the way it might have been originally performed and they responded with cheering ovationa.

“Million $ Quartet” Broadway Sacramento Community Center Theater
Now through April 22, 2012 8:00 pm Thursday, Saturday, Sunday Matinée 2:00 pm
Tickets and more information

New Helvetia Theatre "Merrily We Roll Along" Excellent Sondheim Show

2012-04-13T05:54:57Z

With the opening of their current production, Stephen Sondheim's "Merrily We Roll Along,” New Helvetia Theatre makes a big jump in its growth as a theater company.

The barely 3-year-old company, under founder Connor Mickiewicz, has brought Sacramento audiences wonderful contemporary musical theater productions that, for one reason or another, would not otherwise be produced here. But taking on a play like "Merrily We Roll Along," by such a master as Sondheim, required a great deal of growth in almost every area for New Helvetia.

I am happy to report that it has all come together and that their production is a critical success and should be a very rewarding experience for its viewers. The response from the opening night audience validated this. There was much laughter at Sondheim's sly jokes and much applause and cheers for the energetic, strong performances of several great songs.

Undoubtedly the star here is Sondheim's wonderful score and lyrics. While "Merrily We Roll Along" has never reached the popularity of "Sweeney Todd," "West Side Story," or "A Little Night Music," "Merrily" has several great songs like "Old Friends" and "Good Thing Going" that have been favorites of pop, cabaret and jazz performers since the first production opened 31 years ago. The overall score is a joy to listen to.

George Furth wrote the book for "Merrily We Roll Along" basing it on a George S. Kaufman and Moss Hart non-musical comedy from 1934 of the same name. Furth kept the original structure of moving the story back in time, along with the general theme of reflecting on how these characters have reached the unhappy state they are in at the beginning of the story.

The story centers around Franklin Shepard, who had been a highly successful Broadway musical composer, now a very successful producer of formula films, along with best friend and co-writer Charlie Kringus and writer Mary Flynn. At the beginning of the show, Frank is estranged from his son, first wife Beth and Charlie. Mary, in spite of her one-time success as a writer, is now a bitter alcoholic who rails at Frank at a party celebrating his latest successful film. Although Mary is tossed from the party, her words hit Frank hard and the story starts going back in time from 1976 to 1957.

Sondheim structured the score with what he titled a "Transition," numbered one through seven in this current version of the show, closely following the 1994 York Theatre Off-Broadway revival production. Themes around the title song build through each transition. A changing sign board keeps the audience informed on time and place of each scene. Each of the central characters has a musical theme that builds throughout the show as the character moves closer to the "anything is possible" time of their lives when they are just starting their careers.

The excellent cast and production team is heavily populated with folks with a long association with New Helvetia.

Playing the central character is Matthew Schneider, who directed New Helvetia’s first production (“Hedwig and the Angry Inch”). He fully displays his skills as an actor, singer and dancer. He performs Frank with such a strong stage presence that even when things are at their worst, you can’t help but feel sorry for the guy — and you can’t help but be excited when he sings “Our Time” as a young idealist.

Local actor Jouni Kirjola, best known for his work on both sides of the lights at Big Idea Theatre, is a revelation as Charlie. Kirjola is hysterical in the breakup scene between Charlie and Frank during a live NBC interview.

Lauren Parker is another Sacramento native who started out young acting, Music Circus in this case, and went on to be educated and perform elsewhere. Fortunately she retains her New Helvetia connections, and we get to see her spot-on performance as Mary, from the angry drunk at the beginning to the sweet, innocent college graduate working her way through the publishing world with Frank and Charlie’s support.

Beth is played by Kiera Anderson (this is really going to start sounding repetitious): local girl, returning to NHT (acted in “[title of show]” and “Celebration,” choreographed “tick, tick...Boom!” and “They’re Playing Our Song”), holds her Equity Card. She does a wonderful job on her solo, “Not a Day Goes By.”

Courtney Glass started in her teens at Music Circus, graduated from the NYU Tisch School of the Arts and has Equity Card. She is premiering at NHT as Gussie Carnegie, Frank’s second wife after a notorious affair and nasty divorce. She does a great job on her numerous songs.

Tristan Rumery (“Little Fish,” “It’s Only Life,” ”tick, tick...Boom!”) is great as the cuckold producer Joe Josephson.

The supporting cast is also excellent. They do a great job on Sondheim’s complicated chorus numbers and take turns performing small character roles. They include Nora Babich, Rosemary Babich, Netty Carey, Julian LeForestier, Tyler Robinson, Julia Soto, Brian Watson and Mike Yee. You might recognize a lot of these names from previous NHT and other local productions.

Chris Schlagle, one of Sacramento’s musical treasures, is the musical director, conductor and keyboardist, with Elaine Lora on drums, Kellen Garcia and Glenn Disney on bass, Jeremy Bolt on trumpet and John Doolittle on woodwinds.

Mickiewicz directs and is the production designer. He directs with a strong eye to what Sondheim tries to create. With the large cast barely able to stand shoulder to shoulder across the 24th Street Theatre stage, Mickiewicz moves the action horizontally onto a multi-tiered set, with the band perched precariously at the top. His staging of each "Transition" alone with every character moving in seperate directions each singing their own piece of music is pretty astounding.

Caitlin Flynn and Rachel Malin created some fun costumes working with the sophistication of the characters and the time frame of the play.

New Helvetia’s “Merrily We Roll Along” is a rare treat in Sacramento. Although it is an excellent play from America’s greatest living composer of musical theater, it is rarely produced, and even then only in major cities. NHT has assembled a great cast, with many members who got their start in Sacramento, who use the opportunity to show just how good they are. The audience gave long applase, cheered, and jumped to their feet in ovations for “Merrily We Roll Along” for good reason.

Sell Out First Weekend for Andrew Lloyd Weber "Music of the NIght" STC Cabaret

2012-04-08T17:26:07Z

Sacramento Theatre Company opened its 15 Cabaret production “Music of the Night: The Musicals of Andrew Lloyd Webber” Thursday night to a cheering capacity crowd. The popularity of the STC Cabaret productions combined with the huge popularity of Lloyd Webber has led STC to offer a second weekend the show.

Lloyd Webber, along with his original lyricist Tim Rice, turned concept album concerts into mega hit shows around the world. In his opening remarks, STC producing director Michael Laun spoke about the cast having no shortage of favorite Lloyd Webber songs to the point of being able to do another whole show.

The show runs chronologically from “Joseph and the Amazing Technicolor Dreamcoat” (1968) to “Love Never Dies” (2010), a “Phantom of the Opera” sequel that had a very short run. Not all Lloyd Webber wrote turned to massive hits, and the ensemble cast demonstrates how many of his lesser songs and songs from his more obscure shows can be real treats.

All the ensemble members for “Music of the Night” talk about their lifetime devotion to singing Lloyd Webber’s music from the very well known hits to lesser known numbers from shows that were flops.

Michelle Hillen-Noufer, appearing in her fifth STC Cabaret production, is the only returning ensemble member alongside STC Cabaret founder and producing director Michael Laun. While audiences occasionally get to see her on stage, she spends much of her time as the education director, overseeing the Young Professionals Conservatory and pre-professional ensemble.

It is always great to hear Hilen-Noufer sing, and she does a great job on several big numbers like “I Don’t Know How to Love Him,” “Don’t Cry for Me Argentina” and “Memory,” while also doing a very nice duet with Laun on “Love Changes Everything” and a solo of “Anything but Lonely” from the more obscure “Aspects of Love” (1989).

Ruth Phillips returns to STC after a long absence, nicely performing a pair of songs from “Tell Me on a Sunday,” the follow-up to “Evita,” and a very knowing performance of “With One Look” from “Sunset Boulevard” (1993), Lloyd Webber’s money-losing hit.

The mail voices of the ensemble are filled out by two young men with strong community theater backgrounds and, it seems, childhood devotion to the music of Lloyd Webber. Mark ~~Ettenson~~ Ettensohn is best known for his performances at Sutter Street Theatre. He is especially great on “A Night of a Thousand Stars,” (“Evita”) and “Any Dream Will Do” (“Joseph”).

Like ~~Ettenson~~ Ettensohn, multiple-Elly Award-nominee Byron Roope heard lots of Lloyd Webber music around home and riding in the car. From his opening solo of “Close Every Door” (“Joseph”) to bringing down the house with “Music of the Night” from “Phantom,” he very much pleased the audience.

An astounding young lady rounds out the ensemble. Meghan Green is in her first year of the Young Professionals Conservatory and, at 13, is already ranked as a National Top Classical Vocalist with Classical Singer and the winner of the Norcal Sings 201 Musical Theatre Division. Green lives up to her credentials, giving a performance far beyond her years

She shines on “Think of Me” (“Phantom”) and “Whistle Down the Wind” from the show of the same name. When Green says she will perform in a major production of “Phantom” someday, you know she means it.

Richanne Roope is the vocal director and pianist along with Joanna Roberts on bass.

Jerry Lee directs (while continuing to appear in “Forbidden Broadway”) with more choreography than previous STC Cabarets.

With a revival of "Evita" with Ricky Martin on Broadway, "Aspects of Love " revival at London's West End, and a television production of the "Wizard of Oz" in production, Andrew Lloyd Webber is as hot as ever. “Music of the Night” mixes the popularity of the STC Cabaret with the music of the mega popular musical composer who has teamed up with some of the best lyricists of the day. It was so popular that you will have to wait until next weekend to get a seat.

“Music of the Night” Sacramento Theatre Company Cabaret
Saturday April 14 2:00 pm 8:00 pm Sunday April 15 2:00 pm
Tickets

Editor's note: Edits have been made to this article after publishing.

"Barrymore" at STC Looks at the Life of One of America's Greatest Actors

2012-04-03T05:45:24Z

Drew Barrymore, a highly successful child actor, adult actor, director, screenwriter, producer and model, is a fourth generation member of the famous Barrymore acting family. As well known as Drew is, her popularity and success pales to that of her grandfather, John Barrymore.

The Sacramento Theater Company opened the production “Barrymore” Saturday night on the Pollock Stage. The play was written by William Luce, best known for “The Belle of Amherst,” who loves to write plays featuring solo actors.

The play opens with Barrymore arriving at some sort of theater space he has rented for just one night to learn his lines for a revival of Shakespeare’s “Richard III,” his most famous role. Alas, a role he was not to perform again.

For over a decade, Barrymore had had to resort to the use of teleprompters of the day: strategically placed chalkboards on movie sets and hidden live vocal prompters in the wings for stage performances. The prompter working with him on his lines this night is clearly doing it out of admiration and respect for Barrymore’s talent and history — and a little misplaced hope to witness some of that greatness again.

Barrymore’s revitalization of “Richard III” on stage and “Grand Hotel” on film opposite Greta Garbo were two of his most famous roles. When personal issues led to the inability to maintain his performance level and were more talked about than his roles, his popularity rapidly diminished. He was not just an unrepentant alcoholic and womanizer, but he was a notorious unrepentant alcoholic and womanizer, one of the worst things you could be in his era.

His decline into alcoholism and possible Alzheimer’s has been described as one of the most tragic in show business.

Broadway vet Gregory North fits right into the role of John Barrymore. In the Broadway show of “Grand Hotel,” he played opposite Cyd Charisse in Barrymore’s role.

Booze and women were not Barrymore’s only vices it seems. A lot of the humor in the show comes from Barrymore’s love of profanity, off-color stories, pet names and his opinions on others. North can be quite funny delivering Barrymore’s foul-mouthed opinions then quickly shifting as the character slips into one of his old roles, giving the audience a glimpse at what made John Barrymore so great.

The other role of the unseen Prompter is voiced very nicely by Sean Patrick Nill, a young local actor and Elly Award winner. Nill very effectively uses his voice and pacing of speech to convey much more than just his character’s dialog with the title character.

Well-known Sacramento director/actor Greg Alexander directs, working well with the confines of the Pollock Stage.

Set designer Mims Mattair has turned the cozy stage into the space Barrymore has rented for the night. Audience members are welcome to sit in the seats on stage for the performance.

Lighting designer Owen Smith cleverly includes stage lighting on a stage on a stage.

Costume designer McKayla Butym dresses Barrymore in some nice duds, along with the Richard III costumes.

“Barrymore” is the last show of the STC season on the Pollock Stage, with one more show on the Main Stage. I often comment on how great it is to see productions in this space. “Barrymore” is no exception. With the three rows of seating on the edge of the stage, the audience has a very up-close experience of North’s wonderful performance as John Barrymore.

Sam Shepard's "True West" Capital Stage

2012-03-28T02:55:35Z

Capital Stage continues to turn up the heat with its latest production, “True West,” one of actor/playwright Sam Shepard’s best known and most popular works.

On the surface Shepard’s story is a pretty simple and straightforward one. The story is set in an older home in a Southern California suburb 40 miles east of Los Angles. Think Rancho Cucamonga, Lancaster or even Riverside County. Mom is off to Alaska and has asked dutiful son Austin to house sit the modest childhood home he grew up in, primarily to keep her beloved plants alive. In walks bad brother Lee, who stirs things up only as a Sam Shepard bad boy character can.

Shepard is very much an actor’s playwright and Capital Stage is very much an actor’s theater company. This combination works so great here. The four-person cast takes Shepard’s work and really runs with it.

The production is led by, not in order of appearance, Cap Stage actor/co-founder/producing director Jonathan Rhys Williams as the highly volatile Lee. Lee is nothing but trouble, a drunkard who makes his living stealing from the very neighborhoods around them. He has a criminal record and has spent some sort of self-imposed exile in the Mohave Desert. Lee also seems to have a strong opinion, as does Austin, regarding “the old man.” Lee is a character that, at least at the beginning, has a swagger and strong male sexy-aggression.

Williams does an amazing job portraying Lee, bringing out his playful, nasty behavior along with how incredibly funny, sad and pathetic he is.

Cole Alexander Smith was last seen at Capital Stage in “reasons to be pretty” as Greg, opposite Stephanie Altholz as Steph, the verbally and physically abusive girlfriend. Austin is now dealing with a verbally and physically abusive brother. Smith is good at bringing out the humor in Austin’s situation. He gets to shine when Lee’s scheming causes a crisis and a role reversal.

The catalyst of the crisis is Saul Kimmer, who comes into Lee’s orbit when Lee returns home early from stealing a neighbor’s color TV while Austin is holding a meeting with Saul over signing a deal on an important film project. Erik Baldwin is quite funny to watch as Saul the so SoCal entertainment industry guy, down to his white shoes, that realizes that he has been cornered by Lee and works to extract himself from the situation as quickly as possible.

There isn’t much influence from women here. Austin has a vaguely drawn wife and children living somewhere “up north.” Mom does eventually return from her Alaskan cruise and disappointing adventure. She found Alaska too cold but she finds the climate at home to be a little too hot and after an astonished and resigned look around, leaves for a local motel.

It is a small role for Capital Stage associate artist Janis Stevens after such roles as Maria Callas in “Master Class,” yet she gives a knowing humor to the woman that has resigned herself to the fact that all the men in her life have become nothing but disappointments.

The set design, also by Williams, is a single set, a long narrow kitchen with a short hallway and a small patio covered in fake grass. It is a great retro design that keeps the time period of the play vague. Heaven knows “the old man” drank up any money for remodeling the kitchen.

Props also play an important role in the production. A lot of prop alcohol is consumed in this production. Let’s say the stage hands have a lot of work to do cleaning up alone.

The first note in the script to the play is in regard to the sound. The audience gets to listen along with Austin and Lee to the unending rise and fall of the sound of the crickets that drive Lee so nuts. Then there are the dogs barking, and even louder, the growing packs of coyotes that are in a frenzy over luring the suburban pets to kill and devour. Don’t worry, there are no suburban pets harmed in this production. Can’t say the same for the typewriter that is destroyed every performance only to be assembled again.

Lighting designer extraordinaire Ron Madonia’s lighting allows for the split second endings to scenes while also adding to the humor of opening a scene with nothing but the refrigerator light bulb. The lights then come up with the sound of a beer can opening.

Other than the over-the-top outfit for Saul Kimmer character, Lalena Hutton’s costume designs are pretty timeless and in Lee’s case, not much for shirts. She does manage to help create a very sexy Lee at times, no matter how scruffy.

Stephanie Gularte, Cap Stage actor, founder, artistic director and director directs. She keeps the action tight. With the audience closely bordering the stage on three sides and the long kitchen and patio on the other, she has a tight space to work with. The somewhat claustrophobic feeling creates an environment where the brothers are forced together in this pressure cooker situation. None of Shepard’s characters leave the small space without leaving the house. While Austin tries to get Lee to go to another room, the action never leaves the kitchen and patio.

Let me emphasize that with all this black humor there are lots of laughs throughout the play. Opening night’s audience had a big response to the humor, surprise, shock and the performances.

Hot playwright: Sam Shepard; hot play: “True West.” A hot Capital Stage performance and production and hot ticket.

“True West” by Sam Shepard Capital Stage
Cast: Cole Alexander Smith, Jonathan Rhys Williams, Eric Baldwin, Janis Stevens
March 21- April 22 More Information andTickets

"Mama Mia" Looking Back at the Seventies Through the Music of ABBA

2012-03-15T22:42:16Z

Broadway Sacramento continues its 2011-2012 season’s emphasis on highly popular musicals featuring pop music of the last half of the twentieth century. Last night’s opening of the national tour of “Mamma Mia,” now in its second year, features the excellent staging of more than 20 ABBA songs, tied together by the premise of the wedding of a girl in her early 20s at her mother’s taverna on a small Greek Isle.

“Mamma Mia” is all about the music. The music that Benny Andersson and Bjorn Ulvaeus, along with Stig Anderson, created for the mega hit group ABBA, which joined Andersson and Ulvaeus with Anni-Frid Lyngstad and Agnetha Faltskog, their respective spouses at the time. It is not surprising that mining over a decade of hit songs from a pair of songwriters who had a sharp eye for the popular culture of their time could be linked together to create a full musical.

Catherine Johnson’s book for the play does a good job of choosing the right songs in the right order, linking each song to the next, with scenes that are often funny, sometimes angry, and often poignant.

The plot is about Sophie Sheridan, who is getting married to Sky. She wants her dad to give her away. The problem is that she has only narrowed it down to three men she has gleaned by riffling her mother’s desk and reading her diary from the year that Sophie was born. Sophie explains to her two best friends that her mother, Donna, had done the “Dot Dot Dot” as her mother had described it in the diary with three different men during the right time to be her father. Not to be deterred, Sophie, without telling anyone, invites all three to her wedding in her mother’s name! Complications ensue.

While the songs are the heart of “Mamma Mia,” being a musical, some amount of visual spectacle is expected, the production delivers. Central to Mark Thompson’s production design are two tall white wall-like structures, each with doors and windows that cleverly rotate to form the facade, courtyard, and several rooms of Donna’s taverna. Layers of curtains frame the top and sides of the stage, giving the visual effect of layers of matting around a photograph come to life.

All of the set design is very much enhanced by Howard Harrison’s (“Mary Poppins”) lighting design. It was not just the flashy disco lighting for the more danceable songs but the lighting had a strong dramatic visual impact even in the quiet moments throughout the show. Harrison uses some amazing color choices.

“Mamma Mia” is choreographed by Anthony Van Last, MBE. He was awarded the MBE for “His Services to Dance and Choreography” in 1999 for his acclaimed body of work on stage, much with Andrew Lloyd Webber/Tim Rice (“Bombay Dreams,” “Joseph...,” “JC Superstar”); shows for Bush, Brightman, Humphries, Crawford, and Sigfried and Roy!; and several films including “The Half Blood Prince.”

Production designer ~~Howard Harrison~~ Mark Thompson doubles as costume designer and the results are all over the place. Now, with “Mamma Mia,” that is a good thing, whether nicely draping the dancers to enhance Van Last’s choreography or just being ABBA outrageous. This is the age of glam rock.

The setting is a small beach resort on a small Greek Isle. While all the women are busy getting ready for the wedding, the guys all seem to spend a lot of time going to and from the beach. The costuming gives a good look at just how athletic and handsome someone who makes a living in musical theater is.

The performances are uniformly good. There is so much talent out there and so much competition for roles. This production of “Mamma Mia” stars Australian native Kaye Tuckerman as Donna Sheridan. This is Donna of Donna & the Dynamos a 70s all girl trio playing nights at a club in a Greek seaside town. After the shows Donna would motor over to a small island a short distance from the mainland with one of her male fans. It was Donna’s summer of free love. Present day Donna, single parent, running a taverna and guest house her own, a wedding to put on, and guests showing up, three of which she does not particularly want to see. Tuckerman brings a fierceness in her performance of both what is sung and spoken.

Chloe Tucker’s performance as daughter/bride Sophie nicely balances the innocence and desire to know who her father is with out completely coming off as callous, devious, dishonest or plain spoiled. Tucker has several lovely solos, including the opening number “I Have a Dream.”

Opening night, understudy Travis Taber played Sky, the fiancée, who is the stable, solid influence along with her mother for Sophie. Taber is a good dancer/singer/actor with great stage presence and a lanky yet athletic body he uses to perform some amazing moves.

The three invited possible fathers, Sam, Bill, and Harry are played by Christian Whelan, John-Michael Zuerlein, and Jeff Applegate, respectively, opening night. All sang well.

Rosie and Tanya, Donna’s back-up girls from the old days were played on Tuesday by Mary Callanan and understudy Jennifer Swiderski, provided a lot of the comic relief and received a lot of audience response.

An especially fun part of director Phyllida Lloyd’s staging of the big production numbers is that chorus singers suddenly pop-up from all over the stage.

A six-piece band performs the score including an extensive overture and entr'acte.

Don’t be sad when the play is over because there is a big bonus to the show after the show.

Catch “Mamma Mia” during its one week run ending Sunday afternoon to spend an afternoon or evening enjoying a visually beautiful production driven by some of the most iconic pop music of the 1970s.

“Mamma Mia” National Tour Production
California Musical Theatre Broadway Series at the Community Center Theater
Tickets and more Information including a video clip

Editor's note: Corrections have been made to this article after publishing.

"The Idea Man" a Play Worth Celebrating For California Stage's 20th Anniversary

2012-03-04T05:16:42Z

California Stage opened its 20th Anniversary season with Kevin King’s Ovation Award winning play "The Idea Man.”

King’s freshman play hits on a lot of great notes, some hysterically funny, some a realistic look about how large corporations use and, yes, abuse their human resources.

California Sage has also done a great job in the casting of King’s characters.

Right off, Loren Taylor gives a fascinating performance as Al Carson the man at the bottom of the rung in a manufacturing company. Carson is smart enough to figure out a way to reduce manufacturing costs by the millions. He is also smart enough to know that if he plays his card’s right he will get more than he is being offered, but up to a limit because of the his level in the company.

Michele Koehler as Francine Carson Al’s wife provides a lot of the “hysterically funny” mentioned before. Koehler and Taylor work well together and are so funny as the solidly blue collar couple.

Eric Baldwin plays Frank Thompson who is on the next rung up the corporate ladder as the college educated white collar engineer who should have figured out Carson’s idea himself. Baldwin is great whether playing Frank Thompson the fish out of water trying to hang out with the guys in the lunch room or Frank Thompson the man in the middle figuring out what it means to be a cog in a corporation.

Christina Clem, as Frank’s wife Maureen, goes from funny when helping him bring a blue collar level of entertaining the Carsons to argumentative brought on by her concerns about the effect on Frank of all these dealings at work.

The man at the top, Jim Simmons is played by veteran screen, stage and television actor Charlie Holliday. Holliday realistically portrays Simmons as a man that has learned how to work his way to the top. He knows he holds all the cards and is only going to act in his own best interest.

Jawara Duncan as Doyle and Nicholas Koehler as Bobby are the lunchroom gossips.

They are joined by West Ramsey doing a great job as angry co-worker Gino who has lost the union election to Al Carlson and rightly questions Al’s commitment to his fellow workers.

Penny Kline nicely directs her last production at California Stage ~~Capital Stage~~ . Her skills demonstrated here will return later this year with Ovation Stage at the 25R complex that houses California Stage.

The regretful suspension of productions by Lambda Players has been a boon for California Stage with Kurt Kurtis (set designer/builder), William Greenhalgh (Lighting Operator). and Mahlon Hall (production manager) doing a good job with “The Idea Man.”

The Idea Man” is a really fun/funny production with lots to think about. California Stage has taken a good play and cast it well to create a great evening or afternoon at the theatre.

“The Idea Man” California Stage
Friday and Saturday 8:00 pm Sunday 2:00 pm through March 17, 2002
Tickets: 916-451-5822

Editor's note: Edits were made to this article after publication.

"Water Falling Down" American Primere at B Street Theatre

2012-02-06T06:49:38Z

“Water Falling Down,” currently in its American premier as part of the current B3 Series at B Street Theatre, is the story of Dad and Son.

Dad is an elderly man loosing his mobility, at least under his own power, and is slipping into aphasia — “poor man’s Alzheimer’s,” as his son calls it. His wife of 30-some years died not long ago without, it seems, telling anyone that she was sick.

Son is a dutiful sandwich generation child with a son who won’t talk to him and a surviving parent that often does not make sense when he does talk. The only other “family” is ex-wive(s) who only seem to make his life miserable, leaving him to deal with Father on his own.

A common story for many boomers: trying to juggle career, family generations and some semblance of a life of one’s own. The difference here is the men are Australian and the twist is the old man goads his son in to taking him on one last trip through Europe like the trip of a lifetime he and mom had taken many years ago.

Australian playwright Mark Swivel’s play takes a caring but realistic look at its characters and their situation. He obviously has great affection for his main two characters. Swivel, who describes him self as a lawyer, strategist, and writer, is a very interesting person himself with two carer tracks. One is theater. The other is micro-finance and creating capital and credit for the poor.

The play is reminiscent of a genre from the late 1940s to early 1960s that were slice-of-life or realistic. Plays like “The Subject Was Roses” and “Marty” were plays that strove to give a look at social issues but not in an overt dramatic way. These plays were also vehicles for actors to show how wonderful they could be portraying everyday people.

David Cramer, who has appeared in numerous regional productions as well as television, gives the character of Dad, whether angry, sad, or being funny, a realistic, grounded feel. His Dad ranges from funny to pretty scary.

Kurt Johnson (“39 Steps,” “God of Carnage”), who has been performing on both sides of the lights with B Street for nearly 20 years, plays Son. Johnson beautifully portrays a man pushed to the brink of exploding, pauses and centers himself and then proceeds in the most loving way in his interactions with Dad.

Another 20-year B Street actor, director and writer, David Pierini (“Snow Queen,” "Juni B Jones...”), directs, smoothly moving his actors through numerous scene changes while maintaining their characters’ underlying humanity in each scene.

All the B Street production staff do their usual good job, including newcomer Ian Wallace’s set design that cleverly borrows parts from the current Family Series.

“Water Falling Down” is a good play, well acted and nicely staged written by a fascinating playwright.

"Forbidden Broadway" + Cosmo Cabaret Cast = Hiliarity

2012-02-02T00:17:23Z

Cosmopolitan Cabaret opened with the September 2008 to September 2009 run of “Forever Plaid,” which remains the biggest success as a show. “Forbidden Broadway,” which opened Friday night, may just rival “Plaid.”

There are lots of similarities. Both have talented creators, lots of hysterically funny scenes, songs, costuming, props and more.

"Forbidden Broadway" creator and continuing writer, Garrard Alessandrini, aims his sharp pen at mostly easy targets but in incredibly funny ways. You may never have seen “Annie,” “Les Miserables” or “Lion King,” but are still very aware of them and lots of other Broadway shows through popular culture.

Both have four very talented actors, who understand and are so good at delivering the material. There are two men in “Forbidden Broadway,” Mark Ginsburg and Jerry Lee, and two women, Jessica Reiner-Harris and Melissa Wolfklain, all credited as “cast.”

New York transplant Ginsburg, debuting with California Musical Theatre and the Cosmo Cabaret does a Jean Valjean performed by an actor overtaxed by the wrong key among the many roles for which he received long ovations.

Lee, who has been doing great things (“In Trousers,” “Musical of Musicals...,” “They’re Playing our Song”) since his return to his hometown after graduating from Pacific Conservatory of the Performing Arts a couple of years ago.

I started to say “New to Sacramento,” but Reiner-Harris is a hometown actor who has been quite busy acting, it’s just that she has been acting elsewhere. Her daring-to-take-on-the-diva Streisand is one of the priceless moments in the production. Reiner-Harris is one of those great discoveries for her home town theater scene.

Back for a third time at Cosmo Cabaret is Wolfklain (“A Grand Night for Singing,” “Suds”). The lights will go up on Wolfklain as Annie, an over-the-hill Annie, and the audience begins to chuckle at just the first sight of her character. They end in fits of laughter by the end of the song. Wolfklain definitely charms with her third Cosmo Cabaret production.

In a “West Side Story” spoof, Reiner-Harris and Wolfklain do Chita Rivera and Rita Moreno as dueling stage version Anita verses film version Anita which had both the characters and the audience yelling AYE! AYE! AYE!

Musical director Graham Sobelman (“Graham-A-Rama”) brings out great musical performances and also performs the lively piano score.

The characters would not be complete without the very character-defining costume creation for each character by Alvin Colt, working with the hair, wig and makeup designs of Christine Conklin.

Colt, who had an astounding career in costume design starting in the 1940’s, has spent 15 years designing for “Forbidden Broadway,” receiving a Drama Desk award in 2005 while in his late eighties. The pictures speak for themselves in regard to Colt’s designs.

The same thing can be said for Conklin’s hair wig, and makeup design. This is also her third production at Cosmo (“Suds,” “Bingo”), while also designing for Music Circus (“Camelot,” “Oliver!” and “I Do! I Do!”).

With all those costumes and costume changes someone is needed to keep them in order and get the actors changed - often in record time - and that would be Gabriella Nance as costume coordinator and head dresser. Nance costumed “Plaid” as well.

Three long-time Cosmo Cabaret associates complete the experience of “Forbidden Broadway.” Michael Peters has created a minimal budget-friendly single set, yet it fits so well with the whole humor of the look of an Off-Broadway production. His design is assisted by fellow longtime Cosmo Cabaret associate Sally Slocum’s lighting. Robert Sereno continues to engineer the great sound of Cosmo Cabaret productions.

Pulling all this together is director William Selby. Sacramento Press contributor Barry Wisdom has an excellent interview with Selby in his preview of “Forbidden Broadway.”

“Forbidden” has something else in common with “Plaid” in that both have several creative folks that have long histories with their respective productions. Selby has been an award winning actor, assistant director and now director, of numerous productions of “Forbidden.” His sense of timing, especially critical with this humor, is great.

With “Forbidden Broadway,” everything - the songs, music, costuming and acting - is geared to make the audience laugh. The Cosmopolitan Cabaret production of the Off-Broadway phenomenon hits on all levels and should become a Sacramento phenomenon.

Reiner-Harris says it all in her bio.

“(She) wants to thank the ridiculously fun cast and crew for making her laugh until she cries and snorts.”

With opening night’s audience giving loud ovations for scene after scene, I would say the audience felt the same way.

“Forbidden Broadway” Cosmopolitan Cabaret California Musical Theatre
Through March 18th, 2012
Information and Tickets

"Make Em Laugh" Mines the Humor of Musicals at STC Cabaret

2012-01-28T21:01:32Z

Sacramento Theatre Company associate producer Michael Laun shakes up the STC Cabaret format with some good surprises. SacPress community contributor writer/photographer Barry Wisdom has a great preview of the latest show.

Changes included the type of theme. Many previous shows have centered around specific composers. “Make Em Laugh” which runs for a short four show run this weekend on the STC Cabaret Stage, is centered around the title subject. It is a collection of songs, many of which are very well known songs by extremely well known composers from timeless shows.

Many of the songs are also from “who wrote that”? Great song, but “what show”? Never heard of it. And it all works well together to create a fun musical look at what Broadway and pop culture has seen as humorous in our lives. No surprise, much of the humor revolved around relationships.

Much of the success of “Make Em Laugh” is due to the performance of this ensemble. They are excellent at turning a good song into a whole story. Each STC Cabaret show has a mix of performers familiar to the core audience and new performers. This show has a larger mix of new faces.

Leading off with Laun is Jessica Crouch fresh off her staring role in “Bingo” at the Cosmopolitan Cabaret, a role that caused this reviewer to use the “F” word: Fabulous! She sounds so beautiful while being so downright funny. She is especially great on “What Happened to My Song” from “Monty Python’s Spamalot.”

Laun is great on a very funny song called “Hawaiian Wedding Song” from a musical called, of all things, “When Pigs Fly.”

Joining Laun and Crouch from the STC Young Professionals Conservatory for “Make Em Laugh” is 14 year old first year student Devon Hayakawa. She gives a sophisticated performance beyond her years, starting with “Shy” from the tv musical “Princess and the Pea” made famous by Carol Burnett.

New to the ensemble are Robert Irvin, Christine Nicholson, and Madeleine Wieland.

Irvin is great on the Cole Porter hit “Miss Otis” and teams with Crouch on “Sue Me” from “Guys and Dolls” and Laun on “Honest Man.”

Nicholson is a hoot on “April in Fairbanks” and “When Your Lover Says Goodbye.”

Wieland opens with “The Boy From” a Sondheim song with a mouth full of words that she readily handles.

Since a lot of the songs are about relationships and the cast is heavily tilted to those interested in men a lot of the songs are about relationships with men such as “The Boy From,” “What Do You Do About Men?,” and “100 Easy Ways to Loose a Man.”

Also new to STC Cabaret is Sam Schieber, musical director and pianist playing with frequent performer, Kellen Garcia on bass.

Love clever lyrics from Broadway shows, both popular and obscure, performed by some great talent? Check out the remaining shows today at 2:00 and 8:00 pm of “Make Em Laugh.”

“Make Em Laugh.” Sacramento Theatre Company Cabaret
Last shows today
Information and Tickets

"West Side Story" Revival Another Huge Hit For Broadway Sacramento

2012-01-27T02:26:18Z

Wow! That is what I have to say regarding Broadway Sacramento's opening night performance of the current national tour of "West Side Story." The sold out house at the Community Center Theater suggests others agree. While it is beautifully staged, with wonderful singing anddance, and good acting, it is the material that is the star here.

The powerful music of Leonard Bernstein coupled with the equally powerfully words of Stephen Sondheim are enough to make "West Side Story" a show worth seeing.

Add in the choreography of original "West Side Story" director and choreographer Jerome Robbins, which can move from strongly ballet to strongly modern dance in a moment, and it's hard to beat.

All of this wraps around a story that goes back much farther than

Shakespeare and his Romeo and Juliet: the consequences can be deadly if you fall in love with the wrong person. Arthur Laurents' book moves the story to the low income west side of Manhattan of the 1950s with the racial tension and gang turf warfare between the newly arriving Puerto Rican immigrants and sons and grandsons of the wave of Irish and Italian immigrants that had proceeded the Puerto Ricans.

Interestingly, Laurents who directed the Broadway revival this production is based on, did some tweaking of the original Broadway show. Most revealing is a much expanded use of Spanish by the Sharks both speaking and singing. Laurents used Lin-Manuel Miranda ("In theHeights") to write the translation. Imagine though the idea of altering Stephen Sondheim's lyrics!

Laurents also made some changes to iconic choreographer Robbin's original choreography with the assistance of Joey McKneely.

"West Side Story" which was so groundbreaking in 1957 in so many ways remains a powerful and relevant work today. Some of this might be due to how "operatic" "West Side Story" is. The staging of this productiontends to highlight the operatic elements of the play.

The scenic design by James Youmans has a very opera production feel to it in a very good way. The scenes and scene shifts are very much enhanced by Howell Bunkley's lighting design. There were several scenes where the lighting effect would be described as dramatic.

As for costuming, the Sharks really have it over the Jets in David C. Woolard's costume design. Both the Puerto Rican men and the women know how to dress up for a party. The costumes also enhance the powerful athletic movement of the actor/dancers. From the the whirling color and movement of the women's dresses to the form fitting costumes of the men the costuming adds more color and movement to the dance while beautifully displaying the human form of gifted dancer/performers. As a nod to realism the Jets male gang members are in the iconic gang look of New York in the fifties of jeans, ragged Ts, and tennis shoes.

All this is served up with live orchestra led opening night by John O'Neil.

The cast of strong triple threat performers in dance, voice, and acting were led by Ross Lekties as Tony/Anton and Evy Ortiz as Maria.

Lekties and Ortiz each have a beautiful voice and are wonderful to hear singing the great Bernstein-Sondheim solos of their characters.

Together on the great duets of their characters such as "Tonight" and "One Hand One Heart," they sound even better. Even in a quintet of "Tonight" by Tony, Maria, Anita, the Jets and the Sharks, they hold their own.

That quintet pulled out all the operatic stops in many ways including Maria arriving on the scene on her balcony as it enters above the stage from the wings. The scene is followed by the most dramatic of the scene changes as the highway and chain link fences come into place for the rumble.

Michelle Aravena and German Santiago as Anita and Bernardo and Drew Foster as Riff are equally talented stars with Lekties and Ortiz.

Every thing about this production is geared towards taking one of the most enduring works of story, music, voice, and dance that powerfully tells an age old story of forbidden love and transporting it to what was the contemporary time of its creators. What is amazing is how a story set in the middle of the last century and dealing with social issues of that time, both greatly entertains and brings up numerous issues still relevant today.

In the end though it is the excitement of holding a ticket (if you are lucky) to what will be a fantastic evening of entertainment. The
excitement of the crowd. The curtain goes up and you are treated to a most enjoyable performance of an American classic.

STC Pollock Stage "Ruthless!-The Musical" Ruthlessly Funny!

2012-01-21T06:18:48Z

Ah, the child actor. So much competition, so much drive, so many stage mothers and many others, as we shall see, pushing. Oh, and then having to survive the bad reviews.

But when a child actor makes it big, there is lots of money and other perks to go around. They say for a child actor to succeed, they and everyone supporting them need to be ruthless. But ruthless to the point of killing a rival? For the lead role in the third-grade play?

The center of attention in “Ruthless! The Musical” which is just ending its first week of sold-out and nearly sold-out shows at the Sacramento Theatre Company’s Pollock Stage is Tina Denmark. Right behind Tina is Sylvia St. Croix, child talent representative, who is going to see that Tina makes it no matter the obstacles. Not so sure is Judy Denmark Tina’s mother, a self-described talentless housewife with a husband constantly on the road for business. No problem for Tina’s grandmother, a theater critic with a nasty reputation. The other characters are the aforementioned obstacles in the way of Tina’s rise to stardom, a trajectory from starring in the third-grade play to starring on Broadway.

The book and lyrics by Joel Paley are ruthlessly funny. Marvin Laird’s music successfully taps into several well-known Broadway musical motifs. This is a show that evokes the famous stage moms and their songs from Broadway and film to evil child horror film such as “The Bad Seed.” If ever a show fits with STC’s theme this year of “A Season of Mystery, Music & Mayhem,” this is it, where all three abound.

First billing in the cast goes to Michael RJ Campbell for the role of Sylvia St. Croix. Campbell is well known around Sacramento for the many roles he has appeared in, especially at STC, most recently in “A Christmas Carol.” Closer to “Ruthless!” would be last year’s role as Jitter in “Musical of Musicals:The Musical” or Campbell’s several appearances over the years as Goneril, one of the ugly stepsisters in “Cinderella.”

The role of Sylvia St. Croix, according to lore, was not originally conceived to be a male actor’s role, but actor Joel Vig’s audition for the original 1992 off-Broadway show was the best, and it has now become a tradition.

Campbell’s performance far transcends the mere humor of a woman being played by a man dressed up as woman. He truly captures the essence of who Sylvia St.Croix is as a character and uproariously displays her humor, while doing a nice job of belting out her songs.

Mom, Judy Denmark, is played by Andrea St. Clair in her Sacramento Theatre Company debut. St. Clair’s performance is a hoot as her character morphs from the often clueless and easily outmaneuvered Judy to the ruthless, demanding Ginger.

Lauren Metzinger and ~~Julie~~ Jillie Kate Randle alternate playing Tina. Metzinger is in her third year in the STC Young Professionals Conservatory. She appeared on the STC Mainstage in last season’s production of “Brighton Beach Memoirs” as well as many Music Circus shows. Randle, now an 11-year-old sixth grader, started out with El Dorado Musical Theater at age 7.

Metzinger played Tina in the show being reviewed. She performed with the same aplomb as her much more experienced fellow actors. She also seemed to have a little wink and nod to knowing what Tina faced, being a young actor herself.

Becky Saunders was most recently seen at STC in the Pollock as the widow Lili Harrison in “Six Dance Lessons in Six Weeks.” She stretches her acting muscles as three different very funny characters: Miss Thorn, the somewhat deranged elementary school drama teacher; Lita Encore, the heartless critic and adoptive mother and grandmother; and Emily Block, the journalist for an avant garde theatrical magazine with more than just lesbian tendencies.

Netty Carey, another young actor with a growing performance résumé plays Tina’s archrival, Louise Lerman, and Eve, as in “All About,” Ginger’s backstabbing personal assistant.

Producing director Michael Laun’s direction is big, bold and brassy, as this production deserves. As a self-described musical fan, Laun’s affection for the show is obvious.

Graham Sobelman, of Graham-A-Rama fame, is the musical director working with frequent collaborator, pianist Erik Daniels, who gives his usual excellent performance, here while hidden in the scenery.

With this range of women’s costumes, many outrageous, veteran STC costumer Jessica Minnihan has lots of fun creating outfits that help create the humor of these characters.

A big shoutout to the wigs created by Nila Coats. They are as much a part of the characters as their stories.

Jarrod Bodernsteiner has created another set design (actually two sets here) for the Pollock Stage that most of us would be happy to live in. You want Texas suburban ranch house chic or New York City penthouse modern? That is what you get with “Ruthless!”

The show is nicely lit with lighting design by Ron Madonia, who has already been described as a “Northern California star lighting designer” this week.

“Ruthless! The Musical” is proving to be highly popular, and it is not surprising. Everything here, especially a great cast with a well-written play with lots of humor, have created a production that is ruthlessly funny.

“Ruthless! -The Musical” Sacramento Theatre Company
Through February 19, 2012
More info and tickets

Editor's Note: Corrections have been made to this article after publication.

"The Giver"-B Street Family Series

2012-01-20T07:55:40Z

The B Street Family Series opened, “The Giver,” an eyes wide open look at how “Utopia” can become “Dystopia.” For an excellent introduction to the show see Barry Wisdom’s Sacramento Press preview of “The Giver.”

Long time B Street Company members Elizabeth Nunziato and Jason Kuykendall are Father and Mother, the adult component of the mandatory two adult two children family unit. They are so good at creating this feeling that under the veneer of happiness is a pervasive fear of the consequences of differing at all from the norm which flares up anytime the children question something.

Nunziato also plays the elder that announces the role that has been selected for each child as they cease to be children and prepare to be adults - as they become “Twelves,” a term that may or may not be related to age or grade in school.

The female and younger child of the family unit, Lily, is played by Brittni Barger, who came to B Street in 2009 as an intern and has now become an Equity actor. Barger shows off her skill playing a character that is at the youngest end of the age range of characters she is great at performing.

She is joined by current B Street acting interns Erika Lecaj as Fiona/Rosemary and Brandon Alexander as Asher. They convincingly move from carefree childhood through the ceremony to become “Twelve” and move on to responsible adulthood and apart from each other.

Lily’s older brother Jonas, also becoming “Twelve,” is played beautifully by east coast educated Grant Jordan in his B Street Theatre debut. Jordan is wonderful as the young man that is chosen to become the Receiver of Memory by the Elders and will detach himself from his family and friends to be the one to hold all the memories, good and bad, for civilization.

Bay Area actor Gary S. Martinez gives a magical performance as the former Receiver of Memory, now “The Giver” of the title, who has failed once before in transferring the memories to a new Receiver. Sacramento theater goers don’t often get to see Martinez’s performances except for his indelible performance as “Gary” in “Every Christmas Story Told-and Then Some” at Capital Stage for the last six years. The role of The Giver could not be more different than what could be described as clowning around in “Every Christmas...” The Giver is much closer to an Albus Dumbledore. He must transmit all the memories, but in a way that the young man can absorb and handle.

Laura Baker’s direction moves from scene to scene at a teen/pre-teen pace but pauses in each scene to have her wonderful ensemble of actors beautifully deliver some profound things to think about.

To me there isn’t a preachiness to Eric Coble’s play, but more of a wide-eyed look at the demand for sameness, which even if for supposedly good reasons, can have fatal consequences.

Coble based his play on a novel by highly popular children’s writer Lois Lowry. Lowry has been travelling the world since she was a child and has undoubtedly been exposed to more diversity than most.

Northern California star lighting designer Ron Madonia’s lighting greatly aids in the shift from scene to scene and setting the mood, especially true in a play set in a world with no sun.

Ian Wallace, new to B Street, has done a fun, interesting and inspired job with this set that beautifully shifts from all the same to the impending explosion of memory and knowledge of difference, good or bad.

I would highly recommend that parents see the show with their children over ten, as recommended. I would suggest that parents be ready for their children to ask questions. I would also highly recommend that adults who love attending live theater see “The Giver” for the excellent thought provoking theater it is.

“The Giver” B Street Theatre Family Series
Saturdays and Sundays at 1:00 and 4:00 pm through February 19, 2012
More info and tickets

Beatlemainia Strikes Sacramento With “Rain: A Tribute to The Beatles” at Broadway Sacramento

2011-12-29T05:40:16Z

The latest Broadway Sacramento show “Rain: A Tribute to The Beatles” opened to a nearly sold out house at the Sacramento Community Theater Tuesday evening.

“Rain: A Tribute to The Beatles” opens with archival film of the Beatles’ first appearance on “The Ed Sullivan Show” projected on two large screens flanking the stage. As the curtain rises, the band breaks into a set of the earliest Beatles music. The audience breaks into screams.

This is followed by a set of more early music timed to the Beatles’ Aug. 15, 1965, Shea Stadium concert. The two large screens, plus a much larger screen at the back of the stage, and some props and lighting effects set the scene very well. It is still interesting after all these years to see the effect the Beatles had on their fans with large numbers of girls fainting and being carried off.

The curtain drops for each scene change while programming on the big screens set the tone for the following scene. As the show moves into “Sgt. Pepper’s Lonely Hearts Club Band” and the psychedelic period that followed it, everything becomes, well, incredibly colorful, including the great reproduction costumes of Sgt. Pepper and the psychedelic light show.

While modern video and lighting play a big role in recreating the feeling of Beatles concerts, “Rain” is all about the music. The creative team and cast are all about recreating the music to as exacting precision as possible.

The band Rain, or Reign as they were originally known, started out as a cover band in Southern California that loved doing covers of the Beatles more than anything. They evolved into doing nothing but Beatles covers. They may have remained a simple cover band if not for the success of “Beatlemania” on Broadway. When that show closed, several cast members joined “Rain” and it eventually it became an official spin off of “Beatlemania.”

The current cast consists of Steve Landes as John Lennon, Joey Curatolo as Paul McCartney, Joe Bithorn as George Harrison and Ralph Castelli as Ringo Starr, along with Mark Beyer on additional keyboard and percussion. It is nearly impossible to single out any one of these American-born cast members. Besides having to perform vocals sounding exactly like their Beatle counterpart, they each have to play the full range of instruments played by that Beatle. Oh, and they have to speak with correct British accents when they speak to the audience. On songs that featured Lennon, Landes sounded hauntingly like him.

How much each performer looked like their counterpart varied from scene to scene, but Curatolo as McCartney really looked like him throughout the show. He has, in fact, won Paul McCartney look-alike contests over the years.

The “Rain” tribute runs through “Abbey Road,” the last album recorded by the Beatles. They perform over 30 Beatles songs, including some that were never performed live by the Beatles. The Beatles ceased to be a group on Dec. 31, 1970.

For much of the audience, “Rain” was a trip down memory lane. To the younger generations, it is a musical history lesson. Interaction with the audience between songs by the band made it clear that there were at least three generations or more in the audience. We were invited to sing and clap along. We were invited to dance in our seats. It was great fun to watch Boomers now in their 60s acting like they were still in their 20s.

“Rain” is a theatrical spectacle just as much as it is a concert of some of the the best music ever written and performed in the last century. There have been countless covers of Beatles music by performers of great stature over the years, but no one does their music as perfectly as the cast of “Rain.” If you never got to see the Beatles live, here is your chance. You will get a feeling of what the shows looked like, and you will get a perfect sound of what they were like to hear (probably better given the acoustics of today’s venues).

If you love the music of the Beatles, want a look back at another time or just want to know what all the fuss was about, don’t miss “Rain: A Tribute to The Beatles.” But do act quickly. The whole run is heavily sold and there is limited ticket availability.

“Rain: A Tribute to The Beatles” Broadway Sacramento
Sacramento Community Center Theater
Through January 1, 2012
More Information and Tickets

“It’s A Wonderful Life: A Live Radio Play” A Nostalgic Look Back at Capital Stage

2011-12-21T08:18:50Z

Among all the different holiday icons, one that stands out is the 1947 black and white film, “It’s A Wonderful Life.” It is a must-see event for many during the holidays.

Playwright Joe Landry, also known for his stage adaptation of the cult film, “Reefer Madness,” has taken the story of “It’s A Wonderful Life” and integrates it into his play, “It’s A Wonderful Life: A Live Radio Play,” as if the it had been performed as a nationally broadcast radio play prior to being turned into the beloved film that it is today. Capital Stage is in the middle of a very short run of the show.

Many Sacramento Press readers may ask, “What is a radio play?”

Long before today’s audio and video media streaming to your smart phone, prior to television, folks sat around their living rooms in the evening and listened to shows on the radio. A lot of folks listened to serial dramas or comedies that went on to find success on television. There were also a lot of plays that were adapted from other work or even created for radio.

Before the lights go down, the actors begin coming on stage, arriving to perform a new radio play for national broadcast in Studio A at WBFR in Manhattan. It is Christmas Eve, 1946. For the next hour and a half plus, we the audience have the experience of attending that broadcast as a studio audience member.

The first character to speak is Freddie Filmore, the first of more than a dozen characters the well known Sacramento actor Blair Leatherwood deftly juggles. Freddie is the announcer for WBFR and introduces the station, commercials and the play in which he performs several characters.

Greg Alexander, well known at B Street Theatre for his quick change character rolls, plays Harry “Jazzbo” Heywood, a radio theatre character actor. Heywood plays 16 roles in the radio show.

The female character actor for the radio show is Lana Sherwood, reprised by Julie Anchor. Lana and her flirtatious ways would have been considered “bad girl” behavior at the time. So was the behavior of the bad girl of Bedford Falls, Violet Bick, one of the dozen other characters that Anchor as Lana takes on.

The female star of the radio production, partially due to having only two roles in the show, is Sally Applewhite, who plays Mary Hatch Bailey as an adult and as a child. Kelley Ogden’s performance of Sally embodies much of the qualities of Mary Bailey, quiet determination with no fear of doing what she needs to do to keep things right.

The male star is Jake Laurents, ladies man, so sure of himself, and for good reason. Besides being good-looking, he is fabulously talented and does an amazing performance as George Bailey, the man who learns what his little town of Bedford Falls would have been like if he had not existed.

All the performers in “It’s A Wonderful Life: A Live Radio Play” are fun to watch and do a great job being both the actor character and playing the numerous characters the actor portrays. Jonathan Rhys Williams as Jake Laurents and Jake Laurents as George Bailey is really especially fun to watch.

“It’s A Wonderful Life” has remained popular for 65 years and the role of George Bailey is one of the most defining roles in Jimmy Stewart's long and distinguished film carer thus there is a strong public image of George Bailey looking and especially sounding like a young Jimmy Stewart. Williams captures this essence of George Bailey in his performance of Jake Laurents performing the role beautifully.

“It’s A Wonderful Life: A Live Radio Play” would be a pleasant evening's entertainment if it was only the nostalgia and fun of seeing a play about how live radio plays were performed. The great bonus here is the fact that play being performed is “It’s A Wonderful Life." Seeing this particular play and its message that continues to resonate all these decades is what makes “It’s A Wonderful Life: A Live Radio Play” a wonderful holiday entertainment.

“It’s A Wonderful Life: A Live Radio Play” Capital Stage On J Street
Thursday, Friday 3:00 pm and Saturday 11:00 am
More information and tickets

"Every Christmas Story Told (and then some!)" a New Holiday Tradition at Capital Stage

2011-12-07T06:43:14Z

Photos by Barry Wisdom

For many people there are certain holiday traditions that if they don’t get to experience them during the holiday season, it just doesn’t feel like the holidays. Capital Stage has started its own little holiday tradition of more than five years of presenting “Every Christmas Story Ever Told (and then some!)” which skewers all those wonderful holiday traditions.

Eric steps up to the podium, opens a large book and begins to read, “Marley is dead!”

Before he even starts to read there are titters that are growing into laughter in the audience. It is those who have made “Every Christmas Story...” at Capital Stage their holiday tradition. This Capital Stage production is much like a Monty Python skit. You may have seen it before and know what is coming but it still is just as funny or even more funny.

What everyone is starting to laugh at is that Eric can’t get through the first line of “A Christmas Carol” without an actors’ strike breaking out. Gary as Marley’s ghost wanders out, refusing to go on. They are soon joined by another ghost of Christmas, played by Peter, who also refuses to go on. It seems that both Gary and Peter are only in the production for the medical insurance but just can not do “Carol” one more time.

Promising Eric that they would get back to “Carol” at some point, the three go off taking on a litany of holiday traditions of stage, screen (big and little), as well as countries around the world “and then some!” all to the amusement of the audience.

All three actors have performed “Every Christmas...” several times at Capital Stage and work very well together.

Eric is Eric Wheeler, who has also appeared in several other Capital Stage productions, as well as stages throughout Northern California, in his more than 30-year career.

Gary is Gary S. Martinez, who is primarily a Bay Area actor but states that CapStage and this show is his home away from home for the holidays.

Peter is Peter Mohrmann, one of Capital Stage’s founders and marketing director. While Mohrmann often directs Capital Stage productions, this is one of the rare opportunities to see him on the stage.

While each actor’s character is easily identifiable and each has its own characteristics, all three actors do such a great job it is impossible to single one out.

Ron Madonia’s lighting design by Owen Smith and sound design by ~~Owen Smith~~ Brad Thompson add to the mood, as does Michael Coleman’s props and set dressing and Rebecca Redman’s costume design.

Another Capital Stage founder, Jonathan Rhys Williams, directs and also did the scenic design. Williams has successfully transferred the show from the stage of the Delta King to their new 2215 J Street Midtown home. He spoke after Saturday night’s opening night show about how interesting it was for him as a director to have a very different, larger space with the audience on three sides and so close to the stage.

“Every Christmas Story Ever Told (and then some!)” works even better than it did on the Delta King at the new J Street theater. There are also the updates that help keep the humor topical. The show is great for anyone old enough to have had exposure to holiday traditions. Besides, you don’t want to upset the youngest ones with the truth about Santa and a lot of other holiday traditions.

If you are looking for fun during the holiday season or want to start a new holiday tradition, you would be hard pressed to find a funnier show than “Every Christmas Story Ever Told (and then some!)”

Editor's Note: Edits have been made to this article after publishing.

David Pierini Adaptation of Hans Christian Anderson's "Snow Queen" Opens B Street Family Series

2011-12-01T08:08:19Z

Photos by Barry Wisdom

The magic of the theatre, the theater of magic. While great children’s theatre is a wonderful experience for children and adults any time of the year, it is especially magical during the holiday season.

The most recent opening is the B Street Theatre Family Series, “The Snow Queen.” The B Street premier is an adaptation of an 1845 Hans Christian Anderson story, “Sneedronningen,” which originally appeared in Danish. The production is a story of a sister, Gerda, and her brother, Kay, who live with their grandfather.

The adaptation was written by longtime B Street Acting Company member David Pierini. This is his fourth adaptation for B Street and follows “Pinocchio,” “The Princess and the Pauper” and “The Adventures of Tom Sawyer.” Currently Pierini is appearing as Lonny, one of the central characters in “Watching Wynter,” Buck Busfield’s holiday show on the B Street Mainstage.

The plot centers around the Snow Queen of the title, who wants to bring her coldness to the whole world. Her next victim is Kay, Gerda’s brother. The Snow Queen has made a mirror that distorts people to show only their ugly, mean sides. She breaks the mirror and allows shards to enter the hearts and eyes of her victims, including Kay, who runs away from home to the Snow Queen’s palace to be her prince and help change others to be cold-hearted individuals.

The audience is told right off that what they are about to see involves magic, and so it does - magic for good, magic for bad. It seems with all magic spells there is some sort of escape clause.

Will Gerda learn the magic words that release her brother and the others from the evil spell?

Gerda is played by Cynthia Zitter, a 2010-2011 B Street acting intern. Last season, she played Margot, Anne Frank’s sister, in “Extraordinary Things: Through the Eyes of Anne Frank” as part of the B Street Family Series and as Lauren in “Circle, Mirror, Transformation” on the Mainstage. Zitter has a lovely voice and did a good job on the musical numbers.

Kay is played handily by John Lamb, a B Street Company member who has frequently been involved with the B Street School Tours and the Family series. Lamb is no slouch on the adult side of theatre and has just finished the role of Sean in “The Walworth Farce,” the story of a horridly dysfunctional family, as part of the B Street B3 series.

Grandfather and three other characters, including a reindeer, are played by Ed Claudio. Claudio has been a producer, director, acting instructor, playwright and actor for over 40 years has been associated with the B Street Family series since its inception. It is quite fun to see an old master become multiple characters.

Amy Kelly also charms and amazes both children and adults portraying no less than four distinct characters starting with Raven, a common bird made magical by the ability to speak with the other characters through the magic of the Snow Queen.

Stephanie Altholz plays a princess and a robber maiden. As usual, Altholz does a great job performing temperamental characters. Her role as May in “Junie B Jones. Jingle Bells, Batman Smells,” at last season’s Family Series is a good example.

The title character is played by Maggie Hollinbeck in her B Street debut. She is well known around Sacramento for her performances on numerous stages and is strongly associated with her song performances at the wonderful Graham-A-Rama cabaret and New Helvetia Theatre Company where she most recently appeared as Charlotte, the central character in “Little Fish.” Hollinbeck has the perfect look for the Snow Queen, tall and regal in her snow white furs.

Jerry Montoya is the associate producer and director. “Snow Queen” features music composed by Noah Agruss, whose music is also featured with “Watching Wynter,” currently on the B Street Mainstage.

"Snow Queen" is a wonderful show for introducing classic literature translated to the stage in a meaningful way to young people. Yet the show stands on its own quite well as an entertainment for both the young and their older theater companions.

While the show it's self is great family theater it is only part of the excitement of attending what is refered to a children's theater from arriving and the level of excitement in the lobby to talking about the show on the way home. Their are all generations having a great time together.

I would also suggest that adults check with their younger theater companions to find out if they are interested in reading the original Hans Christian Anderson story. The story is available in the lobby for $10.

“Snow Queen” B Street Theatre Family Series
Saturdays and Sundays at 1:00 and 4:00 pm through December 31, 2011
Additional shows: Friday, December 23 @ 1pm & 4pm Tuesday, December 27 @ 1pm & 4pm Wednesday, December 28 @ 1pm & 4pm Thursday, December 29 @ 1pm & 4pm Friday December 30 @ 1pm & 4pm
Information and Tickets

"How Long Has This Been Going On?" at STC Cabaret

2011-11-19T17:52:30Z

Performer photos by Barry Wisdom

"How Long Has This Been Going On?-A Tribute to George and Ira Gershwin"
opened the fifth season of cabaret at Sacramento Theatre Company
Thursday evening to an enthusiastic audience.

Although the Gershwin's music goes back to the 1930s and George died
tragically in 1937 at the age of 38 the music they created endures as
some of the best examples of the Great American Songbook. Ira Gershwin
went on to compose with several other lyricists living to the age of 87.

STC producing director, Michael Laun who created the cabaret series,
enlisted Jerry Lee ("Musical of Musicals the Musical!!,"
"Frankenstein"-recently closed at STC) one of Sacramento's best young
actor/singers to direct. While we don't get to hear Lee sing, he does a
nice job of staging the production and helped choose the musical
selections.

The show features over two dozen of the Gershwin's most popular songs
with only a few of their less known numbers. This is in part because
their vast popularity has made so much of their work is so well known.

With all his other responsibilities, the cabaret shows are the only
opportunity for Laun to perform and it is obvious that he is having a
great time as well as turning in a great performance. He is also very
generous with giving the other performers lots of performance time.

Tevye Ditter is making his STC debut with "How Long Has This Been Going
On?" He has appeared in many of the best community theatre productions
in the Sacramento region and has been nominated for and won several Elly
Awards. Ditter has a very nice voice and did a good job on several solos.

Also debuting at STC is Miranda Lawson who has performed most of her roles outside the Sacramento region, most recently as Gary Coleman in the great musical "Avenue Q." She is a great find for the STC Cabaret. Her obvious affection for the material is part of her excellent performance.

Traditionally the STC Cabaret productions feature a performer from the
STC Young Professionals Conservatory. For this show it is Christine
Miyashiro. The level of professionalism and the quality of performance
these young people exhibit is astounding and Miyashiro is no exception.
She has a beautiful clear voice and nice delivery.

Nanci Zoppi is probably the best known Sacramento actor/singer in the
production. She has performed at the Cosmopolitan Cabaret, B Street and
New Helvetia Theatre among other local stages. Along with director Lee,
Zoppi is a popular performer at the very popular Graham-A-Rama Cabaret
shows. She is especially good on songs from one of the Gershwin's most
famous works the opera/musical "Porgy and Bess", including "My Man's
Gone Now" and singing "Summertime" as both opera and jazz.

Music director and pianist is Erik Daniels. Daniels is a familiar
figure as musical director and or accompanist at musicals all over town
including most recently "Musical of Musicals-the Musical!! (STC),
"Little Fish" (New Helvetia Theatre), and "Anything Goes" (Music
Circus). The Gershwin compositions in this show definitely gives him
something to sink his teeth in.

Daniels is joined by bassist Zack Sapunor who has also appeared in "A
Christmas Carol" and "Always Patsy Cline" at STC. Along with
performance with theatres in the region he is the bassist with his Sammy
nominated jazz duo The Afterlife at The Shady Lady on Wednesday nights.
Sapunor is especially great where he is featured on "Slap That Bass."

For anyone that is a Gershwin fan, "How Long Has This Been Going On?" is
a must see. For anyone that loves professional performance of some of
the best compositions of the Great American Songbook, they will have a
great time.

"How Long Has This Been Going On?-A Tribute to George and Ira Gershwin" Sacramento Theatre Company Cabaret

2 and 8 PM Today More Info and Tickets

"Watching Wynter" For the Holidays at B Street Theatre

2011-11-16T07:26:12Z

Photos by Barry Wisdom

“Watching Wynter” is the title of this season’s B Street Theater mainstage production for the holidays. As always, the play is written and directed by B Street producing artistic director Buck Busfield.

While Busfield’s shows have some sort of connection to the holidays, however tenuous, with this show the connection is even more minimal than past shows. This year’s production is about how family members relate to each other and to those around them, and how the holiday season can impact those relationships, making them more than a little crazy. As a playwright, Busfield is a master at making family craziness very funny.

At the center of the play are Lonny, an only child, and his mom in their Milwaukee, Wis. home. Lonny is long past when he should be living on his own and earning his own living. He plays video games day and night, only reads books on gaming strategy and tries his best to keep the outside world at bay. That outside world includes his mother. A few other serious issues complicate Lonny’s life as well.

His mom, a widow, tries her best to get through to Lonny and encourage him to get work and find a girlfriend. She rings true when she says she does this for him. She crosses more than a couple of lines in her quest to see that her son has the life she thinks he should.

Of course, she has issues of her own - like maybe her late husband wasn’t as great as she makes him out to be - and that there is a reason for what she believes is her poor health. Overall though, her life is centered around Lonny and his well-being.

In an apartment across the alley lives Wynter of the title. She is a young woman that works as a home healthcare nurse. We soon learn that she is just a quirky as Lonny, just in some different ways.

Next door to Wynter live Mr. and Mrs. Maccini and his elderly mother. A fun plot twist gets them involved in the lives of their neighbors.

Multi-talented David Pierini, who just completed his role in “God of Carnage” at B Street, plays Lonny. While the character is more than a little creepy, Pierini’s portrayal of Lonny allows the audience to see the humanity and humanness in Lonny and be able to relate to him.

Opposite Pierini is Los Angeles based actor Jayne Taini who is amazing as “Mom.” She is so funny as the devout Catholic mother who ignores all no’s - whether from her son, the young lady next door or anyone else she comes in contact with. Taini’s portrayal of mom is like a tornado that has blown into the family living room sweeping everything up in her path.

New York based actor Dana Brooke, who has appeared in several B Street shows including the recently closed “God of Carnage” opposite David Pierini, plays Wynter. Brooke also appeared as the equally strange Kellin Delahanty opposite Kurt Johnson’s DQ in last season’s holiday production, “Northport Cottage.” Her portrayal brings a definite believability to the strange Wynter.

Mr. and Mrs. Maccini are played by B Street Company members Kurt Johnson and Jamie Jones. Both are also well known from performances on several other Sacramento stages as well as their work in other dramatic arts media. They are a hoot as the “hot to trot” Maccinis. It takes little to send them off to their unseen apartment bedroom.

Scenic designer Steven Schmidt created a multi-level set that, with the help of Ron Madonia’s lighting, allows a look into each of the three residents’ lives. The set has a believable feel as rooms in an older section of Milwaukee.

Costumes by Paulette Sand-Gilbert, another B Street regular, enhance each character’s identity.

Incidental music is by Noah Agruss who has composed music for many B Street shows and numerous films.

In his program notes, Buck Busfield talks about what compels him to write about the characters he does while at the same time keeping in mind the wonderful actors he has to work with him.

“It can be fun for an actor to play someone quirky and strange, but instilling the character with honesty and depth presents a real challenge.”

Like previous holiday productions, Busfield as a playwright and director and his cast succeed in meeting the challenge. The winners are the B Street audience who get a lot to laugh about along with some things to reflect on during this holiday season.

“Watching Wynter” B Street Theatre Mainstage
Through December 31, 2011 More Information and Tickets

Lots of Funny Business in “Six Dance Lessons in Six Weeks” at STC

2011-11-15T03:27:49Z

“Six Dance Lessons in Six Weeks” by Richard Alfieri opened Saturday in Sacramento Theatre Company’s smaller Pollock Theatre.

Lily Harrison, a senior retiree living in a high rise view condo in St. Petersburg, Florida books a series of dance lessons from the Six Dance Lessons in Six Weeks company. Very quickly, Lily demonstrates how uptight and rigid she has become.

Enter Michael Minetti, the young man that the dance lesson company has sent to give Lily lessons at her condo. Michael’s problem is that he is extremely poor at self-censoring and blurts out whatever he is thinking.

Naturally, Lily and Michael start off on the wrong foot (pun intended) at the first dance lesson and succeeding lessons. Not far into the first lesson, she demands that he leave - as she does for every succeeding lesson. He persists and they go on to very funny results. Indeed, most of the audience was laughing hysterically throughout the show.

Playwright Alfieri has worked in stage, screen and television both in front of the audience/camera and in most all of the creative positions off-camera and offstage. Alfieri has also won multiple major awards in nearly every entertainment field. He has created a play that is very funny while also saying a lot about ageism, intolerance and sexism. It asks the question, why is it so hard for individuals to relate to each other?

Lily Harrison is played by Becky Saunders in her debut performance at STC. She is a very experienced actor who has performed on stages throughout the country. Harrison gives a strong performance as Lily, who knows how rigid and uptight she is but doesn’t know how to break out of the shell she has built around her and express her fears and losses to another human being.

Playing opposite Harrison is Justin Samuel Cowan as Michael Minetti, the young man that exhibits biting behavior, much of which Lily finds objectionable. Cowan is at an early point in his career. He will receive his BFA in Performance at Southern Oregon University in Ashland, Oreg., where he will return for his final semester after the closing of this show. While Cowan is a relatively new actor, he is quite familiar with the role of Michael Minetti, having portrayed the character at SOU. His Michael is both funny and charming as he ignores Lily’s protests and marches forward.

“Six Dance Lessons in Six Weeks” is Michele Hillen-Noufer’s first STC main season role as a director. She has over 20 years experience in professional theatre and has been with STC for seven seasons as an actor, singer, choreographer and director of the education shows. Arguably her greatest role at STC is that as the education director of the Young Professionals Conservatory that turns out so many great young actors.

Her great job of directing “Six Dance Lessons in Six Weeks,” in the difficult-shaped Pollock Theatre no less, should lead Hillen-Noufer to many other directing roles.

Assistant director to Michele Hillen-Noufer is Jodie George, a theater major with a Screen Actors Guild membership. What is interesting here is that George is a licensed psychotherapist in private practice. After seeing the play, it is easy to imagine how useful that background would be in looking at character motivation in this show.

Scenic Designer Mims Mattair is another newcomer to STC who has a great deal of experience. Mattair has done set and costume design for both opera and stage. Lily Harrison’s high-end condo is the set and I am sure that many audience members had the same thought, “I would love to move in here.”

It is always fun to see how the set designer deals with the quirks of the Pollock Stage and Mattair rewards with some fun design decisions.

Lighting design by Jarrod Bodensteiner and William Myers’ sound design enhances the experience of the set.

Jessica Minnihan, while most strongly associated with STC, designs costumes for stages throughout Sacramento. She surely had fun designing the costumes for Lily and Michael, as the costumes are an essential part of the humor in this production.

STC picked a very good play for the first main season production on the Pollock Stage. There is so much humor and humanity in “Six Dance Lessons in Six Weeks” and it comes across well in this intimate space where a lot would be lost on a larger stage. Saunders and Cowan have good rapport and work well off each other in both humorous and serious moments.

Given the excitement level of the audience members leaving the theatre, it is very possible that with “Six Dance Lessons in Six Weeks,” STC has a hit on their hands.

“Six Dance Lessons in Six Weeks” Sacramento Theatre Company

Through December 18, 2011 More information and tickets

Note: STC hosts a "prologue" forty five minutes before every performance giving audiences an opportunity to learn a little about the play, playwright and production.

The theatre has partnered with The Ballroom of Sacramento and will present free weekly 45 minute dance lessons every Thursday at 5pm at the theatre for six weeks. Classes begin on November 11th and will be taught by Deborah and Don Reno. The week of Thanksgiving the class will be held on TUESDAY 11/22 instead of Thursday. Call the box office at 916-443-6722 for reservations.

“Superior Donuts” Gets Capital Stage Off To A Great Start At Its New Home

2011-10-28T05:51:56Z

Capital Stage’s move from the Delta King to the heart of Midtown, while a great deal of work, seems to have gone smoothly. The new theater certainly fulfills the part of Capital Stage’s mission about performing “in an intimate, close up setting.”

Capital Stage chose “Superior Donuts” by Tracy Letts to open its seventh season. It is the first in a theater designed by them to produce the type of shows they like to do. Letts is now best known for “August: Osage County” a major Broadway hit bigger than life in every way.

“Superior Donuts” tells the story of Arthur Przybyszewski a classic hippy from the 60s. Arthur now runs the rundown North Chicago donut shop inherited from his Polish emigrant parents. We see two months of his life: December 2009 and January 2010.

Arthur's life is coasting along, slowly but surely down hill. He comes to the namesake donut shop to find the police and the Russian emigrant that owns the store next door. Someone broke in during the night and vandalized the shop and tagged it. The Russian continually pressures Arthur to sell so that he can expand his business as an electronics mega store.

Into Arthur's life comes Franco, who, pulling the help wanted sign from the front window, insists that Arthur is going to hire him. After much persistence on Franco’s part, Arthur gives in. Little does he know how much this young man will change his life in a short period of time.

The wonderful Matt K Miller plays Arthur. It is always a great experience to watch Miller act and “Superior Donuts” is an excellent vehicle for him to work his craft. He is especially good in the soliloquies where the action in the play stops and Arthur reflects on his life.

Franco Wicks, a young black man from the neighborhood with a troubled not too distant past, is played by a terrific Jammy K. Bulaya. He is especially good in the very funny patter that goes on between Franco and Arthur. Franco to Arthur disparaging his hippy ways: “Let me tell you who looks good in a ponytail: girls----and ponies.”

Lady Boyle the alcoholic elderly street person rolls in and out of the donut shop on a daily basis. Capital Stage associate artist Janis Stevens who was so great as Maria Callas in last season’s “Master Class” at Cap Stage plays Lady who is not so drunk that she does’t have wry observations and pertinent comments to make.

Debuting at Cap Stage, Lori Russo plays Officer Randy Osteen who everyone except Arthur knows is stuck on Arthur. She is paired up on the beat with fellow officer James Bailey played by Sacramento actor, stage/film director and playwright Anthony D’Juan. Officer Bailey and his wife have a secret of their own.

The Russian entrepreneur next door Max Tarasov is played by local actor Gary Pannullo with Jeffrey Lloyd Heatherly as his nephew Kiril Ivakin

Barry Hubbard plays the not so nice bookie Luther Flynn with Shane Edward Turner as his nasty enforcer.

Capital Stage artistic director Stephanie Gularte directs. She makes good use of the new theater space to strongly connect the actors and audience.

Producing director Jonathan Williams has created a set design that makes full use of the new space. Williams always creates great, interesting sets. Here audience members can feel like they are sitting at a table back in the corner of a real donut shop. He also co-ordinated the fight scenes.

Capital Stage is off to a great start at its new location. The new space opens up the possibility for an even stronger connection between the performers and the audience. “Superior Donuts” is a good choice for the premier show. It is very funny yet has lots to say to the audience. It is also written by someone who is being recognized as a major contributor to the American stage. The casting from revered veterans such as Matt K. Miller and Janis Stevens to bright new actors like Jammy K. Bulaya is a treat.

"Superior Donuts" Capital Stage through November 13, 2011
More info and tickets

Catch "Little Fish" at the New Helvetia Theatre Before It Is Gone

2011-10-27T06:25:39Z

New Helvetia Theatre ends its three-weekend run of Michael John Lachiusa’s off-Broadway show “Little Fish” this weekend. While Lachiusa is known for two Broadway shows, "Marie Christine" and "The Wild Party," he has written several smaller-scale off-Broadway shows. Most of these have a reputation of being very serious. “Little Fish” is one of his lighter works and was suggested from the short stories of Deborah Eisenburg.

“Little Fish” is New York City-centric. It is the setting of the play, and some of the interactions of the characters can be described as very “New York.” The play itself is part of a genre of musicals, many by Lachiusa, that are specifically written for off-Broadway with a more contemporary style. Lachiusa is also known for an ongoing feud in print with the creators of more traditional Broadway musicals. Nevertheless, “Little Fish” deals with universal themes of the human condition and relationships.

Charlotte, a writer living in New York City, is the center of the play. Her decision to stop smoking results in a clear look at herself and her relationships. She comes to realizes that she has low self-esteem and that her past and present relationships don’t help. This is especially true of Charlotte’s relationship with Robert in Buffalo, her first live-together relationship. He has no difficulty putting her down, telling her how untalented, dumb and uninteresting she is.

Charlotte’s way of dealing with Robert is to run off to New York City, where, moving in with a wild roommate, Cinder, she first takes up smoking. Being off cigarettes, Charlotte also discovers that running away is her usual reaction to issues she doesn’t want to deal with.

Maggie Hollinbeck is perfectly cast as Charlotte. She plays Charlotte with a vulnerability that makes her seem like she is going to break. The role has similarities to that of “The Wife” that she did such a great performance of at Graham-A-Rama’s staged concert of “In Trousers.” Yet Charlotte continues to find her strength. It is always a pleasure to hear Hollinbeck sing, and this is no exception.

Robert is performed by Craig Howard. Howard has a wonderful voice, and his Robert puts down Charlotte with such relish that some of the audience hissed at him. Howard teaches theater arts at Sheldon High School, where he has been nominated for and won numerous Elly Awards for his work. He has also has won or been nominated for Elly Awards for his performances in diverse musical theater productions on several regional stages.

Cinder the crazy roommate is performed by well-known Sacramento actor Nanci Zoppi. This is her fourth production at New Helvetia, along with several shows on other stages including Cosmopolitan Cabaret and B Street Theatre. Zoppi displays both her great singing and comic talent here.

Rosemary Babich (“They’re Playing Our Song”), Danielle Hansen (“In Trousers In Concert”), Steve Minow (“The Drowsy Chaperone”), Andrew J. Perez (“Junie B. Jones, Jingle Bells Batman Smells) and Tristan Rumery (“tick...tick...BOOM!”) are great as the friends who surround Charlotte.

While there is dialogue in the show, much of the story is told through the music. There are over two dozen songs in “Little Fish,” allowing each performer to show off their musical skills, whether as a solo, duet or singing with the whole company.

The music is so central to the show that the single set designed by Pat Farragher and Tim Mickiewicz incorporates the band as part of the set. The set also incorporates lots of storage for the props and is mostly representative of the “Y” where Charlotte swims and runs.

The band consists of Graham Sobelman on keyboard and conducting, Erik Daniels on keyboard, Kellen Garcia on bass, Ryan Harbert and James Lohman rotating on reeds and Jim Nakayama on percussion. There is a strong Graham-A-Rama influence here. It is, in some ways, as enjoyable to watch the band perform as it is to watch the actors. Speaking with Garcia after the show, he confirmed that the band members really enjoy performing the score.

New Helvetia artistic director Connor Mickiewicz directs, demonstrating his usual flare for this style of musical. Working with choreographer Michael Jenkison, the production numbers work well for both their visual impact and the balance of the singers’ voices.

Mickiewicz and New Helvetia are drawn to musicals that appeal to a younger audience. “Little Fish” is certainly one of those shows, but it is appealing to much wider audience. This show has a definite date-night feel to it, but not just a young-romantic-couple date-night feel. There is also the feel of friends, family, coworkers and longtime couples on a theater date night.

“Little Fish” enters its third and final weekend run Wednesday night. Make a date for an entertaining couple of hours.

“Little Fish” New Helvetia Theatre Through October 29, 2011
More info and tickets

B Street B3 “The Walworth Farce,” Pushes the Edge

2011-10-21T06:56:52Z

n “The Walworth Farce,” a play by prolific Irish playwright Enda Walsh that opened at the B Street Theatre this week, a father and his two sons are forced to live in s sort of exile from their home in Cork, Ireland, and survive in government housing in London. Dinny the father forces the sons to do a daily reenactment of the family history, lore and sometimes fiction according to Dinny.

Unable to control his temper after hours of drink, mourning and self pity, he kills two close relatives. Or did he? Was it an accident? Or totally justified? This and several other large issues haunt Dinny. He reacts by being a stereotypical Irish bully. Sadly for Dinny, his bulling extends only to the two young adult sons who have been living with him since they were young. The world for the three is a seedy 15th floor flat in a seedy section of South London, the “Walworth” of the title. Mostly it is sad for the boys.

The “Farce” part if the title refers to the structure of the play. Look up the definition here. Walsh pushes the absurdist farce comedy to the edge and then balances this with the feeling of how scary this would be if it were all true.

B street company member and prolific actor/director Greg Alexander’s performance as Dinny is one that accelerates toward full boil. Dinny uses every bulling trick in the book on the two left under his influence. Much of the humor in the play is about the absurd lengths Dinny will go to justify his past and present behavior. Alexander is great, and downright scary, as Dinny, who uses the quietest threat to the loudest, most absurd demands to enforce his view of the family history and his importance in it.

John Lamb portrays Sean, the one brother who is let out of the flat. Dinny knows that Sean won’t run away for 1) fear of what would happen to his brother and 2) fear of expulsion into the hell that Dinny has convinced his sons is London. Sean’s chance interaction with Hayley, a checker at the Tesco food store, sets off a chain of events that can only end badly. Lamb has performed so many roles, from very adultlike children to very childlike adults. This role works well for him, where his Sean can be adult enough to enjoy his interaction with Hayley to being forced to perform Dinny’s version of he Sean’s earliest childhood memories day after day.

Kimberly Lowe’s Hayley is a reminder of what a healthy, balanced young person looks like. Yet even she is not immune to Dinny’s bullying. Hayley doesn't put up much resistance when Dinny casts/bullies her into a new role in the play: “make the chicken dinner.” Lowe is terrific in her B Street debut.

Blake, the brother who never goes out of the flat, has — no surprise — several mental issues, yet he sometimes proves that he has a good grip at what is going on. He is portrayed by Jason Kuykendall, who never ceases amaze me. First he has to portray Blake and all that character’s facets, but then the sons split up all the other family members and friends who are characters in Dinny’s play. Blake gets all the women, including his grandmother, mother and aunt. It is quite amusing to see Blake discover his feminine side portraying the family females.

A talent Kuykendall shares with the other B Street actors is the ability to perform the quick back-and-forth between characters. The changing of characters becomes so fast that at points the characters’ disembodied wigs become the character with accompanied disembodied voice. It is amazing how well the wigs do on their own.

Director Buck Busfield spoke before the show about how happy he and the B Street creative staff were to be able to stage “The Walworth Farce.” It is easy to see why. “The Walworth Farce” is perfect material for Busfield to direct and the B Street company to perform. This is an edgier playwright and play but it has so many of the elements that B Street company actors, directors and all the rest of creative do so well at and seem to have a lot of fun doing.

It is a show I would egerly see again just to see what I missed in the first viewing.

"Frankenstein" at STC-A Different Look at the Monster

2011-10-11T05:45:57Z

Sacramento Theatre Company opened its 2011-2012 season this weekend with one of the most classic horror stories ever told, Mary Shelley’s Frankenstein. While Shelley’s work is well known and countless screen and stage adaptations have been made of the story the one being told here is from little different angle. The play is by a prolific playwright Tim Kelly who wrote dramatizations to several Mary Shelley stories as well as stories of other writers.

All the basic elements are here. The brilliant young scientist who literally stitches together a creature out of graveyard spare parts. The creature who then escapes and wreaks havoc all over the countryside. There is the doctor’s best friend and fellow doctor who is too intrigued about the possibility of creating life for his own good. There is also Dr. Frankenstein’s household - mother, wife and housekeeper - all threatened by the monster to punish the doctor.

What is missing is the monster coming alive on the table. He has long been alive and causing the most punishing damage for the doctor when the play starts. Also missing are the townspeople with pitchforks and torches.

The big and surprising difference in Kelly’s dramatization is the monster himself. This monster knows what a great wrong has been done in creating him and is very articulate about it. He also knows how effective he can be at threatening Dr. Frankenstein and those around him.

The play opens in 1816, the year when Shelley began writing “Frankenstein”, at the Frankenstein chateau on the shore of Lake Geneva In Switzerland. The young Dr. Frankenstein has sought shelter there from the monster he created at medical school and to contemplate what he has done. He soon learns that his monster is the one who killed his 10 year old younger brother, the first act by the monster to punish the doctor.

William Elsman plays the title character. This is the third show for Elsman at STC. He was excellent as Sherlock Holmes in last season’s production “The Final Adventure” and appeared as Mrs. Badden Rotten in the last STC production of “Cinderella.” As with his portrayal of Holmes, Elsman with his tall, slender, dark, handsome good looks and brooding demeanor embodies the character.

Popular local actor and Sacramento native, Jerry Lee, plays Henry, Frankenstein’s friend and fellow scientist. Lee is great as the scientist who just can’t collect enough data on the creature. Alas we don’t get to hear Lee’s great singing voice in this production as we did at STC last year as Billy in “Musical of Musicals : The Musical!” or his exceptional performance as Marvin in the Graham-A-Rama staged singing of “In Trousers.”

The astounding performance here is by Ed Gyles Jr. as the monster. Gyles creates an overall sympathetic character out of one that has done so much evil and threatens to do more. He spoke with me after the show about the great deal of time that he and director Michael Laun spent working together to create this complex character. To learn more about this three time Elly Award nominee click here.

Longtime Sacramento actor and Sacramento News and Review film critic Jim Lane plays the perquisite Inspector-General of police, Ernst.

The four women’s roles, while played by good actors, primarily support the roles of the three primary characters. Their main job is not understanding what is going on with the Dr. or being endangered by the creature. Susan Andrews plays the elder Frau Frankenstein, the doctor’s mother. Brittany Barger plays the younger Frau Frankenstein, the doctors wife. Linda Montalvo plays their housekeeper.

Justine, the gypsy girl that witnessed the murder of the youngest Frankenstein is played by two 5th year students of STC’s Young Professionals Conservatory. Kristal Celink 16, is a junior and Miriam Gilbert a senior at Rio Americano High School.

A hallmark of the horror genre is that it is supposed to scare the audience. Director Michael Laun’s staging creates points where the audience strongly reacts to something scary they didn’t see coming.

All the action takes place in Victor Frankenstein’s beautiful study with good illusion to what takes place outside the study. Jarrod Bodensteiner now in his fourth season with STC has created another beautiful room nicely lit by Jessica Bertine.

Jessica Minnihan dressed the cast in fine period costumes. Folks dressed much better then, especially well to do doctors and their family. Minnihan aslo did a fine job on the monster's makeup.

Sound is an important element of horror and William Myers sound design supplies all the creepy sounds that mean “something bad is going to happen.”

There are lots of levels to enjoy Sacramento Theatre Company’s current production of “Frankenstein.” You can ponder what the monster has to say about his fate. You can laugh at the ironic humor of the situation. Or you can just sit there and wait for the scares.

Everybody Wins at this Bingo-"Bingo the Winning Musical" Cosmo Cabaret

2011-10-05T22:28:08Z

Some Bingo players are notorious for not letting anything get in the way of their Bingo night. That is definitely the case of Vern, Patsy and Honey, the trio of women at the center of “Bingo the Winning Musical,” which opened this last weekend at the Cosmopolitan Cabaret.

The show begins with our trio of bingo addicted ladies listening to emergency weather reports describing a major storm raging outside.

No one should leave their home except in the most dire emergency, but does this faze our intrepid gang? Not in the least. Besides, this is not just any Bingo night. This is the anniversary of the local bingo parlor featuring a double prize! No little storm is going to keep our girls away.

But there is another anniversary tonight that is just as significant. The trio used to be a foursome. On this night fifteen years ago, Bernice, the fourth player, committed a Bingo faux pas so great that it broke up the foursome. Vern believes herself to be the victim of the act and has not forgiven Bernice after all these years.

Naturally, they make it to the Bingo parlor where Minnie the hostess and Sam who calls the numbers are busy revving up the crowd.

Who is the crowd that made it to Bingo this dark and stormy night? Well, it is the audience.

Each audience member gets multiple Bingo cards with daubers to use to mark the cards.

A stranger walks into the Bingo parlor this night. Hesitant at first, she is seated with our trio. Little do they know that this young lady, Allison, is the daughter of the long estranged Bernice.

Eydie Alyson plays Patsy, the extremely superstitious one, hysterically so. Alyson has a long stage, television and recording resume. She was last seen at Cosmopolitan Cabaret in “Suds the Musical” as Dee Dee.

Nikki D’Amico plays Honey who makes little effort to hide the fact that she has the hots for Sam and would do anything to make him hers. D’Amico has appeared in numerous regional and national tours of major Broadway musicals. In Sacramento she appeared in Music Circus productions of “A Chorus Line,” “The Boyfriend” and “Nunsense.”

Lisa Raggio does a great job of portraying the still bitter Vern while keeping Vern a sympathetic character. It might help that Raggio has an MA in Psychology and counseling along with her extensive experience in musical theater and voicing animation.

Bonnie Bailey-Reed plays both Minnie the Bingo parlor hostess and Bernice, mostly in flashbacks. She has acted in a number of musical and dramatic stage roles along with extensive television work including roles as a series regular. Her television work includes many roles in commercials that bring you those shows. The fact that she is having a great deal of fun with these roles is obvious.

Michael Stevenson at his hunkiest and sexiest plays Sam, the object of Honey’s lust and affection, also as Frank, the man who pulled the numbers 15 years ago. His portrayal of Sam runs from sexy to silly or goofy. An MFA graduate of the American Conservatory Theatre, Stevenson is best known for appearing in numerous shows at the B Street Theatre where he is a member of the acting company. He and his wife, Jamie Jones, are co-directors of the B Street Conservatory.

The mysterious Alison is played by Sacramento native and graduate of the prestigious NYU Tisch School of the Arts, Jessica Crouch. She was most recently seen on the Cosmopolitan Cabaret stage in a reprise of Graham-A-Rama’s concert version of William Finn’s, “In Trousers,” playing Miss Goldberg. That role was a portend of her – yes, I am going to use the “F” word here, fabulous performance as Alison.

Everyone in the show is a really great singer-actor-dancer with years of experience, but when Crouch walks onto the stage and begins to sing, the whole place just lights up.

While having a fairly simple and straight forward plot, the book by Michael Heitzman and Ilene Reid is sweet and endearing. The sequences where the audience plays bingo helps create the excitement and the addictive quality of bingo while actually being fun.

The music and lyrics by Heitzman and Reid along with David Holcenberg run from fun and silly to sad and hopeful. The songs allow the talented cast to show off their best performances.

All the creative talent for “Bingo the Winning Musical” have strong ties to Cosmopolitan Cabaret and its sister series, Music Circus.

Music director Michael Paternostro, while an experienced musical director, is usually out on stage performing. He has appeared in over a dozen roles on Broadway, touring and regionally. This season he was the wonderfully over the top Carmen Ghia in the Music Circus opener, “The Producers,” and the sweet Eddie Ryan in last year’s, “Funny Girl.”

Sound designer Robert Sereno did the original sound design and engineering for the Cosmopolitan Cabaret.

Scenic designer Michael Peters is the prop designer for Music Circus and did set design for “Suds” at the Cosmo as well as the great props for “Forever Plaid,” the first production at the Cosmopolitan Cabaret.

Peters’ set design is enhanced by lighting design by Sally Slocum who did the Cosmo productions of “Shear Madness” and “A Grand Night for Singing.

Angela Enos, who did costumes, also designed for “Miss Saigon,” “The Producers” and “Camelot” this season at Music Circus.

Hair, wig and makeup design, so important in a show like “Bingo” is by Christine Conklin who did “Oliver!” “Camelot” and “I Do! I Do!” at Music Circus this season.

The biggest Music Circus and Cosmopolitan Cabaret connection here is the director, Glenn Casale.

Casale is the artistic director of California Musical Theatre, the parent company for Music Circus and Cosmopolitan Cabaret, along with Broadway Sacramento. He is a theatre icon as well as a treasure in Sacramento. He makes the most of a talented cast with a good musical show. His staging and choreography really make “Bingo” come alive.

“Bingo the Winning Musical” is easily the best show Cosmopolitan Cabaret has produced since “Forever Plaid.”

Like “Plaid,” “Bingo” will easily hold up to repeat viewings. The talented cast is a joy to watch. It is fun, funny and good time, and who knows, you may win an actual Bingo prize! Even if you don’t, you will have had a winning night at the theatre.

"Shrek the Musical" Kicks Off the Broadway Sacramento 2011-2012 Season

2011-09-29T06:57:14Z

“Shrek the Musical” kicked off the Broadway Sacramento 2011-2012 season with a Technicolor extravaganza.

Based on the characters and story of the book “Shrek!” by William Steig, DreamWorks adapted the book into its blockbuster hit animated movie ”Shrek” in 2001. With a cast of major film actors voicing the characters the movie became the first of a major film and product franchise.

DreamWorks expanded that franchise into their first foray into live productions with the opening of “Shrek the Musical” on Broadway in December 2008. After a very successful run on Broadway “Shrek the Musical” went on a US national tour and a London West End production with continuing changes to the production. The show that opened in the Sacramento Community Theater on Tuesday night is a new non-Equity US national tour. Happily this change has not seemed to reduce the production values of the show.

David Lindsay-Abaire (“Rabbit Hole”, “Good People”) wrote the book and lyrics that tell what is now a well known story of the young ogre kicked out into the world at the age of seven, which seems to be the custom of ogres. A couple of decades pass and Shrek’s quiet life in a swamp is disturbed by a host of fairy tale characters booted out of Duloc by its clearly disturbed and vertically challenged ruler Lord Farquaad.

At the same time Shrek is being sent into the world, seven year old Princess Fiona is sent by her parents to a solitary life in a high castle tower, again as was customary.

The two lives intersect when Shrek is sent on a mission by Lord Farquaad to rescue the princess and bring her back to marry him so that he can be officially the king of Duloc. Naturally there are lots of complications including a dragon guarding the princess and the not always cooperative princess herself.

Jeanine Tesori (“Thoroughly Modern Millie”, “Caroline or Change”) composed the music. The score is very much what one would expect for a Broadway musical with soaring interludes, while also being matched well with Lindsay-Albaire’s lyrics. While one may not leave the theatre humming one of the songs, the music and lyrics are a large part of what makes the evening so pleasant.

A nine piece orchestra conducted by Kevin Casey performed the score with gusto.

The star of “Shrek the Musical” is without a doubt the fantastic staging of the production by DreamWorks Theatricals formed by Dream Works Animation SKG, Inc. in 2007 to produce live productions along with NETworks Presentations LLC (“Mary Poppins, ”War Horse”) which has produced over 80 national and international touring productions. Their creative team created the visually stunning look and movement of the show that dazzled both the children and adults in the audience given the buzz leaving the theater.

A big part is due to Tim Hatley who did the original scenic, costume, and puppet designs. Hatley has used a whole spectrum of colors found in animation in his designs that along with Paul Miller’s lighting tie “Shrek” to its comic book roots.

All of this color is set in motion by the choreography of Josh Price recreated by Chris Bailey and the direction of Stephen Sposito. In the now prerequisite Broadway Musical tap number the twist here is that what begins as something like tap dancing rat slippers in a flash become human size tap dancing rats that accompany some fancy footwork by Princess Fiona.

All the actors are performing in major costuming along with heavy makeup designed by Naomi Donne. Some including Lord Farquaad are acting while being part of a puppet. The actors still need to bring out the inner life of the characters for the show to be successful. This cast succeeds at this.

Lukas Poost, performing under a lot of green makeup and prosthesis, succeeds in having the audience care about what happens to the ogre.

Liz Shivener with her beautiful voice and her dancing skill stood out during her musical solos as Princess Fiona.

The donkey, arguably the most popular character in the show, is played by André Jordan who received a lot of the laughs and applause for his performance. Jordan also did a nice job on the donkey’s songs that were surprisingly good songs.

Another character that had surprisingly good songs was Lord Farquaad, played by Merritt David Janes. Janes has a nice musical voice and did a great job on Farquaad’s songs. He also has great comic timing. Janes should win some sort of award for the athletic performance he does moving the puppet of the approximately four foot tall Lord Farquaad around in such a believable way with only his head visible.

There is also a large number of cast members that play the outcast fairytale characters who overall do a good job singing, dancing and speaking while in a whole gamut of costumes.

Not to be left out is the huge dragon which was moved by four puppeteers in black and voiced off stage. It was fascinating to watch the dragon came to life.

With “Shrek the Musical” California Musical Theatre has started off its new season with a show that not only entertains and appeals to children but also highly entertains the adults in the audience. The color, movement, and music built around a funny, sweet, affirming story makes ogres, fairy tale princesses, talking donkeys, dragons and all the rest become real and believable if only for a couple of hours.

“Shrek the Musical” Community Center Theater Through October 2, 2011
More info and tickets

"God of Carnage" Another Excellent B Street Theatre Production of a Contemporary Hit

2011-09-22T18:07:20Z

Folks can be so civil and polite when they first meet to discuss what could be a thorny issue.

“God of Carnage,” the current mainstage production at B Street Theatre through Nov. 6, follows the interactions between two couples and between the husbands and wives, escalating and disintegrating. The result is shocking and hysterically funny.

Michael and Veronica Novak invite Alan and Annette Raleigh to their ever-so-tasteful home to discuss an incident in a neighborhood park. Veronica claims the Raleighs’ 11-year-old son “armed” himself with a stick and struck the Novak’s son, breaking two teeth. “Armed” is just the first contention. As with so many issues like this, there is much more going on than what is first presented.

The play was written by Yasmina Reza, a French actress, playwright, novelist and screenwriter, who is also know for her play “Art.” With “God of Carnage,” she has written sharply defined characters who mask their true feelings and behaviors twith gentility and civility only until they are pressed.

Christopher Hampton, a British playwright, screenwriter, film director and translator, first translated the play into British English for a highly critical and successful run in London. Hampton and Reza collaborated to adapt the play for American audiences, realizing that there are cultural differences in each country. Now set in gentrified Brooklyn with characters that are easily recognizable to any American, it has again earned critical and popular success, winning the 2009 Tony Award for best play.

B Street enlisted three of its best known and most popular actors: Kurt Johnson as Alan Raleigh, Elisabeth Nunziato as Annette Raleigh, and David Pierini as Michael Novak. They are joined by New York City-based actor Dana Brooke as Veronica Novak. Brooke was last seen at B Street opposite Kurt Johnson as Kellin Delahanty, the self absorbed hitchhiker in “Northport Cottage: A Comedy for the Holidays.”

All four actors work well together and also with director Buck Busfield. This is the kind of comedy that Busfield and his actors love to do and are so good at. They each do such a good job with their character that it is impossible to single out any one of the performers. This is ensemble acting at its best.

The set design by Steven Schmidt and costumes by Paulette Sand-Gilbert are not only beautiful to look at, but they give the audience a strong sense of who these characters really are.

It is not surprising that “God of Carnage” has been so popular with both critics and audiences, no matter the language, the idioms or the setting. It has sharply written dialogue and clearly defined characters, who are not always very nice but are often very funny and easily recognizable to contemporary audiences. Busfield and his actors do the usual B Street Theatre high-quality job bringing them to life.

God of Carnage” B Street Theatre Mainstage Through November 6, 2011
Tickets and more information

Great Performances by David Silberman and Jason Kuykendall in "Freud's Last Session"

2011-09-10T16:43:40Z

Sigmund Freud, the creator of psychoanalysis, held many controversial views and theories. His staunch atheism is one of the strongest and most controversial.

The great English writer C. S. Lewis, best known for “The Chronicles of Narnia,” also a staunch atheist as a young man, embraced Christianity as a professor at Oxford. Much credit for his conversion is given to long conversations with “The Hobbit” and “The Lord of the Rings” author J. R. R. Tolkien.

Award-winning playwright Mark St. Germain’s current off-Broadway hit “Freud’s Last Session” imagines a conversation between the two brilliant men very near the end of Freud’s life, while Lewis is a young Oxford professor and little-known author outside intellectual circles. B Street Theatre is currently staging “Freud’s Last Session” as part of its B3 series.

The play is set against the background of the rise of Nazi German power on the day England declared war on Germany after the invasion of Poland. Freud and his family have recently relocated to London having barely escaped Vienna after the Nazi takeover of Austria.

St. Germain based the play on a report of Freud meeting with an unnamed Oxford professor shortly before Freud’s death by suicide, suffering from late stage oral cancer. St. Germain imagines that the professor is C. S. Lewis. Lewis believes that Freud has summoned him to discuss negative comments that Lewis has made in print regarding a recent publication by Freud. To Lewis’ surprise, Freud wants to talk about a larger issue: Lewis’ belief in the existence of God.

Given the intellect of the two subjects, St. Germain’s dialog is sometimes brilliant and often to the point. What may be surprising is how witty and often very funny it is.

All the action takes place in Freud’s London study, beautifully realized by B Street set designer Cat Frye. Yes, there is a couch. Some of the audience in the intimate B3 theatre are nearly on the couch.

Sound design by B Street staff realistically brings the war into the play both through the radio and from the skies outside the study.

The most compelling reason to see “Freud’s Last Session,” besides the script, is the actors’ performances. David Silberman as Freud and Jason Kuykendall as Lewis are perfectly cast. Both are B Street company members and are very well known to Sacramento theatergoers.

Silberman has appeared on stages throughout the country in his 40-plus-year career. At B Street he appeared in last season’s “Old Love” along with numerous other shows over several years. His performance as Morrie in “Tuesdays with Morrie” at the Sacramento Theatre Company won strong critical acclaim and favorable audience reaction.

Silberman bears a fair physical resemblance to Freud, especially with the iconic glasses. He does a nice German accent. But as with “Morrie,” it his performance as a man near death but with a mission that shines. His Freud, though weakened by end stage cancer and in great pain, continues to rally, interested in the conversation with the much younger man whose intellect he respects.

Kuykendall is one of Sacramento’s most popular actors, primarily for his roles in comedies such as “The 39 Steps” and “Searching for Eden,” recently at B Street, and as Earnest in STC’s opener “The Importance of Being Earnest” last season. He is also a member of B Street’s new B Street Sketch Comedy Group.

Kuykendall is a revelation as Lewis. While there is a lot of wit and humor, there is a great deal of more serious issues which he deftly handles. While Kuykendall bears little physical resemblance to Lewis, he is quite believable as a young academic. What is really amazing is how little his Lewis resembles any other character he has played before or Kuykendall himself. With little makeup and a simple change in hair style, this performance is a great example of how an actor can physically embody a character.

B Street associate producer Jerry Montoya directs with a deft hand giving a comfortable reality to the staging and bringing out the great performances of his actors.

With “Freud’s Last Session,” B Street Theatre has brought a currently hot-ticket New York show to Sacramento. The entertaining script, performed by perfectly cast actors at their best, creates a wonderful evening of theater.

Something Different With "I Do! ! Do!" At Music Circus

2011-08-18T05:48:30Z

With “I Do! I Do!” Music Circus takes a different tack from what audiences usually expect from them. Gone are the ensembles and large production numbers. Also, gone are multiple flashy costumes and intricate sets.

“I Do! I Do!” is a two character musical with just one set which is the couple’s bedroom dominated by a large fourposter bed. The play is a musical adaptation of an 1951 play “The Fourposter” by Dutch playwright and novelist Jan de Hartog who won a Tony Award for the play.

Given the tight budgets and difficulty of finding financial resources that all theater companies face in these economic times, Music Circus is smart to work with a smaller scale production this year. Yet they must still create an audience pleasing show. Given the audience reaction at Tuesday evening’s opener they have really succeeded.

The book and lyrics for “I Do! I Do!” were written by Tom Jones (not the British singer) with music by Harvey Schmidt. Jones and Schmidt are best known for the incredibly long running “The Fantastics” which ran on Broadway for 42 years!

The plot involves the lives of Michael and Agnes Snow moving from preparing for their wedding to moving out of their house that has been sold to a newlywed couple 50 years later. The couple raise two children - a boy and a girl - that remain unseen. Michael makes a good living writing romance novels and Agnes is a full time homemaker. All the action takes place in their master bedroom, much of it in the fourposter bed. Don’t get the idea that there is anything racy going on here. When the play opened in 1966 middle class audiences were just getting used to married couples on television moving on from twin beds, Fred and Wilma Flintstone being the first TV couple to be in bed together.

The original play is set from 1890 to 1925. Jones and Schmidt update the time period to 1898 to 1948. The feel is definitely pre sexual revolution of the 1960s. This is not a detriment to the show in that the plot gives us a look back into what married life used to be and the roles of men and women in the not too distant past. Michael Snow’s chauvinistic and paternalistic behavior elicited strong reaction from the audience as did Agnes Snow’s calls for women’s roles beyond being just mother and wife.

Of course, what the Music Circus audience is looking for is the songs and music, the choreography and the laughs. “I Do! I Do!” provided lots of laughs.

There are lots of pleasant songs in “I Do! I Do!,” but it produced only one big hit “My Cup Runneth Over,” which became a recording hit for actor/singer Ed Ames.

The original production of “I Do! I Do!” featured major Broadway musical powerhouses It was produced by David Merrick, directed and choreographed by Gower Champion and featuring Mary Martin and Robert Preston. Martin and Preston were replaced by Carol Lawrence and Gordon McRae. Carol Burnett and Rock Hudson were featured in the first national tour.

Husband and wife actors Matthew Ashford and Christina Saffran Ashford, married 24 years, play the Snows here. Matthew Ashford is best known for his role as Jack Devereaux on the soap “Days of Our Lives” was also seen at Music Circus as Thomas Jefferson in “1776’ and Sky Masterson in “Guys and Dolls.” He has a nice voice, performs several solos nicely, and has good comic timing.

Christina Saffran Ashford has starred in several Music Circus productions as well as numerous musicals on and off Broadway. She has also has done several vocal performance and sings in several animated and live action movies. Her solo of “Flaming Agnes” allows both her beautiful singing and comic talent to shine.

What the two are best at is working off each other in comic, poignant, and profound moments. Also singing the numerous duets together including “When the Kids Get Married” and ‘My Cup Runneth Over.”

Will Mackenzie, who directs, has a lot of experience as first as an actor then primarily as a director in both stage productions and television. (The Bob Newhart Show, actor/director) He has previously directed the acclaimed Broadway revival of “I Do! I Do!.” Mackenzie manages to create the sense of filling the Wells Fargo Pavilion stage even with just two actors.

Choreographer Peggy Hickey has also worked in stage, film and television. She has also choreographed a number of operas. The dance here obviously does not have the big production numbers with a large ensemble but Hickey does have several nice dances with Michael and Agnes.

Leon Wiebers costume design is elegant to homey and in many ways timeless. Wiebers made interesting choices to indicate the social status and age of the characters in a play with a vague setting of time and place.

Christine Conklin’s hair wigs and makeup are also integral to who the characters are and their aging process.

Throughout the show there was lots of laughter and audience reaction. At the closing curtain much of the audience jumped to their feet and voiced their approval with loud applause.

This Music Circus production of “I Do! I Do!” shows that while big cast-large scale productions with large production numbers such as the previous production the widely acclaimed “Annie Get Your Gun” is a very successful format that they can also create an audience pleasing show with just two actors, a good play and the usual high Music Circus production standards.

Graham-A-Rama's Excellent Production of "In Trousers" Being Reprised at Cosmopolitan Cabaret

2011-08-12T20:35:33Z

On sporadic Sundays an audience gathers in the cosy Geary Theater in Midtown for an evening of songs performed by some of Sacramento’s best actor/singers at a cabaret event known as Graham-A-Rama, named after its’ founder and musical director Graham Sobelman.

In June Graham-A-Rama did something different. They devoted a weekend to three performances of William Finn’s one act musical play “In Trousers” in concert. “In Trousers” which Finn wrote the book, lyrics and music is the first of what became trilogy of three one act plays. Finn joined with James Lapine to create two more one act plays “March of the Falsettos” and “Falsettoland.” The second two shows were combined to create a two act Broadway musical “Falsettos.” "Falsettos" was nominated for four Tony Awards and won best book for a musical and best original score for the writers. Finn is now best known for “The 25th Annual Putnam County Spelling Bee.”

Through 30 songs, “In Trousers” tells the story of Marvin from childhood, through high school, marriage, coming to terms with his sexuality, and divorce. We see all this from the points of view of Marvin, Miss Goldberg (one of Marvin’s teachers), the sweetheart and the wife.

As a concert, only the songs of the play are performed, with out using full set design and with minimal props. The singers hold their songbooks or place them on music stands. Yet even with the minimal staging, there isn't a loss of dramatic impact. The audience is transported into the life of Marvin. Finn’s words and music are part of what makes this show so dramatic. Speaking with director Jerry Lee, who also sings the role of Marvin, he stated that: “In my opinion William Finn may be the best living American composer.”

\The other reason that this production has the dramatic punch that it does is the skill of the performers “In Trousers” features four of the best musical theater performers around in Sacramento or really anywhere. In addition, music director Graham Sobelman’s accompaniment is powerful dramatic, and flawless

Danielle Hansen is The Sweetheart. Hansen has appeared with numerous community musical theater companies and is a regular at Runaway Stage Production where she last played Little Sally in “Urine Town.” Dressed in as a cheerleader here, she is the quintessential high school girl. She does a great job on “My High School Sweetheart.”

Miss Goldberg, the teacher Marvin lusts after, always wearing sunglasses, is played by Jessica Crouch. Crouch has just finished touringwith the national tour of “All Shook Up.” Her torch-song rendition of “Set Those Sails” had the audience cheering.

Maggie Hollinbeck plays The Wife. Hollenbeck is well known on numerous Sacramento stages for her wonderful performances and beautiful voice. She is perfect as The Wife who finds herself unable to understand who her husband is and what is happening to her marriage. The audience witnesses her character dramatic trajecory falling apart on “I’m Breaking Down.” The audience cheered Hollinbeck's performance of the song.

In regard to Marvin, the production notes state: “You are about to witness a series of flashbacks, some of which are true. Some of which are probably not so true. But all of them, in their quirky, Finn-esque way, shape Marvin into the flawed protagonist we both loathe and adore.

Jerry Lee is tremendous as the flawed Marvin. Marvin must both answer to the women and hold his ground in who he is fundamentally.

Roseville native, Lee, who returned to Sacrament in 2010 after completing his studies at the prestigious Pacific Conservatory of the Performing Arts plays Marvin. He quickly began appearing on Sacramento stages most visibly at New Helvetia Theater notebly as Vernon Gershin “They’re Playing Our Song” and at Sacramento Theatre Company as Billy in their acclaimed production “Musical
of Musical: The Musical.” Lee has a beautiful voice and great musical skill. He also has the dramatic chops to embody Marvin’s moods from giddy and silly to confused and conflicted to clear and steady. As the director of the show he also has the actors communicate much of the emotion and relationship through his staging.

The fine singing performances are backed by Graham-A-Rama founder/music director/producer Graham Sobelman. Along with being a sought-after accompanist, Sobelman has been the music director at New Helvetia Theatre, UC Davis, Capital Stage, Sacramento Theatre Company, and Music Circus Junior Company. The scheduled August 28th Graham-A-Rama Cabaret show will be his 86th production of the cabaret series! Sobelman’s performance of the score reflects his feelings for one of his favorite composers.

The great news for Sacramento music and theatre lovers is that this production of “In Trousers” is being reprised. The production is moving from the restricted seating of the Geary Theater to California Musical Theatre’s modern Cosmopolitan Cabaret. Although the Cabaret is about four times the size of the Geary a great deal of work went into the design of room to have very good acoustics. The same wonderful cast will be performing the show.

Sacramento audiences are lucky to have another opportunity to experience the music and drama of a rarely produced but excellent piece of American musical theater by one of its’ great composers. All of this is lovingly rendered by a talented cast that perform so well together.

Graham-A-Rama presents William Finn’s “In Trousers”
Cosmopolitan Cabaret August 15th and August 22, 2011 7:00 pm
$18 advance $23 at door Tickets Wells Fargo Pavilion Ticket Office (916) 557-1999

"Annie Get Your Gun" One of the Best Show Ever at Music Circus

2011-08-11T05:23:20Z

Everything, including the play, cast, choreography, direction, costuming and set design, comes together to produce a near-perfect show of “Annie Get Your Gun,” which opened at Music Circus Tuesday night.

The original producers of “Annie Get Your Gun,” Richard Rodgers and Oscar Hammerstein II, no slouches at musical theater music and lyrics themselves, persuaded a reluctant Irving Berlin to write the music and lyrics for the show when Jerome Kern died suddenly.

Berlin is considered to be the preeminent American songwriter, and he created some of his most popular music for “Annie Get Your Gun.” It has song after song that became popular hits, including the opening song, “There’s No Business Like Show Business.”

The book by brother and sister Herbert and Dorothy Fields is as good as the music. Based loosely on the life of Annie Oakley and her husband Frank Butler, it is a touching story with lots of funny moments. The story had as strong a reaction from the audience as the music did.

Music Circus could not have found a better actor to play Annie than Beth Malone. She has the perfect speaking accent and voice to perform the role. She fit the role perfectly, even completely looking the part, and had the audience with her the whole way.

Edward Watts as Frank Butler easily matches Malone. His powerful voice and good looks are perfect for Butler. What makes it even better is the two have great chemistry. It was easy to hear the audience cheer on the relationship between Frank and Annie, Watts and Malone received huge ovations to their duets, including “The Girl That I Marry” and “Anything You Can Do.”

The audience also affectionately booed and hissed Dolly Tate, Annie’s rival for Frank’s affection. Music Circus veteran Heather Lee plays Dolly’s firm conviction well.

Another Music Circus vet who is a huge standout is Ron Wisniski as “Buffalo Bill” Cody. Wisniski has been great in many roles the last several Music Circus seasons, but this could be his best performance yet.

Michael D. Jablonski, who was a wonderful Will Parker last year in “Oklahoma!” plays Tommy Keeler to Jill Townsend’s Winnie Tate. Tommy and Winnie suffer older sister Dolly’s disapproval of their relationship given Tommy’s half-native heritage. Jablonski and Townsend are great singing and dancing “Who Do You Love, I Hope.”

The other actors who deserve to be singled out are the three young performers from the Music Circus Junior Company playing Annie’s younger siblings. Zac Ballard, who was one of the littlest ones in Fagin’s Gang in “Oliver!” is Little Little Jake. Sisters Haley and Rachel Finerman are both in their third Music Circus productions playing Jessie and Nellie Oakley. All three held their own with the adults and were audience favorites.

John MacInnis’ choreography ranges beautifully from athletic to highly sophisticated. MacInnis was associate choreographer to Broadway powerhouse choreographer Casey Nicholaw for “Book of Mormon,” as well as directing and choreographing the medals ceremonies for both the Vancouver and Salt Lake Olympics.

Broadway and Music Circus veteran director Gary John La Rosa not only stages the musical numbers beautifully but does a great job with the plot scenes.

The plot of “Annie Get Your Gun” allowed costume designer David Draper to design a wide range of great costumes. This ranges from cowboys and Indians shoehorned into tight pants and showgirls in corseted dresses to men in tuxes and women in flowing evening gowns. The main characters also wore suitably detailed costuming.

All of the production team are at their best game, producing a great look and sound.

Music Circus always does a great job with their shows, but with “Annie Get Your Gun” they have really outdone themselves. They have taken one of America’s most iconic musicals by one of the most revered composer/lyricists, cast it perfectly and applied the best Music Circus production values to create what is definitely a must-see show of the summer.

B on K, New Concept, New Venue for B Street Theatre

2011-08-04T07:11:16Z

Last Thursday B Street Theatre previewed a new concept to a sold out house at the Cosmopolitan Cabaret after Cosmo Cabaret regular show of the evening, "Defending the Cave Man." The new concept is sketch comedy and some improv performed by some of B Street's funniest actors. The actors in the show along with B Street producing artistic director Buck Busfeild wrote the material. Think the funnier sketches from "Saturday Night Live"

B Street veteran Dave Peirini emcees along with appearing in several of the sketches. Peirini has appeared in many of the funniest shows at B Street over the years including last seasons opener "Love Child" The SacPress review of "Love Child" started with this: Love Child is the theatrical version of juggling. The cast consists of B Street regulars David Pierini and Gregory Alexander. Between the two of them they play eleven characters of both sexes and varying ages. Changing between characters sometimes at lightning speed.

Peirini has also appeared with two of the other B on K performers Brittni Barger and Stephanie Altholz in the very funny "Junie B. Jones, Jingle Bells, Batman Smells."

The other performers are Jason Kuykendall and Amy Kelly. The appeared in last season's hysterical "The 39 Steps" where the two played 140 different characters some changing at lightning speed.

While all are good at performing comic roles in a structured play, sketch comedy and improv is a very different thing. The cast of B on K have managed to put together some very funny material and do a good job of performing it.

Kelly who is a writer as well as an actor has the most experience performing in sketch comedy. Her waitress with no inhibitions coming on to Peirini and Kuykendall's characters is a hoot. She is in fact very willing to be quite outragous in all she appears in.

Put a bright colored wig on Barger and she will do anything.

Altholz and Kuykendall proved to be quite facile at improv along with being very funny in many of the sketches.

The audience made up primarily of B Street subscribers laughed uproarisly throughout the show. They did tend to be a little older which is not the usuall sketch comedy/improv audience. It will be interesting to see what the next two scheduled performances bring.

The show is a funny fun evening for a very reasonable price.

Showing this Thursday August 4th and next Thursday August 11th at 9:30 pm. $15 plus one drink minimum. 18 and over. Non-alcholic dirnks also available. Approximately 1 hour plus intermission.

B on K at the Cosmopolitan Cabaret More info and tickets.

The Great Lerner and Loewe's "Camelot" at Music Circus

2011-08-04T05:33:11Z

An impression that a lot of folks have about musical theater is that it is lighthearted, fun stories with popular, hummable songs and not a lot of substance.

While this is true of many great musicals, there are many substantial productions that have been wildly successful and continue to be staged as highly successful revivals. “South Pacific,” which deals with racism, and “West Side Story,” which deals with racism and gang violence, are some examples.

Playwright and lyricist Alan Jay Lerner and composer Frederick (Fritz) Loewe, longtime friends and collaborators, were two of the most powerful creators of Broadway musical theater in the ‘40s and ‘50s, starting with their first big hit, “Brigadoon,” in 1947. Their best known show, “My Fair Lady,” while full of wonderful, very popular songs, was based on social satirist George Bernard Shaw’s play “Pygmalion.” The story deals with British classism and the morality of raising a person up from the lowest class and then abandoning them.

“Camelot,” which opened at Music Circus Tuesday, was Lerner and Loewe’s last big Broadway hit, opening in 1960. It has a beautiful, powerful score and some nice songs, including “If Ever I Would Leave You.” It is Lerner’s adaptation of T.H. White’s novel “The Once and Future King” that drives the show. The major themes include rule of law versus ruling by power and adultery.

The story begins on the day that King Arthur’s betrothed, Guinevere, arrives from her father’s kingdom. It is an arranged marriage by treaty between the kingdoms. Lancelot du Lac, a French knight, comes to join King Arthur’s Round Table, but soon Guinevere and Lancelot develop strong feelings for each other.

King Arthur is portrayed by Davis Gains, who played the Phantom in “Phantom of the Opera” on Broadway, in Los Angeles, San Francisco and on national tour. Gains has the powerful voice necessary to sing the role of Arthur.

The role of Guinevere also has a large number of the songs. Lisa O’Hair does a very nice job with her lovely voice. She is very familiar with Lerner and Loewe, having performed as Eliza Doolittle in Cameron Mackintosh’s production of “My Fair Lady” and the title role of “Gigi.” She has also performed the title role of “Mary Poppins” in London. She has been nominated for and won numerous theatrical awards.

Sean Hayden, who plays Lancelot, is both a musical and dramatic actor who has been in shows from “Mama Mia” to “Angels in America.” He sings the most enduring song from the show, “If Ever I Would Leave You.”

Theater, film and television actor Time Winters was an audience favorite, playing both Merlin and Pellinore, King Arthur’s trusted friend and adviser. Both roles are the type of character roles that Music Circus audiences love.

Another audience favorite was Shannon Stoeke, who plays Arthur’s illegitimate son, Mordred, who has arrived from his evil mother’s kingdom. Mordred does all he can to cause trouble, hoping at some point to take over the kingdom. Stoeke was so good as Mordred that some booed him as a compliment at the curtain call.

Young actor Alex Greenlee already a Music Circus veteran plays the young Arthur and Tom of Warwick.

Music Circus artistic director Glenn Casale directs with his usual considerable skill.

This is the ninth Music Circus production of “Camelot” and the first in the Wells Fargo Pavilion. It is an age-old story featuring one of the first love triangles. It also has sword fights, rituals and intrigue. And all is accompanied by words and music of one of the most revered duos in Broadway history.

"Camelot" at Music Circus through Sunday More Info and Tickets

"Bob," One of the Funniest B Street Theatre Shows Ever

2011-08-02T22:25:39Z

Bob lived a strange life right from the beginning. Abandoned by his birth mother in the restroom of a White Castle in Louisville Kentucky, and adopted by the employee who found him, they wander across the U.S. living out of her beige Chevy Malibu for the next 12 years and then she dies. On his own, Bob lives for the next 12 years behind the restrooms at an interstate rest area, and that is only the beginning.

Bob is the central character in Peter Sinn Nachtrieb’s same-titled play that opened Sunday on the B Street Theater Mainstage. To say that Nachtrieb has written a very imaginative play is an understatement. As the story follows Bob from birth to his senior years, characters connected to him show up throughout his life; his birth parents, the cop who loved his adoptive mother and a host of other “out there” folks.

While this may sound like it could sad and depressing, “BOB” is actually an extremely funny play.

“Bob” is played by former B Street acting intern and now company member, Peter Story. Story has performed in several roles on stage at B Street including another Nachtrieb play, “Boom.” Late night TV fans may recognize him as the head of the Jay Leno Dance Crew on, “The Tonight Show.” Story is very good at the physical comedy that is popular with the B Street creative team and audiences. His Bob goes from a believable, albeit adult-sized, newborn to a shaggy, grizzled senior all the while evoking uproarious laughter.

The four other actors in “BOB” are titled, the Chorus. They become the different people and creatures, as in wolves, lions and others in Bob’s life. They also form a Greek Chorus announcing each of the five acts to Bob’s life. A different chorus member also does a short interpretive dance for each act.

Among the several characters, John Lamb plays the cop who is in love with Bob’s adoptive mother. One of his funniest characters is the droll, uppity man servant during Bob’s wealthy period. Lamb, a long time B Street regular, is incredibly funny.

Another very long time B Street company member, Michael Stevenson, takes on some of the more “out there” characters. Stevenson is believably crazy as a wild animal trainer turned hobo who, through a one-night stand, is Bob’s father.

Elly Award winning actress Kristine David is making her B Street Theatre Mainstage debut. She is Bob’s birth mother turned wild animal trainer. David is also quite adept at morphing into multiple characters.

Lyndsy Kail has become very familiar with Sacramento audiences since her introduction in, “The Importance of Being Earnest,” Sacramento Theatre Company’s season opener this year, and her follow-up role starring in, “The Owl and the Pussycat,” also at STC. Kail most recently starred in, “Searching for Eden,” at B Street. Along with her very funny portrayal of several characters in “Bob,” she is very loving and sweet as Bob’s adoptive mother.

Director and associate producer Jerry Montoya, along with assistant director Laura Baker, make good use of the actors’ comedic abilities. They move the action rapidly along with the laughs pouring out.

Catherine Frye has created a set that is a wonder to behold. It is a sort of junkyard chic with numerous auto body parts, an assembly area for the crates and crates of props and a Jackson Pollock paint scheme.

Costumes by Paulette Sand Gilbert, lighting by Linnae Vana and sound design by Laura Baker and Jerry Montoya all add to the effect.

Stage manager Tracy Prybyla has her hands full cuing all the action.

B Street Theatre staff discovered the perfect play to produce with Peter Sinn Nachtrieb’s, “BOB.” The rapid fire humor is totally suited for the creative team and acting company members. Every time I think I have seen the funniest play B Street theatre has ever produced, they come along with another. “BOB” is a sure-fire candidate for B Street’s funniest play ever.

Forget your troubles, come out and see “BOB” and laugh along with everyone else at someone whose troubles are downright funny.

"Bob" runs through Sept. 11 More info and tickets

A Lively Cole Porter With "Anything Goes" At Music Circus

2011-07-28T02:43:04Z

Music Circus opened its third show of the season, “Anything Goes,” Tuesday evening to much audience approval.

Clearly the stars of the show were the songs of one of America’s most beloved composers, Cole Porter. “Anything Goes” has numerous songs that are included in what is known as The Great American Song Book. This includes "You're the Top," "I Get a Kick Out of You," "It's De-Lovely" and the title song “Anything Goes.” Several other songs in the show are also well known, and the rest are above average.

Along with all the great music, there is a fun plot with book by English writer P.G. Woodhouse (“Jeeves and Wooster”) and his theatrical collaborator, Guy Bolton. Most of the action takes place on the S.S. America sailing from New York and England.

As usual, there is a great cast performing all these wonderful songs. Music Circus favorite Vicki Lewis (“Funny Girl,” “Into the Woods,” “Gypsy”) returns in the role of nightclub star Reno Sweeney. She does a bang-up job of singing and dancing on "I Get a Kick Out of You," "You're the Top,” “Blow, Gabriel, Blow” and “Anything Goes.”

Stowaway Billy Crocker, friend and former love interest of Reno, is played by David Elder, a prolific Broadway and film and television actor. His beautiful voice is featured on several duets, including “You’re the Top” with Lewis. He also sings “Easy to Love” and “”It’s De-Lovely” with Natalie Cortez who plays Hope, Billy’s true love.

Jason Graae as Moonface Martin and John Scherer as Lord Evelyn Oakleigh were audience favorites. Both are quite good at physical comedy. While Graae is new to Music Circus, Scherer has appeared in many productions, including “Dirty Rotten Scoundrels” and “Spamalot” last year.

Acclaimed director/choreographer and frequent Music Circus collaborator Marcia Milgrom Dodge (“Oklahoma,” “Guys & Dolls”) has done an excellent job with both the fast-paced direction and lively choreography. There are several large production numbers that feature every actor, including the usual excellent ensemble.

Leon Wiebers deserves recognition for his beautiful costumes and Judi Lewin for hair and makeup styling, which are so much a part of this show.

Again Music Circus has reached way back into musical theater history to produce a show with the timeless music of Cole Porter, exciting song and dance performances and very funny comic bits. Audience members of all ages will find lots to enjoy.

Shows daily through Sunday Info tickets

Music Circus Production of "Oliver!" Features Junior Company Members

2011-07-21T06:28:48Z

Each season, Music Circus produces a musical that includes a large number of actors from California Musical Theatre’s Music Circus Junior Company. This years’ production is “Oliver!” Lionel Bart’s highly successful musical based on the Charles Dickens classic “Oliver Twist.”

“Oliver!” with music, lyrics and book all by Bart, originally opened in London in 1960 and Broadway in 1962. It has seen numerous revivals powered by mega musical producer Cameron Mackintosh, first in 1977, last in 2009, both in London and on Broadway. It was a highly successful movie adaptation, winning six Oscars. This is Music Circus’ eighth production of the musical.

Christopher Bones, a veteran theater and TV actor already at age 13, faithfully portrays Oliver Twist. He does a nice job on “Where Is Love?”

The other major child role, The Artful Dodger, is played by Matthew Gumley, a Music Circus veteran (“The Music Man”) and Broadway veteran (original Michael Banks in “Mary Poppins”). His big number is “Consider Yourself.”The featured actor in the production is Ron Wisniski, no stranger to Music Circus audiences. Last year he was in “Spamalot,” “Oklahoma” and “Funny Girl” as Florenz Ziegfeld. He has appeared in six other Music Circus productions, numerous national touring shows and over 150 plays and musicals across the country. He portrays Fagin with a good mixture of threats and demands for his boys while also showing caring and concern. It is great to hear Wisniski’s voice on several songs, including Fagin’s solo, “Reviewing the Situation.”

Jacquelyn Piro Donovan is well cast as Nancy. She performs beautifully on several songs, including Nancy’s big solo, “As Long as He Needs Me.” Nancy is one of the emotional centers of the play, and Donovan’s performance reinforces that feeling.

Another well cast actor is Roland Rusinek as Mr. Bumble. Rusinek has a powerful and beautiful voice. He also seems to relish playing such a despicable character.

The rest of the cast is uniformly good and is made up of mostly Music Circus regulars who have a lot of performing experience elsewhere. Each of the strong ensemble members also perform in character roles in the show.

The real stars of the show to the many family members and friends are the 38 members of the Junior Company. They perform as members of Fagin’s gang, orphans and town children and cockneys. The Music Circus Junior Company staff of director Gail Dartez, choreographer Marcy Goodnow, musical director Graham Sobelman and vocal coach Rebecca Plack have done a wonderful job working with these kids to create a very professional performance.

Richard Stafford directs and choreographs the show to the high Music Circus standards with flair.

The whole production crew has created an experience with the great look and sound that their audience expects. In fact, much of the audience is most likely so used to the level of quality that these talented individuals create week after week that they have become a little spoiled by the high production standards.

This is a great show for children. There are some dark and bawdy elements to the show, so the family guide recommends the show for children 8 and older. They will be excited to see kids their own age performing in an exciting show. For adults, there is a story that has endured through the years for good reasons. There are beautiful, familiar songs and performances by actors of all ages to enjoy.

"The Producers" Gets Music Circus 61st Season Off to a Great Start

2011-07-14T03:45:18Z

Opening its 61st season with a highly popular contemporary musical with good casting has paid off for California Musical Theatre’s Music Circus.

“The Producers,” which opened Tuesday night, involves a failed Broadway producer whose most recent show closed on opening night. A passing remark by the low level accountant sent in to audit the books puts the plot in motion. If the producer would have a guaranteed flop, they could bank the investment, close the show and keep the money. They set out to find the worst play, a lousy director and terrible actors. Many complications and much humor ensue, along with lots of great songs and dancing.

“The Producers: the new Mel Brooks Musical,” while being a contemporary show, is based on much earlier material. The 1968 movie, “The Producers,” was Brooks’ first feature film. He developed it into the musical that opened in 2001. According to reports, this was done at the urging of his wife Anne Bancroft and music and movie mogul David Geffen.

The show won a record 12 Tony Awards along with a slew of other theatrical awards. This, along with the casting of Nathan Lane and Matthew Broderick in the lead roles, made “The Producers” one of the all-time hottest tickets on Broadway. During the first run, it took in a record single day ticket sales of over $3 million. When Lane and Broderick reprised their roles later in the run, the show broke that record with a $3.5 million single day sales.

It was not the star casting alone that made the show so popular. The play by Mel Brooks and Thomas Meehan is both endearing and very funny. What else would you expect from Brooks?

What is surprising is how good the music is. Brooks’ music works very well for the action. His lyrics run from poignant to hysterical.

CMT has done their usual first-rate job on casting. Broadway veteran and Music Circus alumni Bob Amaral plays Max Bialystock, the failed producer. This is the character closest to the real Mel Brooks and Amaral fits the role well.

Amaral is matched well with Matt Loehr as Leo Bloom, the milquetoast accountant. Loehr, another Broadway veteran - including another role in “The Producers,” has also appeared in several Music Circus productions. He is very good at the physical comedy required for the role. Loehr has a beautiful voice and is featured in several of Brooks’ best songs.

Very popular Music Circus actor Gary Beach plays the role of Roger DeBris, the director, a role he originated on Broadway and performed in the movie version of “The Producers.” To say that Roger DeBris is a flaming queen with a huge ego is a major understatement. The audience ate it up.

Carmen Ghia, Roger’s assistant and lover, is played with equal aplomb by Michael Paternostro. In addition to performing on Broadway in several tours and regionally, Paternostro has performed locally in the Music Circus production of “Funny Girl” and in “Suds” at the Cosmopolitan Cabaret. Paternostro’s Carmen Ghia was another scene stealer.

The audience went crazy for Bill Nolte as Franz Liebkind, the not-so-closeted Nazi playwright and pigeon fancier. Nolte returns to the Music Circus after a long absence. He last appeared in “Jesus Christ Superstar” in 1996.

Sarah Cornell is well cast as Ulla, the stereotypical Swedish blond with the fractured English pronunciation. Her height is perfect; Max and Leo’s eyes meet her at chest height. Cornell is good at the demanding physical comedy. She has a lovely voice and is also featured in several songs.

The ensemble is, as usual, made up of mostly Music Circus veterans. Kim Arnett, Michael D. Jablonski, Matthew J. Kilgore, Ivory McKay, Jeffrey Pew and Matthew Schneider also perform well in supporting roles.

Director Glenn Casale does a great job of staging the action throughout the Wells Fargo Pavilion and gives everyone in the audience good exposure to the action. Casale keeps the action moving along but gives the audience time to enjoy each song.

Production stage manager Craig Horness is in his 16th season with the Music Circus. His assistant stage manager, Katherine Cannon, keep a small army of stagehands changing sets on the run.

Great costumes (Mark Koss) and wigs (Judi Lewin), along with the scenic design by Scott Klier and Jamie Kump, and Martin E. Vreeland’s lighting, create the spectacular visual effect Music Circus audiences have come to expect. Dan Mojica’s choreography puts all of this in motion.

Musical director Dennis Castellano conducts the 16 piece orchestra that produces the beautiful music of the Music Circus.

The 61st season opener has everything expected from the Music Circus. There are lush production values, beautiful music and a good story. In addition, there are beautiful girls and boys in the ensemble dazzling the audience with their dancing. Even the intermission is great fun.

Shows daily through July 17, 2011

Tickets More info

Next up "Oliver!" Opening July 19, 2011

"Or," a Sexy, Hilarious and Fitting Last Show on the Delta King for Capital Stage

2011-06-28T22:53:35Z

The sixties brought a lot of changes. A new government brought hope, yet an ongoing war and its associated costs brought conflict and despair. New careers were opening up for women in nontraditional jobs, and there was a new sexual freedom in the air. It was an era of loving and being sexually attracted to whoever one found attractive while sharing them with whoever also found them attractive.

“Or” celebrates all of this. Liz Duffy Adams’ hilarious play “Or” is the final play of the sixth season of Capital Stage, and their last onboard the Delta King in Old Town Sacramento. This production also brings together Capital Stage’s original founders, Stephanie Gularte, Jonathan Rhys Williams and Peter Mohrmann.

While the description of “Or” evokes thoughts of the flower power, hippie 60’s of San Francisco, It is actually set in London during the years 1666-1670. The repressive Puritan rule of Oliver Cromwell had ended and the monarchy restored with Charles II returning from exile. A controversial and expensive war over trading supremacy continued with Holland.

Adams bases her characters on several historic figures. The central character is Aphra Behn, who spied for King Charles in the Anglo-Dutch wars. Behn now wants to become a playwright, an occupation newly opened to women. Charles II has several mistresses and presses Aphra to be another She agrees to be supported by Charles so she can write her first play but with holds the “final prize” to keep him interested. Aphra soon meets Nell Gwynne, one of London’s most popular actresses, and experiences an attraction to her. To add to all the confusion, double agent William Scott, an acquaintance from Aphra’s past life as Astrea, shows up. Scott has gone a little dodgy while in exile.

Attractive and sexy husband and wife actors Jonathan Rhys Williams and Stephanie Gularte play King Charles II/William Scott and Aphra Behn/Astrea. Williams’ Charles II in a long, curly black wig is witty and funny, but it is his deranged William Scott that is downright hysterical.

Gularte shines as Aphra Behn, the center of the story. There is little doubt why both men and women go crazy over her. Gularte’s Behn is truly affectionate and loving to those she likes but quite able to hold out for what she needs. What she needs most is to fulfill her destiny to be a great playwright.

Jessica Bates making her Capital Stage debut rounds out the trio of actors. Primarily an East coast actress, Bates becomes wilder and crazier with each character she takes on. She starts as the gruff, foul-mouthed jailer at the debtor's prison. Her primary character, Nell Gwynne, makes good use of the character’s androgyny and “modern woman” posing. Nell is quite happy to put the moves on Aphra.

Bates goes on to portray Behn’s over-the-top, cranky, old servant. Later, she plays an older female aristocrat. Bates’ Lady Davenant matches Williams’ William Scott for sheer hilarity.

The third Capital Stage founder, Peter Mohrmann, directs all this with split second timing. Jonathan Williams sometimes seems to instantly morph from one character to the other. Mohrmann has elicited performances from his actors that, in spite of all the craziness, are really very believable.

Stephen C. Jones’ minimal design of the two sets, the debtor's prison and Aphra Behn’s room, works well. Combined with Steve Decker’s lighting design, Gail Russell’s costumes and Michael Coleman’s wigs, a true sense of the characters’ styles are achieved.

Everything comes together - the play, the acting and the staging - to create a fascinating, daring, sexy show that is also hysterically funny. The laughter started immediately and continued throughout the show. There were times that members of the audience were laughing so hard they nearly started choking.

The three founders of Capital Stage and their whole production staff have created a very fitting end of an era and farewell to “The Boat.”

"Mary Poppins" A True Broadway Experience At The Community Center Theater

2011-06-07T05:34:40Z

Shows brought to you by the Disney organization and Cameron Macintosh come with high expectations. Fortunately for Sacramento musical theater lovers, the Broadway Sacramento production of "Mary Poppins" that opened last Thursday more than meets those expectations.

Disney's first hit version of "Mary Poppins" was the 1964 film with major star turns by Julie Andrews as the title character and Dick Van Dyke as Bert. Disney had obtained the rights to the series of "Mary Poppins" stories by Australian author P.L. Travers. The first book was published in 1934, the last in 1991, five years before the author’s death.

The movie also introduced the songs of brothers Richard M. and Robert B. Sherman. Those songs were nominated for nine Oscars, winning two, and three Grammys. Songs such as "Chim Chim Cher-ee," "A Spoon Full of Sugar" and "Supercalifragilisticexpialidocious" endure in popular culture independent of the movie.

Within the Broadway production, four of the songs, including "A Spoon Full of Sugar" and "Feed the Birds," remain in their original movie form. George Stiles and Anthony Drewe added new material to five of the songs. Stiles and Drewe also created seven new songs for the stage musical. While they will probably not reach the level of popularity of those from the movie, they are pleasant, move the action along and do not detract from the show in the least.

Cameron Macintosh without a doubt is the most powerful producer of contemporary musical theater in the world. Macintosh is best known for "Cats," "Les Misérables" and "The Phantom of the Opera." A whole article could be written about Macintosh and the huge number of highly successful productions he has produced around the world. He actually met several times with 93 year old Travers to win her approval to create a stage musical version of "Mary Poppins." This had followed numerous failed attempts over the years including one by an 18 year old Stephen Sondheim.

Broadway road show productions have a bad reputation for being "dumbed down" versions of the Broadway original. Not here. Every element of this production retains the spectacular look, feel and sound of the original production.

The set, props and costuming - all designed by Bob Crowley - are highly imaginative and when combined with Howard Harrison's lighting effects, create one spectacular scene after another. The scenes go from stormy, rainy monochrome London to a rainbow of color with a wave of Mary's hand. One particular lighting effect gives a very realistic feel of rain.

Richard Eyre directs along with co-director and choreographer Matthew Bourne. The action moves along, the scenes with dialog move fairly quickly into big production numbers, and the production numbers are of suitable length to fully enjoy the highly talented dancing. There are dancing statues, dancing toys and, of course, dancing chimney sweeps.

Stefanie Leigh (Mary Poppins) has a lovely voice with a touch of Julie Andrews. She portrays Mary with a quiet, knowing attitude and stoically flies through the air.

Nicholas Dromard is a suitably charming Bert. He is a strong singer and dancer. Dromard has performed the role on Broadway and in numerous regional productions.

The rest of the cast is strong as well. Standouts include singing by Blythe Wilson ("Being Mrs. Banks") and Q. Smith ("Brimstone and Treacle").

Friday night's performance featured ten and eleven year old Tyler Merna and Camille Mancuso as the central characters, the Banks children Michael and Jane. Talon Ackerman and Marissa Smoker alternate in the roles.

These children do an amazing job of keeping up with the adult performers.

If you think "Mary Poppins" is just for children, you are sorely mistaken. Most of the adults were cheering along with the kids throughout the show. It was great fun to see kids charmed once again by the Disney touch. Broadway Sacramento ends its season with a show that highly entertains their whole audience base. Head down to the Sacramento Community Center Theater and spend a couple of hours on Broadway while saving the airfare and hotel bill.

“Mary Poppins” Broadway Sacramento Community Center Theater through June 19, 2011

More information and tickets

Long Running “Defending the Caveman” Opens at Cosmopolitan Cabaret

2011-06-05T23:46:18Z

Is there a difference in how men and women communicate? Do they, in fact, view the world differently? Rob Becker’s comedic play “Defending the Caveman” demonstrates not only that this is true, but that this can be traced all the way back to when Homo sapiens lived in caves.

Now don’t confuse “Defending the Caveman” with some academic lecture. The show is much more akin to stand-up comedy — stand-up comedy with a nice set design, sound track and introduction video.

Speaking of the set, it looks like Fred and Wilma Flintstone meet HGTV.

The Cosmopolitan Cabaret production of “Defending the Caveman” opened Thursday evening with Cody Lyman in the role of today’s caveman. Lyman is one of several cavemen appearing in productions around the world. The Cosmo Cabaret production is going to feature four cavemen during its three-plus-month run.

Lyman is very charming as he lays out the “Caveman” premise that the original caveman was the hunter/protector and the original cavewoman was the gatherer/knowledge-seeker/reproducer/goddess. That translates to the basic premise that men are simple, uncomplicated and focused on one thing at a time, while women are complex, complicated and multi-focused.

All this is laid out with gentle humor. Yes, much of the humor is about stereotypical behavior, but it is generally acknowledged that there is usually a grain of truth in stereotypes. It is the grain of truth that sparks recognition from the audience and the ensuing laughter — not only laughter but shouted responses from the audience typical of stand-up comedy.

The show does depend to a degree on audience reaction and interaction. The more audience reaction, the more fun the play is for the audience. Stand-up fans will really love the show and will bring the rest of the audience along laughing at not only what is happening on the stage but what is happening in the audience.

Becker’s play pretty much equally highlights the behavior of men and women. It also asks that each gender think about what may be innate behavior of the opposite sex. Becker also has a lot to say about interactions of men with men and women with women. All this needs to be prefaced with that this is heterosexual behavior and that it also discounts the evolution of relationships.

“Defending the Caveman” obviously strikes a chord with its audiences. It has been showing since Becker premiered it in San Francisco in 1991. It still holds the record of the longest solo performance play on Broadway and has been successfully translated into over 15 languages. Lyman has been performing the role for seven years. He is good at making the material timely.

Go see “Defending the Caveman” and let your inhibitions go. Shout out your reactions when things spark recognition. If you have been in a successful long-term relationship, you are bound to recognize several truths. If you are new to a heterosexual relationship, you will learn some useful things. If you don’t fall into either group, you can just laugh at how crazy these people can be.

“Defending the Caveman” Cosmopolitan Cabaret June 1- September 11, 2011 More Information and Tickets

Cody Lyman-”Caveman” June 1- June 26
Ben Tedder-”Caveman” June 29- July 17
Paul Perroni-”Caveman” July 20-August 14
Vince Valentine-”Caveman” August 17-September 11

Roy Blount Jr. Closes Out California Lectures Eighth Season

2011-05-27T05:51:55Z

Award-winning and prolific writer Roy Blount Jr. appeared at the last lecture of the eighth season of California Lectures Tuesday evening. The evening was in partnership with the Sacramento Public Library and held in the Tsakopoulos Library Galleria. Library director Rivkah Sass welcomed the audience that filled the floor of the galleria and overflowed onto the mezzanine.

California Lecture founder and president Suzette Riddle introduced Sands Hall, who would be in conversation with Blount. Hall is a writer, director and actress who resides in Nevada City. She is also a visiting professor of creative writing at Franklin & Marshall College in Lancaster, Pa.

Blount, who was interviewed in SacPress last week, made it clear throughout the evening that he is first and foremost a writer. Hall talked to him about the many things he has done in his life: sports, acting, songwriting and performing with the Rock Bottom Remainders, a rock band made up of bestselling authors. He kept coming back to what he is most interested in and attracted to: words written down on the page.

This love of words is what led him to write his latest book, “Alphabetter Juice: Or, The Joy of Text” and its predecessor “Alphabet Juice: The Energies, Gists, and Spirits of Letters, Words, and Combinations Thereof; Their Roots, Bones, Innards, Piths, Pips, and Secret ... With Examples of Their Usage Foul and Savory.”

Blount talked about words being “sonicky” a word he invented that is a combination of sonic and kinesthetic. Much of both “Alphabetter Juice” and “Alphabet Juice” are about the sound and kinesthesia of words, or, as Blount explains, how words move through your mouth. He used a couple of his favorites: splotch and squelch. He had Hall try them out, much to her amusement.

In answer to a question from the audience, he said he is not fond of audio books unless they are used while driving. When he reads, he likes to stop and go back and reread a lot. He finds that difficult with audio books.

Blount is soft-spoken with a Southern accent, a product of his childhood in Georgia. Hall had him read several passages from “Alphabetter Juice” during the evening. As with many writers, it is even more entertaining hearing him read his own work than just reading it oneself.

“I love the sound of other peoples’ voices, maybe more than my own,” he said. But after a pause, “No, I love the sound of my own the most.” Laughter ensued.

He also talked about what he called “the thumbing down of language” due to texting. He cited using “u” for you. He pronounced “u” as “ooh,” as in “I love ooh.”

Blount is married to visual artist Joan Griswold. He reflected on the different style of communication of a writer and someone who communicates visually. In regard to this, he spoke about how valuable the word “hunh?” is. It implies that one is actually listening, even several rooms away and only needs some clarification. It helps keep peace around the house.

Roy Blount Jr. says he enjoys writing about writing in the same way that food writers love to write about food. California Lectures is primarily about writers so it was appropriate that a writer who writes about words and loves to write so much ended this California Lectures season.

Glee Cast is a Huge Hit at Glee Live! Sacramento Show

2011-05-26T06:54:23Z

The Glee Live 2011 Tour rolled into Sacramento last night a day late, but no one in the sold-out Power Balance Pavilion crowd seemed to care. It was an extremely exuberant crowd, with the screaming and cheering starting long before the curtain went up.

The show had every one of the students featured in the TV show, plus Matthew Morrison (the New Directions director, Will Schuester) and Jane Lynch (Cheerios cheerleading coach, Sue Sylvester) via video. All performed as their characters, reprising a surprisingly long list of the production numbers from “Glee.”

They quickly put to rest any questions about their ability to perform live at the high-quality level of the television numbers.

The cast, backed by a five-piece band, opened with one of their first hits: Journey’s “Don’t Stop Believin’.” Everyone had a moment in the spotlight during the show. But as evidenced by the TV show, some actors are much stronger singers and dancers than others and were more heavily featured.

One of the standouts was Lea Michele as Rachel. Michele started on Broadway at 8 years old and has gathered more musical theater experience than anyone else in the cast. Her “Don’t Rain on My Parade” was definitely a show-stopper. Michele again channeling Babs and Clovis-native Chris Colfer (as Kurt) channeling his best Judy brought down the house with their duets “Happy Days Are Here Again” and “(Come On) Get Happy.”

Colfer thrilled the audience with his bestselling rendition of the Beatles’ “I Want to Hold Your Hand.”

Amber Riley (Mercedes), not one to be ignored, belted out Aretha Franklin’s “Ain’t No Way” with the rest of the cast in choir robes. Riley sounded like she was going to lift the roof off the pavilion.

Cory Monteith as Finn performed several duos with Michele and really belted out Rick Springfield’s “Jessie’s Girl. He also showed off his drumming skills.

Kevin McHale as Artie showed that he could dance, reprising his dream sequence set in a shopping mall, and even rapped.

Heather Morris (Brittany) channeled her namesake Britney Spears with the cast in full Spears drag.

Even the Dalton Academy Warblers, led by Darren Criss as Blane, did a set of songs.

Along with several other recently released songs, the cast performed Lady Gaga’s “Born This Way,” the title song from her newly released album. The cast wore their low self-esteem T-shirts from the “Born This Way” episode, which has been recognized for its promotion of tolerance and anti-bullying stance.

The staging added to the drama, using nearly every concert trick in the book: pyrotechnics, multiple staging (including a stage at the back of the auditorium), high-tech lighting and large-scale video images. Performers popped up everywhere, including on the pavilion floor.

After the curtain went down, they returned to perform no less than six encores, starting off with Colfer performing “Put a Ring On It” backed by the girls in black singlets from the rear stage. The boys did Rebecca Black’s “Friday.” And as a sly hint at their season finale, they performed Jay-Z’s “Empire State of Mind.”

The audience at Glee Live demonstrated the wide diversity of “Glee”’s following. Yes, there were small armies of adolescent girls accompanied by their parents, but there were also large numbers of folks of every age and gender.

There were long lines at the souvenir stands before and after the show.

The whole “Glee” phenomenon is a major money machine, but who cares when you are getting your money’s worth and you are left very entertained?

Thanks to SacPress photographer Randy Miramontez

"Equivocation at B Street Theater B3 Stage-Powerful Story-Great Acting

2011-05-24T06:03:13Z

Torture, questioning the effectiveness of torture, secret renditions, religious factions, assassinations, government falsehoods for the greater good, heavy loss of civilian lives for the greater good… Sound familiar in the beginning of this century? This is not just the Middle East and North Africa, but also our own country.

“Equivocation,” the title of the current offering at B Street Theatre’s B3 stage, has several definitions. All are about some form of evasion of the truth. In this case, it is about a lie not being a mortal sin if the lie results in a greater good.

“Equivocation” is not set in the beginning of the 21st century, but in the London of 1606. James I is now King of England. He has recently survived a plot to blow up Parliament that would have killed him, his whole family and much of the ruling class. The plot is the result of the religous strife started by Henry VIII's creation of the Church of England over a half century earlier. The failure of this plot is still an annual celebration in England known as Guy Fawkes Day, named after the first conspirator that was caught.

In “Equivocation,” King James’s minister Sir Robert Cecil informs the hot playwright of the day, William Shagspeare (a variation on Shakespeare), that he is going to write a play about the “Powder plot,” as it has come to be known. The play is to be based on a text written by James. This sets up the situation that Shag - as he is known - must write a play that he knows is a lie or die for treason.

There are several characters in the play including the actors in the Globe Theatre, the conspirators, jailers/torturers, the king and his minister, Shakespeare and his daughter. Four actors play multiple roles, sometimes changing rapidly from one role to another.

Remi Sandri is an experienced regional actor, including six seasons at the Oregon Shakespeare Festival where “Equivocation” was first produced. He is very good as Shag, who appears in nearly every scene.

The very talented and popular local actor, Matt K. Miller, plays Richard, the manager of the Globe, and the Jesuit priest, Henry Garnet, who is blamed for enticing the plot. Miller is especially good as Garnet.

Los Angeles based stage, screen and television actor James Leo Ryan plays Globe company member Sharpe, and Thomas Winter, a conspirator. He is very good at both roles, but it is his performance as James I that is quite a hoot.

Kurt Johnson has been with the B Street Theatre since interning in 1993 and 1994. Currently a member of the B Street Theater Acting Company, he both directs and acts. Johnson appeared in “Northport Cottage” and in multiple roles in “The 39 Steps” this season. He is good in the role of Nate, another Globe actor. He is really great as the physically and morally deformed Sir Robert Cecil.

John Lamb is another longtime B Street Theatre Company member. He has appeared in many School Tours and Family Series productions. He has also directed several Mainstage productions. Lamb plays Globe actor and keeper of the scripts, Armin, and a great turn as Coke, the prosecutor in the trial of Henry Garnet.

The one female character in the play is Judith, Shagspeare’s daughter and the twin of his dead son. Judith is played by B Street 2009-10 acting intern Brittni Barger. She was the fabulous Junie B. in “Junie B. in Jingle Bells, Batman Smells!” Judith must overcome Shag’s feelings about the death of her twin while also being the conscience of the Globe Company. Her performance easily equals that of her much more experienced peers.

Playwright Bill Cain has won many awards writing for stage, film and television, including a Peabody Award. He has a strong background in the plays of William Shakespeare including founding the Boston Shakespeare Company, where he was the Artistic Director for seven years.

Cain has created a complicated, intense play. The action jumps from within the Globe Theatre to scenes involving the conspirators to those involving the King and Cecil, yet it is very funny much of the time. The audience laughed a lot. It is best to not keep trying to figure out what is going on and just enjoy the great language and action. This is definitely a play that invites multiple viewing.

Directing Intern Laura Baker keeps all the scene changes working smoothly while bringing out numerous great acting performances. Baker worked as an assistant director for “Northport Cottage” and “The 29 Steps” this season.

Catherine Frye’s multilevel set combined with Ron Modonia’s lighting successfully creates the multiple environments needed for the play. Add Paulette Sand-Gilbert’s period costumes, and you have the feeling of 1606 London.

Bill Cain’s “Equivocation” has so much to offer. There is a lot of action, combined with a lot to think about. It is very serious, even horrific, while being seriously funny. There are several characters which are beautifully realized by the cast of this excellent B Street Theatre production. Go, and just sit back and enjoy the production. You may get it all in one viewing. You may just want to come back and see it again.

William Elsman Is Sherlock Holmes at Sacramento Theatre Company

2011-05-08T00:10:40Z

There are certain characteristics that most everyone identifies with Sherlock Holmes from the original books by Arthur Conan Doyle, film portrayal or countless theatrical productions for over a century. After all the character has been around for a long time. Doyle first created the character in 1881 along with Dr. Watson.

The first play featuring the characters was written by Doyle and a popular American actor William Gillette. The play premiered in 1899. Gillette introduced several things identified with Sherlock Holmes including the bent briar pipe, magnifying glass and syringe.

The film carer of the characters of Sherlock Holmes and Dr. Watson is nearly as long as cinema itself. The first film The Hound of the Baskervilles is from 1939. The most receint (2009) staring Robert Downy Jr. as Holmes and Jude Law as Dr. Watson was a major hit. A sequel will be released in December.

Needless to say audience members bring strong expectations to what they should experience from actor portrayals of the beloved characters of Holmes and Watson. With the current Sacramento Theatre Company production of “Sherlock Holmes The Final Adventure” William Elsman as Sherlock Holmes and Michael RJ Campbell as Dr. Watson portrayal of the characters is absolutely perfect.

Elsman is simply astounding to watch and a great deal of fun also. He captures the character of Sherlock Holmes so perfectly. It is simply great entertainment to watch him perform. Elsman is known in Sacramento for his portrayal of Mrs. Badden-Rotten in STC’s production of “Cinderella.” He has also performed for five seasons at Marin Shakespeare Company and in regional productions across the country.

No less perfectly cast is Michael RJ Campbell as Dr. Watson. Campbell is a familiar performer at STC and many other stages in Sacramento. He was most recently seen in the highly popular STC production of “Musical of Musicals the Musical.” Campbell is great jumping back and forth from Dr. Watson being in the action and giving narration to the audience.

Elsman and Campbell have the good chemistry needed for their character’s long relationship. They have performed together before, in drag no less, with Elsman as the previously mentioned Mrs. Badden-Rotten and Campbell as her no less evil and ugly daughter Goneril in “Cinderella.”

Prolific playwright Steven Deitz combines plots from two Sir Arthur Conan Doyle novellas-””A Scandal in Bohemia” and “The Adventure of the Final Problem.” The first introduces the character of Irene Adler an American opera star. She is the only woman to get the best of Holmes. The second features Professor Moriarity Holmes arch nemesis. The two fight to the death in a climatic scene at Switzerland’s Reichenbach Falls.

STC company member and education director Michele Hillen plays Irene Adler. Her performance is as charming for the audience as her character is to Sherlock Holmes.

Troy Thomas plays a suitably evil Professor Moriarity. After having appeared in regional productions for 25 years this is Thomas’ onstage debut at STC. He is also the founder of the critically acclaimed family theater company the Little Bus Players.

Justin Munoz plays the King of Bohemia who has hired Holmes to retrieve a compromising photograph from Irene Alder before his marriage to a Swedish princess.

Moriarity’s gang is played by Brian Watson (James Larrabee/Godfrey Norton), Kristen Majetich (Madge Larrabee) and Jake Murphy (Sid Prince/ensemble). Majetich is a graduate of STC's Young Professional's Conservatory. Murphy is a current YPC member.

With his performance in “Sherlock Holmes,” Jake Murphy is completing his studies with STC’s Young Professional Conservatory. Murphy has already performed in STC Mainstage productions (“Noises Off”), Oregon Shakespeare Festival and many other productions. It’s quite fun to watch his would be tough guy Sid.

Veteran costumer Jessica Minnihan has done another great job with the Victorian era costuming.

Scenic designers Morgan McCarthy and Jarrod Bodensteiner along with lighting by Bodensteiner have created a set that is both interesting to look at and versatile enough to allow rapid scene changes. Bodensteiner’s lighting effects allow for Campbell’s Dr. Watson to nearly instantly switch between narrating and being part of the action.

William Myers original score for the production drives the action along while helping convey the emotions on stage.

Director Michael Laun has beautifully developed each character while also maintaing the sense of urgency that makes an adventure so fun.

In his notes Laun states: “This production is Sherlock Holmes: The Ride-we sweep you up and take you on an adventure that is both familiar to die hard Sherlock fans and a fun way to introduce these stories to a younger generation.” So very true.

KOLT Run Creations "Antigone" Exciting Drama and Excellent Performances

2011-05-06T21:03:01Z

Over the centuries ruling family families have sprung up in many countries. They rule by force and buying off a supportive populace. Often the death of the leader leaves a power vacuum and subterfuge and fighting breaks out between the relatives of the leader. Seldom is any thought given to those being ruled. Those close to the seat of power never want to give it up.

As we have been seeing in the middle east it usually takes an outside force to end a rule of tyranny. In the middle east it has been the middle class, intellectuals, heavily the young and many women demanding the end of tyrannical rule.

“Antigone” tells the story of one woman, a member of the royal family, that says enough is enough. Her father the ruler dies. Her brothers fight to the death trying to take power. Her uncle steps into the power vacuum and ups the level of tyranny in the name of stability.

“Antigone” opened last Friday in a KOLT Run Creation production at the California Stage. The background on the play and the development of this production can be found at a SacPress preview.

KOLT co-producer and actor Kelly Ogden shines in the title role. She truly embodies Antigone the niece that stands up to her uncle’s arbitrary and tyrannical laws designed to keep him in power. The character Antigone stands in for all who reject the status quo that does not represent them-even to death. Ogden while physically slight is still a powerful force against her uncle’s wishes. Ogden’s performance leaves little doubt that Antigone will fight to the death for what she believes in.

KOLT associate artist Patrick Murphy plays the uncle, Creon, who is not about to give up the power he now holds. Everything about Murphy’s performance exudes power-the voice, attitude and demeanor is of one who controls all around him.

The performances of these two actors alone is worth seeing this show. But there is so much more including several good supporting performances.

French playwright Jean Anouilh (1910-1987) adapted several Greek Myth stories to modern settings. Sophocles’ “Antigone” remains the most popular. He wrote the adaptation during the Nazi occupation of France and had to use a lot of subtrifudge to get the play past the censors. There are lots of twists in the play. For example, Antigone is engaged to her cousin Haemon, Creon’s son.

In many Greek plays there is the Greek Chorus who make commentary, confront a character or explain the action. Often the chorus is difficult to understand. Not a problem in this production with one actor playing the chorus.

Kellie Yvonne Raines as the chorus is the first to appear. Her chorus powerfully sets out what the audience is about to see. Raines projects power with a clear voice. She is the only character that can get Creon’s immediate attention.

Other good supporting cast include Ben Moroski as Haemon, Analise Langford-Clark as Ishmene, Antigone’s sister and Gay Cooper, the sisters nurse.

Jonas, Binnns and Sout the guards are played by Ernesto Bustos, Daniel Fagan and Brandon Lancaster. Bustos stands out as the lone guard with Antigone while she waits her fate.

Mitch Worrell-Olsen who has been seen on many Sacramento stages gives a good performance as the king’s page. It is easy to forget that he is twelve years old.

Jeff Webster rounds out the cast as the messenger that brigs very bad news.

This production of “Antigone” by KOLT Run Creations has taken a very old story that has been given a well respected update and with uniformly excellent acting given the audience an entertaining evening. In keeping with KOLT’s promise the audience has something to think about after having left the show.

David Sedaris-Entertaining Reading At Mondavi Center

2011-05-03T16:49:39Z

David Sedaris approached his appearance at the UC Davis Mondavi Center like a typical book-reading tour stop. Never mind he was in the 1,800-seat Jackson Hall versus a bookstore.

Still, Sedaris created the same sense of rapport with the sold-out house that he would in a smaller setting. Sedaris is good at this. He is a very popular contributor to National Public Radio, and a lot of his success on NPR can be attributed to how well he connects with his audience.

After a technical glitch — which was fixed by alerting an audience member with hearing loss that they could not both use their hearing aid and the theater listening device without blasting the rest of the audience and Sedaris with feedback — he started talking about what he had been up to lately.

First he shared his feelings about staying at a particular Courtyard Hotel, and especially a woman who went on and on while ordering a latte while he waited impatiently to order a coffee at the coffee stand. Sedaris can create a great deal of humor out of what most of us would like to say but are too polite to.

This soon turned to a description of his recent visit to Japan and mainland China with his husband, Hugh. Much of Sedaris’ description of China was about his experience of the Chinese attitude and behavior around bodily functions. It is a credit to Sedaris’ humor that he can have the audience on the edge of gagging, or worse, while also laughing hysterically.

“I hope this does not discourage you about visiting China. I would go back in an instant,” he said.

Another passage Sedaris read reflected strongly on his relationship with his father, as well as the state of race relations and public society growing up as the child of Yankees in Raleigh, N.C. The story revolved around the second-tier country club his family belonged to. The first tier was reserved for the founding families and very well-to-do of Raleigh. The second tier would allow anyone who could afford it except blacks, Jews, etc. The blacks just worked there and were called by their first names, even by the youngest child of the members.

The gist of the story was about young Sedaris being forced into the club’s children’s swim team and all the humiliation that came with it. The sad part was his father’s disappointment in him and admiration for another boy to the point of wishing that he was that boy’s father instead.

When he finally beat the other boy in a race, his father said, “Well, you only beat him once. It’s no big deal.”

All this sounds like it could be very sad or depressing, but Sedaris has a talent for telling these stories with a great deal of humor, albeit ironic humor. I believe there can be a lot of self-recognition for the audience laughing at these stories.

Sedaris read from the beginning of his new book, “Squirrel Seeks Chipmunk,” whose title is a play on personal ads.

While on tour, Sedaris has been asking people in the book-signing line to tell him jokes, several of which he shared with the audience. The most suitable for SacPress: A guy answers the door. There is a snail on the front porch. The snail asks, “Can I interest you in some subscriptions?” The guy gets mad and kicks the snail off his porch. Two years later the doorbell rings. The man opens the door, and there is the snail on the porch. “WTF was that about?” asks the snail. Yes, it was much funnier when Sedaris told it.

An unusual thing that he did was promote another author’s book, but he said he does this on every book tour. He recommended Tobias Wolff’s “The Barracks Thief” (1984), set during the Vietnam War, which won the PEN/Faulkner Award for Fiction in 1985. Sedaris said he does not fully understand what attracts him to the book but that he has read it at least 30 times. He included it with the stacks of his own books for purchase in the lobby.

After his presentation, Sedaris sat patiently signing books and chatting with fans who formed a long line that snaked across the Mondavi Center lobby.

In the Q&A after his reading and chatting, Sedaris gave a very telling answer to the question “What is it about writing you like?”

“Part of the the pleasure of writing is reading it out loud,” he said.

Lucky for us.

Funny-Sexy "Searching for Eden" a Great Find at B Street Theatre

2011-04-20T20:24:01Z

Adam is enjoying the Garden of Eden. He loves being in the garden. He is left to his own devices with nothing to do and no one to question his decisions. He finds himself to be quite clever.

Another creature rises out of the reflecting pool in the garden. It is unaware of Adam’s presence as it begins to explore the Garden of Eden, its own existence and words. It is another human - a female human. It is Eve.

As Adam and Eve continue to explore and discover, they speak to the audience, each making statements just the opposite of one another.

Eventually, they do become aware of each other and the first courtship ever begins.

Act I ends with the expulsion from the Garden of Eden. Yes, Eve - in spite of Adam’s advice not to associate with the snake - has fallen under its influence and has convinced Adam to share an apple.

Act II begins thousands of years later, Adam and Eve long married with two children, one of whom is deceased. They have returned to the Garden of Eden, now an upscale resort called “E.” Not a lot has changed except that the reflecting pool is now a spa and the apple tree has been cut down.

Eve is now a successful movie producer and Adam is a marriage counselor. They have returned to Eden to see if they can discover that spark they felt when they first met.

This is the basic plot of “Searching for Eden: The Diaries of Adam and Eve,” by James Still. Still based “Searching for Eden” on two short stories by Mark Twain (1835-1910). The production opened Sunday at the B Street Theater Mainstage. This is the seventh and last B Street Theatre Mainstage production this season.

Twain’s “Extracts from Adam’s Diary, Translated from the Original MS,” illustrated by F. Strothmann, was first published in 1893. The humorous short story, Twain’s supposed translation from the original manuscript of Adam’s diary, was more closely based on Twain and his wife Olivia.

The companion piece, “Eve’s Diary,” also purported to be published from the original manuscript, was published in book form in 1906 with illustrations by Lester Ralph. The story from Eve’s view, which Twain started writing not long after the death of Olivia, is viewed to be a posthumous love letter.

All this background just adds to what is a very humorous and touching play. Still has created a clever look at the male-female relationship, going back to what he imagined the first male-female relationship may have been like.

The show has been perfectly cast with Jason Kuykendall as Adam and Lyndsy Kail as Eve.

Kuykendall is well known in Sacramento for his performances on numerous stages. This season, he appeared in “The Importance of Being Earnest,” the season opener at Sacramento Theatre Company. As a member of the B Street Theatre Acting Company, Kuykendall was last seen as multiple, very funny characters in “The 39 Steps.” With his boyish good looks and facile comedic performance, he is as great as Adam.

Bay Area actress Lyndsy Kail has become well known to Sacramento theater goers this season. Kail was also in “The Importance of Being Earnest” at STC and followed that with the role of Doris in “The Owl and the Pussycat.” Kail just finished playing in “Circle Mirror Transformation” at B Street. She has proven herself very good at playing characters like Doris and Eve, with a lot of lines to speak while seeming to be oblivious to the other character.

Kuykendall and Kail have good chemistry. They worked together in “Ernest,” where their characters did a lot of male-female bantering. In “Searching for Eden,” they create believability. Although Adam and Eve find each other very annoying much of the time, there is something more that attracts them to each other, something that keeps them together over time.

Buck Busfield again proves himself very adept at directing this funny, poignant comedy.

“Searching for Eden” starts with the enduring humor of one of America’s most beloved writers, Mark Twain. Turn this into a well written stage play by award winning playwright James Still. Add great comic acting with good chemistry between Jason Kuykendall and Lyndsy Kail. The result is another funny show with more to it than just the humor that the B Street Theatre is so well known for.

“Searching for Eden” B Street Theatre Mainstage

Through May 29, 2011. Tickets and more information

The Monster Has Arrived: "Young Frankenstein At Broadway Sacramento

2011-04-16T16:40:09Z

“The Mel Brooks Musical Young Frankenstein” opened at the Community Theater Wednesday evening as part of the Broadway Sacramento Series. “ Young Frankenstein” is the second movie Mel Brooks has turned into a Broadway musical. The first was “The Producers,” made from an earlier Brooks film (1968).

The incredible success of “The Producers” on Broadway influenced Brooks to adapt the far more popular “Young Frankenstein” (1974) for the Broadway stage. Brooks wrote the original screenplay with Gene Wilder, who starred in the film.

Brooks brought together all the major creative workers of “The Producers” to work on “Young Frankenstein.” Thomas Meehan wrote the book with Brooks. Brooks again wrote the music and lyrics. Susan Stroman choreographed and directed.

“Young Frankenstein” comes from a much more familiar source than “The Producers.” The film was much more popular, and those who love it probably have seen it many times. With the stage show, many in the audience begin laughing the moment they see a gag coming, such as the horses neighing when Frau Blucher’s name is mentioned or the soup in the lap of the blind hermit. Brooks’ humor stands up to repeat viewings well.

The play follows the film almost exactly, only now there are songs thrown in to deepen the narrative. Brooks is no Irving Berlin, an easy comparison to make with the stage production. Berlin’s “Puttin' on the Ritz” is easily the best production number in the show. His songs are very Broadway musical in style, adding to the humor and storyline.

Much of this cast is the second group to perform in the national tour.

Christopher Ryan stars as Frederick Frankenstein. He is a national tour and regional veteran. He does a good job as the young Frankenstein.

A standout is Janine Divita as Frankenstein’s fiancee Elizabeth. Her performance of “Please Don’t Touch Me” in the first act and “Deep Love” in the second act are highlights.

Noah Aberlin substituting Thursday night for Cory English as Igor was very popular with the audience.

Joanna Glushak also won the audience over with her portrayal of the notorious Frau Blucher.

Preston Truman Boyd was also very popular as the Monster. To be able to emote under all that makeup and tap dance in extremely tall shoes takes great acting and dancing skills.

The scenery by Robin Wagner and costumes by William Ivey Long (a name often attached to Broadway productions) add to the song and dance spectacle.

Again Broadway Sacramento has brought us a wonderful example of current Broadway: the popular adaptation of film-to-Broadway hit. Thursday night’s audience reacted with lots of laughter and long applause.

Lots of Humor With Sarah Silverman at Mondavi

2011-04-13T19:00:09Z

Sarah Silverman played to a full house Sunday in Jackson Hall at the
Mondavi Center, and was greeted enthusiastically. The audience
responded with much laughter and applause to each of her jokes or
riffs on things.

Silverman is well known for her body function humor. After all, her
recent book is titled, “The Bedwetter,” now out in paperback. It’s not
just body function humor, it is nearly all body functions humor. Part
of the humor is the outrageous being delivered by such a sweet,
innocent looking and sounding person. As my dear departed mother used
to like to say, “I would hate to have in my hand what you just had in
your mouth.” She would have been saying this a lot to Sarah Silverman.

With no desire to push the publishing standards of SacPress, you won’t
see any specific jokes here. Besides, without Silverman’s delivery,
the jokes would just fall flat.

Don’t let the body function humor fool you. Silverman is very
intelligent and has great insight into her fellow humans. She
described how a very nasty word for certain women had lost its impact
on her. She then demonstrated how saying it a different way could give
the word power again.

One of the things she talked about that did not involve dirty words
was going up to young girls and whispering in their ear that it was a
secret that she was a princess. She then described their reactions.
Another was to do the same, telling them, “I’m your mother.” She would
let them protest a while and then say, “I’m your real mother.”

At one point in the concert, Silverman pulled out a notebook and read
off short selections of partially done jokes. Even the partial jokes
were very funny.

When taking questions from the audience, Sarah Silverman made it clear
how little patience she has for stupidity, and has no problem
informing the questioner of this. Ask her an intelligent question and
she will engage you.

The question and answer period was an impromptu demonstration of the
quality of the acoustics in Jackson Hall. The microphone was not
really needed.

When she picked up her guitar and sang, the song was mostly repeating
the very nasty word for certain women.

Looking around the audience, it was heavily made up of college
students. This was not surprising since it was on a college campus.
What was surprising was the large number of adults older than college
age, sometimes much older.

Silverman ended with a song she sings for her Nana and her Nana’s
friends at the nursing home. The refrain went something like, “You’re
going to die, you’re going to die, you’re going to die, die, die!”

Hopefully, the geriatrics in the audience enjoyed it.

CA Lectures Audience Entertained By Thomas McGuane

2011-04-13T18:46:12Z

Novelist, rancher, essayist, avid fly fisherman, conservationist,
screenwriter, movie director and all around interesting person, Thomas
McGuane, appeared at California Lectures in conversation with Pam
Houston Wednesday evening. The above list is only a partial list of
what Tom McGuane is involved in, and “award-winning” can be used before most of them.

McGuane is promoting his latest novel, “Driving on the Rim,” around
which most of the conversation was centered.

Pam Houston is a fellow award winning novelist (“Cowboys Are My
Weakness,” “Waltzing the Cat” and “A Little More About Me”) who also
teaches creative writing at UC Davis.

Houston and McGuane, who had not met until dinner before the show,
made it clear how much they admire each other’s work.

The conversation started out about the disproportional number of
writers there are in Montana. Houston made the common comment, “You
can’t swing a cat without hitting one.”

McGuane agreed, but as the conversation went on, it became clear that
he was less than impressed in general.

“Less than three percent of Montanans make their living on ranching,”
he commented and then implied, with a shrug of his shoulders, that
most of the writing is about ranching.

Houston asked McGuane to read the opening of “Driving on the Rim,”
which introduced the main character Irving Berlin “Berl” Pickett.
Pickett is the son of a hardcore Pentecostal mother and resigned war
vet father. Before settling into Livingston, Mont., they were
itinerant rug cleaners. Berl is initiated in sex at 14 by his 40 year
old aunt.

We meet Berl as an adult, who- surprisingly, has become a medical
doctor and returned to Livingston. Even in his esteemed position,
given his strange family and upbringing and his own peculiar behavior,
he is still an outsider in Livingston.

“Small towns make it clear who its outsiders are,” stated McGuane.

The audience responded enthusiastically to McGuane reading his work.
As funny as he is in conversation, his written work is even funnier.

Houston seemed to be good at picking out particularly racy passages
from “Driving on the Rim” for McGuane to read. An almost embarrassed
McGuane protested, “My editor must have inserted that,” after reading
one passage.

McGuane agreed with Houston that he liked strong women as characters
as well as in life.

One thing Tom McGuane doesn’t like is the state of fiction writing
today. He stated that he found prize winning American fiction to be
depressing.

During the Q & A, there were few actual questions. Mostly, it was his
readers gushing on how important his work is to them. The Q & A, as
well as the book signings, brought a lot of Montanans and former
Montanans out. There was a lot of, “You’re from what town?” “Who is
your cousin?” etc., and, “Where are they now?”

The book signing line included the fiction fans and those whose
interest was McGuane’s outdoor writing.

After the Q & A, Pam Houston asked Tom McGuane his view of the country
in general. His assessment was, “The rise of stupidity is
breathtaking.”

Next up for California Lectures:

ROY BLOUNT, JR.
In conversation with Sands Hall
Tuesday, May 24, 2011
Tsakopoulos Galleria | 7:30 p.m.
828 I Street, Sacramento
In Partnership with the Sacramento Public Library

Alvin Ailey American Dance Theater, An American Treasure, at the Mondavi Center

2011-04-07T21:50:22Z

The Alvin Ailey American Dance Theater (AAADT) opened a two-night stand in Jackson Hall at the Mondavi Center to a very welcoming, sold-out audience Tuesday night. Their fans were well rewarded.

Founder Alvin Ailey created the company in 1958. The touring company now consists of 30 highly skilled and well-trained dancers.

The first dance of the program was “Night Creature,” which premiered in 1974. Ailey choreographed the dance to the music of Duke Ellington. Barbara Forbes recreated Jane Greenwood’s original costuming. The women wear simple dresses, like they might have worn to help keep cool for a night at the club before the days of air conditioning. The men wear hand-dyed stretch fabric.

In the first movement, the dancers gather for a night on the town. The use of upper limbs with outstretched hands, found in much of Ailey’s choreography, is very apparent.

The second movement moves into the club. Dance moves that would be seen on jazz club dance floors are introduced. The dancers waving goodbye toward the end of the movement stands out. The last female dancer adamantly waves goodbye to the last male dancer, who has hung on hoping he would get lucky, much to the amusement of the audience. She is not quite ready to end the evening and dances on for a few more moments.

The last movement brings out the wilder, stranger creatures of the late night. The piece features dancers Renee Robinson and Guillermo Asca.

The second dance, “The Evolution of a Secured Feminine” (2007) was choreographed by Camille A. Brown, who has also been an AAADT dancer. She set the dance to songs by Ella Fitzgerald, Betty Carter and Nancy Wilson (Nancy Wilson the jazz singer, not she of Heart, for the younger set).

This solo performance featured Briana Reed Tuesday night. Wednesday night's performance will feature Rachael McLaren, who was interviewed in the SacPress preview.

It is a very demanding dance. One astounding move has the dancer going from full height to a small spot on the floor. It also introduced the use of the classic chair. The use of lighting is heightened. At one point the dancer finds herself inside a tight circle of light she cannot escape. The dance also features more literal movements corresponding with song lyrics, such as walking down the street and waving at someone across the bar. This was especially true of the Nancy Wilson song, “Guess Who I Saw Today” about a wayward lover getting caught.

Two dances followed the intermission: “Vespers” (1986) danced by six women and “The Hunt” (2001) danced by six men.

“Vespers” was choreographed and costumed by Ulysses Dove, who has choreographed for many companies in the United States and Europe. Previously a dancer, Dove debuted as a choreographer with AAADT in 1979.

The musical score is all percussion, composed by Mikel Rouse. The percussion is in a higher range, with some sounding like a telegraph.

A narrow band of light illuminates six of the classic dance chairs in line from front to back of the stage. The dancers take their places on the chairs and begin rhythmic, syncopated movements, mostly with their upper limbs and hands. The movements may be sequential, such as arms raising like a wave, or alternating, such as one head bows forward as the next rises up.

Eventually the whole stage becomes illuminated, with six chairs scattered on the far side of the stage. The dancers begin dancing around and on the chairs, sometimes together but often by themselves. Individuals begin dancing toward the row of chairs as if they were taunting the row. Eventually they end up back in the row of chairs, resuming the syncopated movement only to break free again. At the end they are back in the row as the lights go down.

“The Hunt” was choreographed by Robert Battle, artistic director designate for AAADT. Battle will be taking over as the third artistic director following Ailey and Judith Jamison, who took over after Ailey’s death in 1989.

The dance is horeographed to music by Les Tambours du Bronx ("the Drums of the Bronx"), a French industrial percussion band created in 1987, with a deeper, more primitive sound.

The costumes by Mia McSwain are dramatic. The men are naked from the chest up and wear floor-length wrap-around skirts that are dark black on the outside and vivid red on the inside. There are dramatic flashes of bright red of varying intensity as the dancers move about.

Speaking at the post-show Q&A, Battle said he was influenced by primitive dance but also men dancing in clubs working off their excess energy. “The Hunt” was probably the most purely dramatic dance of the evening.

Following the second intermission, a short film called “Celebrating Revelations at 50” was shown, introducing the last dance of the evening. The film looks at how growing up in the segregated South influenced Ailey’s “Revelations.” Ailey called these his “blood memories”: working in the fields, religion in the life of African-Americans, the Black Church, baptism in the river and the hope for a better life.

“Revelations” is the heart and soul of AAADT. Every dancer learns it, and it is danced at every performance. It has three major sections with varying numbers of movements in each: “Pilgrim of Sorrrow” includes “I Been ‘Buked,” “Didn’t My Lord Deliver Daniel” and “Fix Me Jesus.” “Take Me to the Water” includes “Processional/Honor, Honor,” “Wade in the Water” and “I Wanna Be Ready.” “Move, Members, Move” has “Sinner Man,” “The Day Is Past and Gone,” “You May Run On” and the well-known gospel song “Rocka My Soul in the Bosom of Abraham.”

Even at 50 years old, “Revelations” is no less dramatic than any of the other dances. The whole dance is visually and musically stunning. The dance moves are iconic Alvin Ailey.

Movements in each dance received loud applause. The audience whistled, cheered, shouted and applauded loudly for several minutes after each dance. At the end of “Revelations,” the audience lept to their feet and repeated their adulation through multiple curtain calls.

All the adulation was well deserved. It is not often one is privileged to witness such a great performance.

Jackie Vanderbeck Amazes As Emily Dickinson in "The Belle of Amherst" At STC

2011-04-05T18:21:17Z

She welcomes you in. Shyly at first, but before long she starts
treating you like an old friend - sharing recipes, gossip and the
important events in her life. This is Emily Elizabeth Dickinson, born
on December 10, 1830 in Amherst, Mass. At least, this is the Emily
Dickinson of William Luce’s 1976 play “The Belle of Amherst.”

Luce spent two years doing extensive research into Dickinson’s life,
reading several biographies, diaries, letters and Dickinson’s
extensive collection of poetry. In writing “The Belle of Amherst” Luce
changed some of the facts in a manner that would probably be described
as “for dramatic reasons.”

When “The Belle of Amherst” premiered on Broadway in '76, it starred Julie
Harris, who won her fifth Tony Award. Harris went on to perform the
role in a recording of the play for television the same year and a year
later in the West End premiere in London. Harris toured the
country in traveling productions of “The Belle of Amherst”
for several years.

“The Belle of Amherst” is a one-person play set up as a one-on-one
conversation between the individuals in the audience and the poet. In
this production, it truly feels like it. The words are Luce’s prose
mixed with Dickinson’s poetry.

In spite of the long history of “The Belle of Amherst,” the production
that opened at the Sacramento Theatre Company felt fresh, alive and
welcoming. Much of this is due to the performance of Sacramento native
Jackie Vanderbeck, who portrays Dickinson. Vanderbeck, now a
successful New York actress, has performed many times at STC over the
years. She does convey the feeling that you, the audience member, are
a dear friend and confidant.

The character states early on that her sister says she chatters when she is
excited or nervous. It is true that there are a lot of words here,
both prose and poetry. Vanderbeck’s delivery is smooth and flawless.

When asked, following the show, how she manages to remember all those
words, the actress stated: “I have to stay completely focused in the
moment. I can’t think even a moment ahead,” she explained as she used
her hands to make blinders on her face.

Vanderbeck successfully conveys the essence of Dickinson. Although she
is a recluse, she is far from lonely. Although she never marries, she
has a definite interest in men. We learn much about the men in her
life, especially her father. Although he ruled the household with a
stern hand, he recognized Emily’s talent and would bend the rules for
her.

Yet another reason for the success of this production is the direction
by Janis Stevens. While directing “The Belle of Amherst,” Stevens is
also appearing as the diva, Maria Callas, in “Master Class” at Capital
Stage, which has received rave critical reviews and popularity.
Stephens was a 2006 Drama Desk Award nominee for her performance in
“Vivian,” based on the life of Vivian Leigh. Stevens reprised the
role in a sell-out run at STC. She has also been nominated for Best
Female Lead in “Becoming Julia Morgan” by the Bay Area Critics Circle.
Stevens is an expert in performing roles featuring strong,
complicated women and one-person plays.

For “The Belle of Amherst,” Morgan McCarthy has created a lovely set
that makes good use of the difficult space of STC’s Pollock Stage. The
set is comprised of two rooms, the family parlor and Emily’s bedroom.
The parlor looks out on the family gardens. The furnishings are all
white with the walls and floors in light blue. Fragments of
Dickinson’s poetry are written faintly across the surfaces.

Ron Madonia’s lighting effectively highlights the areas that Emily
inhabits. The lighting also helps set the moods.

Jessical Minnihan consulted with the Emily Dickinson Museum for
costuming. Dickinson, notorious for wearing only white, doesn’t allow
for much color in her wardrobe. Within the production, she likes to
accessorize with a muted brown scarf.

Veteran stage manager Suzanne Tyler keeps all the lighting and sound
effects on cue while dealing with a character that can quickly move
from one space and mood to another.

STC’s production of “The Belle of Amherst” presents an American icon
and beloved poet who leads a fascinating life. Emily Dickinson is
vividly portrayed by an excellent actress working with a superb
director. All this is performed in a space that comes as close to
making the audience member a part of the action as possible.

"The Belle of Amherst"

Sacramento Theatre Company

Through May 8, 2011

Tickets and More Information

Great New "Cinderella" at B Street Theatre Family Series

2011-04-02T15:56:07Z

Scholars have trace the original stories of Cinderella back centuries and to nearly every culture. Many children probably think that Walt Disney created Cinderella. What we today recognize as as the basic story traces to 17th century France. There are countless adaptations. Yet B Street Theatre artistic director Buck Busfield has written another wonderful version for the youngest theatre goers.

No pumpkin turned into a carriage or mice turned into white horses. The two acts are a good length for shorter attention spans. It is still an entertaining, charming play with lots to entertain the older siblings and even the adults. As in many things written for children there is a lot of double meanings clear only to the adults.

Adding to the enjoyment of the play are music and songs by Noah Agruss. Agruss has composed music for several B Street Theatre productions as well as television (Beijing Olympics for NBC) and film (“Five Fingers”). The music was a nice accompaniment to the action and the songs ranged from pretty to lots of fun.

B Street acting intern, Carly Stocking plays Cinderella suffering at the hands of her nasty step mother. Stockings performance is the right balance of obedience and defiance.

Erin Island plays both the stepmother and the Faery Godmother. Island was an acting intern in 2006-2007 at B Street. She is also familiar with the other side of the stage as a director and stage manager.

B Street acting intern Chris Page is well cast as Prince Charming. He very much looks the role in his uniform. He is also bewildered by the goings on around him.

Rick Kleber plays Cinderella’s loving but helpless/hapless father. The question is why did he marry this horrible woman? It probably wasn’t his decision. Kieber also plays one of the young maidens vying for the hand of the Prince, not fooling the kids for a minute. Kleber has been performing with B Street since he was an original member of B Street’s Fantasy Theatre Company.

Stephanie Altholz plays Acidella and Tara Sissom plays Beatrice, the stepsisters. Altholz has appeared in numerous B Street Family series productions. She was most recently seen as May in “Junie B Jones, Jingle Bells Batman Smells.” Altholz is also a regular at Capital Stage.

This is Sissom’s first appearance with the Family Series after several roles on the Mainstage. She is a B Street Theatre Company Member.

The stepsister’s behavior might remind some in the audience of how they get along with their siblings.

Another “Junie B Jones, Jingle Bells Batman Smells” cast member, John Lamb plays the prince’s manservant, the announcer and Moria another young maiden. Lamb is a longtime B Street performer and has been seen numerous times on all of the B Street stages.

As with a lot of children’s entertainment Lamb’s roll operates on two levels, “Rocky and Bullwinkle” being another good example. His interest in cross dressing and the prince amuses the adults while the children just think it is silly.

It is hard to tell who is having the most fun with their role in “Cinderella. All do a great job with Agruss’ songs.

Long time B Street regular and multitalented (actor, director and writer), Greg Alexander directs with gusto.

Nancy Pipkin’s costumes and Myke Kunkel’s sets round out the quality elements of the production.

This well written production of “Cinderella” accompanied by wonderful children's music is perfect for the youngest theater goers. Yet with its’ quality performances and double meanings the older members of the audience will be far from bored. Besides it is so much fun seeing the kids having a great time.

The kids also learn a subtile lesson or two like 'if you don’t get along and behave you might loose the prize'.

"Cinderella"

B Street Theatre Family Series

Weekends through April 17th

Tickest and More Information

Warning: This show has been very popular and is selling fast.

Terry McMillan Charms Her California Lectures Audience

2011-04-01T21:38:03Z

Terry McMillan’s conversation with Mary Mackey at California Lectures last Thursday evening got off to a rocky start. She pleaded being post-menopausal when she couldn’t remember where she last left her characters from “Waiting to Exhale.”

Then she realized she would be asked to read from her new book, “Getting to Happy,” and she had left her glasses backstage. After her glasses were retrieved, things got moving along.

The conversation returned to “Exhale” and its sequel. She explained the differences between the endings of the “Waiting to Exhale” book versus the movie. Director and co-screenwriter Forest Whitaker wrote the ending to the movie. McMillan liked the movie ending.

In much of her conversation with Mackey, McMillan would make snappy quotes such as about women: “I don’t know if women have midlife crisis.” “The past is the past.” She that would then delve into more serious discussion about her view of women in general and more specifically about African-American women and the characters in her novels.

In further discussion, McMillan said she is glad that the things that happen to her characters didn’t happen to her.

“I just make this stuff up,” she said.

McMillan then read a passage from “Getting to Happy.” The character Bernadine learns of her bigamist husband through a phone call from his other wife. The other wife sets up a three-way call with the cad while Bernadine silently listens in.

McMillan talked about how a lot of women came to her with many of the same marital problems. She thought about four situations and realized that she had the four women characters from “Waiting to Exhale” and the impetus to “Getting to Happy.”

She discussed the public knowledge of her personal life, including her marriage to a much younger man she met while vacationing in Jamaica. He later came out as a gay man and they divorced. She understands his need to leave Jamaica, where there is life-threatening hostility to gays, and said her ex-husband is her friend — sort of.

“Sort of” is one of McMillan’s favorite phrases.

“I do not like writing about victims,” she said. “I like writing about victimized women. They know they are down, but they know they don’t belong there. Women are not willing to admit how disappointed they are with their lives. We can be responsible for our life.”

When asked about her writing style, she said, “I did not like telling the truth on paper, so I lied. That’s how I became a novelist,” she joked.

Talk turned back to screenplays and movie. Writing a screenplay pays the mortgage for a year, she said. 20th Century Fox is producing “Getting to Happy,” which is now in its first set of revisions. Whitaker will direct again.

Most of the questions from the audience were about how to become a successful writer and get published.

“Write as if no one is going to read it,” McMillan said.

One questioner’s complained about the difficulty of getting published. In response McMillan replied, “Life is one big detour, honey!”

Those waiting in line to have books signed chatted about how thrilled they were with her appearance. Many of those were African-American women of all ages, one of McMillan's largest fan bases. McMillan patiently chatted with each person and made sure to personalize each signing.

New Helvetia Theatre Marks It's Second Anniversary with "They're Playing Our Song"

2011-03-25T22:37:15Z

New Helvetia Theatre is dedicated to performing American musical theater shows. Their selection tends to be contemporary, as the most recent productions were “Hedwig and the Angry Inch,” “tick, tick, Boom!,” “It’s Only Life” and “[title of show].”

The current production, “They’re Playing Our Song,” reaches much further back, to December 1978. The book is by one of American theater’s most established playwrights, Neil Simon. The composer is Marvin Hamlisch and the lyricist is Carole Bayer Sager. The book is based very loosely on their personal relationship at the time. Both Hamlisch and Sager are also very established popular songwriters.

The show was a success on Broadway and continues to have stagings and revivals throughout the world. It is essentially a two-person play Each of the characters does have a trio of “voices” that sing the thoughts and dreams of each character. The voices function as a sort of Greek chorus.

New Helvetia Theater also tends to cast young rising stars of the Sacramento theater scene. They have two of the best in “They’re Playing Our Song.” Jerry Lee is Vernon Gersch, the Hamlisch role, and Nanci Zoppi is Sonia Walsk, the Sager role.

Lee most recently appeared as Willy in the critically praised and very popular “The Musical of Musicals: The Musical!” at Sacramento Theatre Company. He was also Fred in STC’s production of “A Christmas Carol” this last holiday season. He appeared in NHT’s last production, “[title of show].”

Lee is a Sacramento native and graduate of the Pacific Conservatory of the Performing Arts, where he appeared in numerous roles. Lee has a beautiful voice and solid acting skills. He is also a good pianist, playing the character’s music when the composer character is working on songs.

Zoppi most recently appeared as Marge in the long-running “SUDS” at Cosmopolitan Cabaret. She previously performed at NHT in “Hedwig and the Angry Inch,” “tick, tick, Boom!” and “It’s Only Life.” Zoppi trained at the prestigious Circle in the Square Theatre School in New York City. She appeared in several production in New York, including “Godspell.” Zoppi also toured schools with the B Street Fantasy Theatre. She is also a beautiful singer and confident actor.

Lee and Zoppi have good rapport, which is important for the success of the show. That rapport is at its best when they are singing together and to each other. Hamlisch and Sager’s music greatly makes up for any weakness in Simon’s dialogue. Zoppi’s performance as the quirky but smart and pretty Sonia and Lee’s performance of the successful handsome also smart Vernon make it easy to see why these two characters alternate being attracted to and repelled by each other.

The three male and three female “voices” characters back each of the two pricipal characters as their thoughts or conscience. They also perform the set changes in choreographed movement.

The women include Rosemary Babich, who also performed in “Celebration” at NHT. She has a drama degree from UC Irvine and also performs with Willows Theatre Company and Davis Musical Theater Company.

Rebecca Mason, debuting at NHT, is another grad at from the Pacific Conservatory, where she appeared in several productions. In Sacramento she appeared last summer in “Dirty Rotten Scoundrels” at Music Circus.

Hilary Wells appeared in the title role of “Cinderella” at Sacramento Theatre Company during the 2009-2010 holiday season. She is a graduate of STC's Young Professionals Conservatory.

For the men, new to NHT is Joseph Boyette, who appeared in “Footloose,” Altar Boyz” and “Rent” at Runaway Stage Productions and “The Producers” and “Crazy for You” at Davis Musical Theatre Company.

American Musical and Dramatic Academy graduate T. Patrick Van is also new to NHT. He appeared as the king in STC’s “Cinderella” and in “Evita” and “Man of La Mancha” at Music Circus.

Mike Yee appeared in “It’s Only Life” at NHT. He has also been in “Amahl and the Night Visitors” and “Curtains.” He also teaches high school math.

The show is choreographed by the multi-talented Kiera Anderson, another graduate of the Pacific Conservatory, where she choreographed and appeared in shows. She has also choreographed “tick, tick...Boom!” and acted in “Celebration” and “[title of show].”

“They’re Playing Our Song” is directed by Connor Mickiewicz, NHT’s founding artistic director. Mickiewicz, another multi-talented theater persona, has acted in nearly all NHT’s productions, as well as at B Street Theatre (“Go Dog Go”) and Music Circus (“Annie”). He has directed “Celebration,” “tick, tick...Boom!” and “It’s Only Life” at NHT.

Musical direction is by Graham Sobelman, who is also the first keyboardist. The band features Erik Daniells as second keyboardist, Kenny Manlapig on guitar, Alfonso Portela on drums and Kellen Garcia alternating with Verna Brock on bass. Sobelman music directs at several venues in the Sacramento area, writes music with Nanci Zoppi and is a recording artist.

He may be best known for his “Graham-A-Rama,” the very popular weekly cabaret. Many performers in “They’e Playing Our Song” are regulars at “Graham-A-Rama,” including Lee, Zoppi, Yee, band members and Mickiewicz.

The set makes good use of the somewhat tight stage space in the Artisan Theatre. The set and the costumes look like they are discoveries of a massive ‘70s scavenger hunt. Who has seen a reel-to-reel tape deck recently? Sonia Walsk sourcing outfits from closed theater productions adds to the fun.

New Helvetia Theatre’s second anniversary and premier show of “They’re Playing Our Song” opened to a sold-out audience. The were treated to a well-acted, beautifully sung show with charming songs and a look back at relationships in what seems like a very different time.

"They"re Playing Our Song"

New Helvetia Theatre

Two More Weekends

March 11-April 2 2011
The Artisan Theatre

More Information and Tickets

Janis Stevens A Tour De Force in "Master Class"

2011-03-22T05:37:17Z

Maria Callas died more than 33 years ago yet her recordings still set standards in the opera world. Famous for her temper, rivalries with fellow divas and her longtime affair with Aristotle Onassis, she was hot copy in the press while alive and long after her death.

She had a tough life before her triumph as an one of the most revered figures in opera of all time. She lived and studied in Greece through World War II.

Callas had her premiere at the La Scala Opera House in Milan, Italy, considered to be the most prestigious opera house in the world in December, 1951. Seven years later, she was let go. She died at a young 54 years of age. Maria Callas was the consummate diva.

Award-winning playwright Terrence McNally (“Love! Valour! Compassion!,” “Frankie and Johnny in the Clair de Lune,” “The Ritz”) wrote “Master Class,” a fictional play based on the master classes taught by Callas at the Juilliard School in 1971 and 1972. A master class in the classical sense is a class taught by an experienced performer of specific art, here opera performance, to already experienced students. The class is taught one-on-one with other students observing.

This sets up a nice theatrical structure with the audience of “Master Class” serving as the students observing a master class for this performance.

The set by Stephen Jones (“Mauritius,” “Humble Boy,” “Proof,”) is a theater stage with a grand piano on one side, side chair and table at the back and a tall chair and music stand on the opposite side. The tall chair and music stand could be a throne for the diva. Theater curtains grace the back and sides of the stage.

The first scene opens with a stagehand nonchalantly sweeping the floor. The accompanist for the class enters and sits nervously at the piano waiting for Miss Callas to enter.

And enter she does, immaculately dressed in designer label clothes and accessories. She immediately begins addressing the audience as if they are attending her master class. “No applause. We're here to work.” she says.

When the first student enters she soon learn she is in for the Callas treatment.

When Callas finally allows each student to perform their piece she drifts into a flashback of her personal life and her life on the stage.

Janis Stevens' portrayal of Maria Callas is a revelation. She truly inhabits the character. It is astounding to watch. It becomes very easy to see how Callas got her reputation. Callas’ sense of humor comes though along with impatience, understanding and insight. Demanding one minute, apologizing (sort of) the next. We learn not to necessarily believe what she says as much as what she does.

During the flashbacks Stevens not only portrays Callas but also Onassis - voice, vulgarities and all.

This is not Stevens' first portrayal of a powerful but insecure, troubled performer. She was nominated for a Drama Desk Award in 2006 for her portrayal of Vivien Leigh in “Vivien” off-Broadway which she reprised at Sacramento Theatre Company in the 2007-2008 season. She is in rehearsal at STC portraying Emily Dickinson in the “Belle of Amherst.”

Janis Stevens is an artistic associate, teacher and an excellent director at Capitol Stage. She directed “reasons to be pretty.”

The rest of the cast does a good job. The singers' performance audibly improves as Callas works with them. It must be remembered that to even be allowed to attend a master class with an artist of Maria Callas’s stature a student would already be very good.

Wendolyn Cooper is the first soprano named Sophie. Cooper has a music degree from Yuba College. She performs and teaches voice lessons in Marysville. She is very believable as as a young student who finds the master threatening but still learns from her.

The second soprano, Sharon, is portrayed by Bay Area actor Laura Piper who holds a Bachelor's and Master's of Music from the San Francisco Conservatory of Music. Sharon is so intimidated by Callas that she runs off the stage. She later returns and Piper demonstrates the soprano’s willingness to have the courage not only to learn from the master but to stand up to her.

Ian Cullity plays the tenor, Tony, who comes on all swagger and confidence. Shortly in to Tony’s performance Callas stops him. There isn’t anything she can teach him. Callas has become very emotional at this point. Tony it seems has learned about the emotion of what he is singing about. Sadly the audience doesn't get to hear more of Cullity’s beautiful voice. Those who were lucky to hear Cullity at STC’s Cabaret series know how good he is. He also performs at Artistic Differences Theatre Company.

Michael Wiles' performance as Manny the accompanist would have to be described as very sweet. While properly respectful of Callas, his Manny is not threatened by her. Wiles is also a very good pianist. Wiles is also the musical director of “Master Class.”

He has appeared at Capitol Stage in “Someone Who Will Watch Over Me” and "Fat Pig.” He has appeared on stages throughout Northern California and elsewhere. Wiles has been the musical director and accompanist of more than 70 productions.

Andrew J. Perez plays the stagehand who remains unimpressed by Callas. Perez has been recently seen on Sacramento stages in “Urinetown” (Flying Monkey Productions) and "Junie B. Jones: Jingle Bells, Batman Smells” at B Street Theatre.

“Master Class” is directed by Capitol Stage producing director Jonathan Williams. A founder of Capitol Stage, Williams is also a great actor and very creative set designer. Here he shows off his directing talent.

The staging, supporting actors and especially Janis Stevens’ performance as Maria Callas make this an outstanding production. We not only learn about Maria Callas, we experience Maria Callas.

"Master Class" runs through April 10th. For more information and tickets, visit www.capitalstagecompany.com.

Tango Inferno a Hot Night at Mondavi

2011-03-19T23:52:51Z

Tango Fire Company of Buenos Aries Tango presented “Tango Inferno” in Jackson Hall at the Mondavi Center for the Performing Arts at UC Davis Thursday night.

The show was a World Stage: Dance Series Event and brought out fans of visually dazzling dance and enthralling music performance. They were well-rewarded.

The stage of Jackson Hall had been recreated as a milonga, a dancing hall, where tango is danced.

The band was on a simple stage slightly raised above the dance floor and. A half-dozen standard industrial light shades in red hung over the dance floor and few tables ran down the sides of the floor. A large square scrim behind the band changed from one vidid color pattern to another. The overall effect was simple but dramatic.

The five dancing couples that make up Tango Fire Company of Buenos Aries are lead by Yanina Fajar, director of choreography, and German Cornejo, assistant director of choreography.

Fajar has been studying numerous forms of dance, including tango, since the age of 6. She graduated from Francassi Conservatory as a teacher of several dance forms and worked her way up through the tango world, coming to Tango Inferno in 2005, becoming choreographer in 2008. She has been dancing with Mariano Balois since 2009.

Cornejo, now 25, has been dancing since he was 10. He also moved up the ranks of tango, becoming the World Champion of Tango in 2005. Even at his young age, he is considered one of the best teachers of show tango in Buenos Aries. He has been dancing with Carolina Giannini since 2006.

Juan Milzia and Florencia Roldan have danced together for four years, joining Tango Fire in 2006.

Jose Fernandez and Melody Celatti first danced together in 2005, becoming World Champions of Stage Tango in 2008. They joined Tango Fire in 2010.

Sebastian Alverez and Victoria Saudelli started touring the world after becoming a dance couple in 2000. They joined Tango Fire in 2008.

The performance opened with all five couples performing “Don Juan,” a tango by Ponzio. Immediately, the audience was transported to a Buenos Aries milonga.

Balois and Fajar danced the second dance, “Milonga de Mis Amores,” followed by all five couples dancing “Corralera.” Both dances were milongas, not tangos.

While similar, milonga and tango are unique dances, and milonga is sometimes referred to as the “mother of tango.”

Jesus Hidalgo, the singer for Tango Fire, performed a solo of the tango “El Dia Que Me Quieras.” The singers are an important part of tango and can become very famous on their own. Hidalgo, relatively new to Tango Fire (2010), started singing lessons at 13 and has toured throughout the world.

After a tango duet, “Mala Junta,” danced by Juan and Florencia, the male dancers danced two milongas, “El firulete” and “La Trampera.” Their performance harkens back to the very early days of milonga and tango.

For many years, milonga and tango were only danced by men, as it was considered immoral for women to dance these dance forms, especially with men. It took decades for the tango to find social acceptance. It is not hard to see why the dance forms were considered immoral. To the untrained eye, the milonga and tango are indistinguishable. Both are sexual, sensual and erotic.

Following another solo by Hidalgo, there were several tangos danced by single couples and the whole company. All the dances performed by single couples are choreographed by the couple. All the dances by the company are choreographed by Fajar, except the last dance of the first half of the performance, “Canaro en Paris” and “Oblivion” in the second half. Both of those are choreographed by Cornejo.

The second half of the show included several tangos by single couples and the company. There was another solo by Hidalgo. Interspersed were three orchestral solos by Quatrotango.

Quatrotango has been touring with Tango Fire since 2005. It was created in 2000 as a bandoneon and piano duo featuring Gabriel Clenar on the piano and Hugo Satorre on Bandoneon.

The bandoneon was developed by Heinrich Band in the 1840s. Although developed in Germany, it quickly made its way to Argentina and became synonymous with the Argentine tango. For more information on the bandoneon, visit music.vt.edu.

Violinist Marcelo Rebuffi joined in 2002, and in 2005, Geraldo Scaglione joined in on the the double bass. Clenar does the arrangements and adaptations for Quatrotango, which has performed throughout the world.

The orchestral solos were fantastic and received a strong ovation from the audience. While the music was a big deal, it was all about the dance. There just was so much more to the performance with the dance.

With “Tango Inferno,” Tango Fire delivered all the beauty, drama, sensuality, sexiness and eroticism of the Argentine tango. Dancers glided across the floor only to rapidly turn and glide off in another direction. Arms and legs moved so quickly they nearly blurred. Hands and feet popped up everywhere, and then disappeared as quickly. All this movement was syncopated to the music. For the tango enthusiast, there are names and definitions to all the moves. For the rest of the audience, it was simply beautiful to behold.

This is the last World Stage: Dance Series Event of the 10-11 season. For all other Mondavi Center events go here and click on events

"9 to 5 the Musical" Politics, Business,& Culture, of the Workplace on the Musical Stage

2011-03-14T01:42:30Z

The tour of the Broadway show “9 to 5: The Musical” rolled into the Community Center Theater Wednesday evening as the latest offering of Broadway Sacramento. “9 to 5 the Musical” is a positive example of the trend of turning popular movies and television into Broadway shows. Opening night’s audience responded enthusiastically to the rollicking upbeat musical with a positive story.

“9 to 5” began as a theatrical movie in 1980. The film was most famous for casting popular country singer Dolly Parton, veteran actress Jane Fonda and veteran comedian/actress Lily Tomlin. The movie was directed by Colin Higgins of “Harold and Maude” fame. Higgins and Patricia Resnick wrote the screenplay from the original story by Resnick.

Between 1982 and 1987, the lives of the central characters continued with different casting through a television sitcom.

Parton’s great acting ability was the big surprise of the original movie. She also wrote the title song for the movie. For the musical version, Parton wrote the music and lyrics.

The original movie reflected on the relatively recent phenomenon of women being more empowered in the workplace and the beginning of more women moving up the corporate ladder.

Now nearly three decades later, “9 to 5: The Musical” has to create the historical context for its source material. This is done in an interesting way. Parton herself is back, projected on a large round scrim that drops from above the stage. She welcomes the audience and sets the play in context.

The title song gets the show moving, and the pace hardly slows down for the whole show. While Parton is well known for her country songwriting ability, it is amazing how good she is at writing in the musical theater genre. Many of the songs are hardcore Parton, while others are strongly in the style of musical theater with some country influence.

For those unfamiliar with the plot, three women working in a traditional office setting finally have it with the obnoxious, sexist, evil boss. They kidnap him and take over the office.

Dee Hoty plays Violet Newstead, the secretary who keeps being passed over by much lesser qualified men. Diana DeGarmo plays Doralee Rhodes, the secretary who fends off the unwelcome advances from the boss while dealing with the cold reception from her coworkers. Judy Bernly, the new secretary, newly divorced and badly needing the job, is played by Mamie Parris.

All give solid singing, dancing and acting performances. The standout is DeGarmo. She handles the role of Doralee and the essence of Parton without being a clone or impersonation. It is nice to hear her performances of the songs.

Joseph Mahowald also deftly handles the role of evil boss Franklin Hart Jr. Kristine Zbornik is a hoot as Roz Keith, the office snitch and suck-up to Hart. Gregg Goodbrod, as Newstead’s would-be boyfriend Joe, shares a nice duet with Hoty.

One of the greatest things with this tour of “9 to 5” is the use of a live orchestra, led by Martyn Axe. Along with having wonderful live music, nine local musicians are being employed by the production.

Jeff Calhoun’s direction and choreography move the show along at a lively pace. This is especially true of the very choreographed set changes. Flashy set and lighting changes are another example of contemporary Broadway musical productions. It is interesting that Calhoun directed “Bonny and Clyde,” coming to Broadway this fall. Talk about digging deep into movies to transfer to Broadway.

Everyone involved in design — Kenneth Foy (scenic design), William Ivey Long (costume design), Ken Billington (lighting design), Steve Canyon Kennedy (sound design) and Benjamin Pearcy (projection design) — have long and impressive credits on Broadway, with Broadway touring shows and other productions. Several of the designers have worked together on other productions.

Fresh off its multi-award-nominated Broadway run (four Tony awards, 15 Drama Desk awards), “9 to 5” brings the latest Broadway staging to tell of a time that many still remember. Yet many entering the workplace today take for granted how much equality exists now. For an entertaining musical look back at the workplace, go see “9 to 5 the Musical.”

More information and tickets

Great Story, Great Acting, Great Show "Brighton Beach Memoirs" STC Mainstage

2011-03-08T04:06:46Z

In the 1980s, even though he had written numerous highly successful plays (“The Odd Couple,” “The Sunshine Boys”), Neil Simon’s career and his own satisfaction with his work was at a low point. By looking back on his own life as source material, Simon was able to go from seriously funny to a funny and serious play. The result was “Brighton Beach Memoirs,” a fictional look at his childhood in the seaside neighborhood of Brighton Beach, Brooklyn, New York.

It is the fall of 1937. The world is in the worst depression ever and on the brink of the World War II. The Jerome family is typical of the many Jewish families that settled in Brighton Beach. They are trying to live as normal a life as possible, even having taken in an aunt who was widowed young and her two daughters. They worry about relatives still in Europe. The youngest boy, Eugene, though, dreams of the New York Yankees, girls and being a writer.

The audience enters the Sacrament Theatre Company Mainstage theater with Jarrod Bodensteiner’s beautiful set already on display. It is a cutaway of a two-story period Brooklyn row house, including the front steps and door. There is Bodensteiner’s usual attention to detail. His previous set for “The Owl and the Pussycat” was in STC’s Pollock Stage, where the audience members can admire his work as they walk across the set to their seats.

The casting for this show is perfect. The resulting performances are a knockout, starting with Craig Piaget in the role of Eugene. A UC Santa Cruz graduate, Piaget has primarily performed in the Bay Area as well as Melbourne, Australia.

“Brighton Beach Memoirs” is centered around Eugene as the narrator of the play. All the family dynamics are seen through his eyes and interpreted by him in his monologues. To a large degree, the character stands in for Neil Simon. Eugene tells us about things we don’t see directly, as well as about what we are about to see or have just seen. Eugene also throws in a lot of asides during the action.

Piaget is perfectly cast in the role of the “almost 15-year-old” Eugene Morris Jerome. He captures the very charming character perfectly. Whatever mood the character is experiencing at the moment, from elated to upset to the point of crying, Piaget is spot-on in his portrayal. Piaget’s fellow actor, Julie Anchor, stated at the opening-night party that: “He is a great storyteller.”

The role of Eugene is a starmaker. The original 1983 production of “Brighton Beach Memoirs” starred the then-unknown Matthew Broderick. Broderick won a Tony Award for his portrayal of Eugene and went on to play the character two years later in “Biloxi Blues.” Given Craig Piaget’s performance in this production, he is going to have a great acting career.

While Eugene may be the character who stands out the most, Neil Simon is very generous with each of the other characters in “Brighton Beach Memoirs.” All the actors in the play have scenes where they can really display their acting skills.

Jamie Jones portrays Kate Jerome, wife and mother of two teenage sons who has taken in her widowed sister and two teenage nieces. Kate Jerome works hard to keep the blended family functioning smoothly until all the stress and a lifetime of resentment for not being appreciated boil over. Jones succeeds at creating a character who remains very sympathetic while remaining authoritarian, set in her ways and even bigoted at times.

Jones is a veteran actor, well-known on Sacramento stages, most recently in the Cosmopolitan Cabaret production of “Shear Madness.” She is also a member of the B Street Theatre Acting Company and co-director of the B Street Theatre Conservatory along with her husband, Michael Stevenson.

Kate’s widowed sister is portrayed by Julie Anchor. Anchor gives a wonderfully understated performance as Kate. Her Kate moves from someone whose whole life is dependent on others for room and board and for making all her decisions for her to someone who decides what is best for her and her daughters and takes a stand for her choices.

Anchor has performed on many Sacramento and Northern California stages. Later this summer, she will be performing in “A Flea in Her Ear” and directing “Leaving Iowa” at Main Street Theatre Works in Sutter Creek.

The third adult character is Jack Jerome. Jack is the wise husband, father, uncle and brother-in-law of the Jerome household. He works hard at two jobs to keep a roof over the heads of the extended family and food on the table. After a long workday, he also performs the duties of head of the household as adviser and confidant. In what little spare time is left, Jack keeps up on the ever-darkening world news and news of close family members trying to escape Poland.

Sacramento Theatre Company interim artistic director and director of “Brighton Beach Memoirs” Matt K. Miller portrays Jack Jerome. Miller’s Jack is definitely the solid rock of the Jerome family.

Miller is a consummate actor, well-known in numerous roles at STC and many other stages in Sacramento. He is also a playwright (“Fits and Parts: My Life in Stages”) and continues to prove himself a good director (“Tuesdays with Morrie,” “The Importance of Being Earnest,” “The Owl and the Pussycat”) with this production. For much more on Matt Miller and his directing the show in Barry Wisdom's SacPress article.

With all these powerful actors, the roles of the remaining three children could easily be overshadowed. Not so here.

Eugene’s older brother Stanley is portrayed by Eason Donner. Stanley is 18, graduated from high school and now working to help support the family. Stanley laments that as the older brother he did not have an older sibling to guide him and how lucky Eugene is to have him. With Donner’s portrayal, this feels very real. His Stanley is a great brother to Eugene, letting him in on the secrets of life, if not always accurately. He agonizes about the mistakes he makes and listens to and learns from his father.

The roles of the two nieces are each played by two actors from the STC Young Professionals Conservatory in alternating performances. Again, the high quality of the actors the STC-YPC produces is evident.

The role of 15-year-old Nora is played by Raelyn Torngren alternating with Abbey Williams-Campbell.

Torngren is in her third year at the YPC and has appeared in “Arranged Marriage” and “Cinderella” on the Mainstage and in the youth productions of “The Iliad” and “La Pastorella.”

Fifteen-year-old Abbie Williams-Campbell, in her fourth year at the YPC, performed the role of Nora on opening night Saturday. She has appeared in “A Christmas Carol,” “Cinderella” and “Arranged Marriage” on the STC Mainstage. She has also won vocal competition and performed in the STC January Cabaret production “They Say It’s Wonderful: Broadway’s Best Love Songs.”

Williams-Campbell’s Nora is truly the petulant teen when she doesn't get to drop out of high school and audition for a Broadway musical. Her Nora is also credible when she learns to support her mother’s difficult decision and to appreciate the sacrifices the rest of the family has made for her.

Laurie, the younger sister, niece and cousin, is portrayed by Rachel Finerman alternating with Lauren Metzinger.

Finerman has appeared as Clara in “The Nutcracker” at The Sacramento Ballet, in the Children’s Chorus at last summer’s Music Circus production of “Joseph and the Amazing Technicolor Dream Coat,” as well as “Arranged Marriage” at STC. She is an eighth grader at Natomas Charter Performing and fine Arts Academy.

Metzinger performed the role of Laurie on opening night. Laurie has been diagnosed with a heart murmur. She is constantly babied and allowed to lay about and read. Metzinger’s Laurie is quite happy, indeed entitled to do little to help with household chores. She does reluctantly come around when it becomes apparent that everyone needs to pull their weight and that it would indeed be healthy for her to help.

Lauren Metzinger, 12, has also appeared in “Carol” at STC and “Joseph,” “Evita” and “Whistle Down the Wind” at Music Circus. She appeared at the STC Cabaret “Younger Than Springtime” in 2010. Metzinger has appeared multiple times at the ever-popular Graham-A-Rama Cabaret!

Jessica Minnihan has dressed the actors in costumes that nicely set the period. There are several nice photos on Barry Wisdom's article on Matt Miller.

Although “Brighton Beach Memoirs” premiered nearly three decades ago and is set in a period nearly three quarters of a century ago, the current production that opened at Sacramento Theatre Company Saturday night is fresh, funny and poignant. It is a great story with great acting. At its heart, it is about what it means to be a family. It shows that families have not really changed that much over the decades. Much of what affected families in the ‘30s – concerns over finances, the impact of strife in the world and how to deal with blended families – is still as big of a concern today. “Brighton Beach Memoirs” shows that we can still find lots of humor and hope in everyday life, no matter the decade.

Acting Showcased At B Street Theatre With “Circle Mirror Transformation”

2011-03-04T05:31:53Z

B Street Theatre opened its latest mainstage production Sunday night. “Circle Mirror Transformation” is a quirky one-act play by Annie Baker, a fast-rising star in American theater. Once the audience got used to the fractured structure and started to know the characters, they started laughing — a lot.

Baker is young (29), award-winning, talented and funny. “Circle Mirror Transformation” amazingly tied with another Baker-penned play, “The Aliens,” for a 2010 Obie award.

The plot is straightforward. James, the director of a small New England town community center, is very excited that the center is offering a six-week creative drama class as one of summer programs. James’ wife, Marty, who has a background in theater, is running the class.

The class is made up of James; Theresa, who is newly arrived in town; Schultz, a longtime resident newly separated from his wife and living on his own; and Lauren, a 16-year-old who wants the lead in “West Side Story” when she returns to school in the fall.

Much of the humor is ironic, a difficult humor to succeed at. Often the humor is also in what is not said, the periods of silence. Some of the humor comes from recognition, the “oh, I see — that’s very funny” moments.

The acting exercises Marty takes the class through are easily recognizable to anyone who has experienced an acting class. While the exercises are designed to expose and open up the class members to the creative process, they also enlighten the members about their own emotional inner-selves and expose those emotions to the others.

A lot of the success of the production is due to the excellent cast and the direction from Buck Busfield.

James is played by Phil Cowan, a longtime Sacramento radio personality and Discovery Channel host who took up acting at B Street Theater, where he has proved to be an excellent actor. He was last seen in the most recent B3 production, “Shining City,” as the first patient of a priest-turned-therapist. His James is a little more restrained than his “Shining City” character but fits the character well. James makes some discoveries about himself that greatly impact his and Marty’s lives.

B Street Theatre company member and popular actress Elisabeth Nunziato plays Marty. Nunziato most recently directed “Shining City” and appeared as the lead character in “Well,” also a B3 production. She is great at portraying Marty, who labors at keeping everything in her class and herself together, and working as her students lives as well as her's and James’ begin to fall apart.

Bay Area actress Lyndsy Kail portrays Theresa. Kail appeared in this season’s opener at the Sacramento Theatre Company, “The Importance of Being Earnest.” She followed that playing the scary-crazy Doris in “The Owl and the Pussycat,” also at STC. Kail is well cast as the conflicted but flirty Theresa. Her Theresa goes through a very believable process away from self-delusion to self-discovery. Maybe Theresa's last relationship and career weren’t all she thought they were.

David Pierini opened this B Street mainstage season in the hysterical two actor-multiple character “Love Child.” He also appeared as the put-up-on teacher in “Junie B. Jones in Jingle Bells, Batman Smells” and as a bumbling troublemaker in the last Family Series show, “The Young Abe Lincoln.” It is great to watch Pierini as his character, Schultz, grows in confidence and opens up.

Debuting on the B Street stage is B Street Theatre acting intern Cynthia Zitter, who was extensively profiled in a recent SacPress article by Barry Wisdom. The 24-year-old Zitter is wonderful in the role of 16-year-old Lauren. Zitter does a great job of keep up with the veteran actors who surround her.

Catherine Frye’s set conveys the feeling of a community center room being used for acting classes well.

Ron Madonia’s lighting is a crucial element with the structure of the play. Much of the play is fragmented with a sketch comedy feel, which is punctuated with blackouts and silence.

As Busfield acknowledges in his director’s notes, this is not the uproariously funny show that B Street’s season hit “39 Steps” is. Nonetheless, the opening night audience for “Circle Mirror Transformation” was greatly amused and laughed throughout the show. They also saw touching lives of characters who were vividly brought to life by a talented cast.

“Circle Mirror Transformation”
B Street Theatre Mainstaige
Through April 10, 2011
Information & Tickets

Writer Amy Bloom in an Entertaining Conversation at California Lectures

2011-02-25T23:40:10Z

Amy Bloom started out as a licensed psychologist, followed her passion to become a writer, and ended up being a bestselling author of short stories, novels and non-fiction books.

Bloom appeared at the latest California Lectures Wednesday night at the Crest Theatre. She was in conversation with Pam Houston, head of creative writing at UC Davis.

The conversation centered on Bloom’s most recent book, “Where the God of Love Hangs Out,” a collection of short stories, plus her last novel, “Away,” and Bloom’s writing process in general.

Bloom's friends sometimes tell her that she is funnier in person than in prose. She was certainly very funny Wednesday night. There was humor mixed with insights to what it is to be human in Bloom’s response to both Houston’s and audience members questions.

She spoke very fondly of the short-story format, how it allows the author to tell stories and communicate a lot of information very quickly.

Bloom responded specifically to why she had two quartets of stories in “Where the God of Love Hangs Out:" “Writing the quartet of short stories with the same characters allowed me to examine the relationships from each major character’s point of view.”

In the first quartet of stories with the main characters William and Clair, Bloom looks at two of her favorite themes stating: "Everybody is sexy to somebody," and "tossing everything aside for love." She also examines the cost of tossing everything aside for love.

Houston asked Bloom how some of the single short stories relate to the quartets of stories in “Where the God of Love Hangs Out.” One is the story of an abusive husband and father who changes fundamentally as he nears the end of his life. The other story is about a young girl battling flesh-eating bacteria. "All the stories involve families" said Bloom. Family dynamics are another of her major interests. She talked about how much she relates things to her own family.

The title story is about a father-in-law who happens to run into his daughter-in-law in a run-down, African American-owned bar in a run-down town. The “God of Love” turns out to be a stout black barmaid with gold glitter in her hair and on her chest.

Speaking about her last novel, “Away,” Bloom shared a story her father told her about a woman who emigrated to America from Russia and ended up walking back to Russia. Out of this story, Bloom created the story of a woman who is separated from her child during a pogrom in Russia and then emigrates to New York. After learning her daughter may be alive, the woman travels to Seattle, then to Alaska.

In writing “Away,” Bloom decided to explore the use of an omniscient narrator (a narrator who knows everything) and an epilogue, since life goes on after the end of the story.

One challenge of writing “Away” was getting the character from New York to Seattle without pages of description of the travel. In her research, Bloom learned that train porters of the era were easily bribed to allow stowaways on the train.

“I put her in a closet on the train where she couldn’t see a god damn thing,” she said.

When asked about her writing routine, Bloom went into great detail about how she avoids sitting down and writing. One element Bloom prefers in writing short stories is that it doesn’t take as long as writing a novel.

“Who says I want to be miserable for the next three years?” she asked.

Amy Bloom did say that she is currently working on a novel.

One of the funnier points in the conversation was where Bloom quoted Edna St. Vincent Millay: "It's not true that life is one damn thing after another; it's one damn thing over and over."

For more about Amy Bloom read the SacramentoPress interview with Bloom.

Next At Calfornia Lectures:

TERRY MCMILLAN In conversation with Mary Mackey

Thursday, March 24, 2011

Crest Theatre | 7:30 p.m.

"The Young Abe Lincoln" a World Premer at B Street Family Series

2011-02-17T05:02:45Z

“The Young Abe Lincoln” by B Street Theatre associate producer Jerry Montoya is premering at the B Street Family Series. Montoya took the fact that 22-year-old Abraham Lincoln was hired by a New Salem, Ill., businessman to take a flatboat of goods for sale to New Orleans and wrote the historical fiction play for children.

Montoya has created a fun play for kids that lets them test what they have learned in school or learn a few new facts about Mr. Lincoln.

However, not everything is factual here. It very doubtful that Alice Offut, daughter of businessman Denton Offut (also spelled Offutt), would have stowed away on Lincoln’s flatboat. The historical fiction here speaks to Lincoln’s character and gives the play some additional plot.

Some of the true facts in the story are that Lincoln worked hard to better himself, disliked hunting animals, had great intelligence and became opposed to slavery to a large degree after seeing the slave market in New Orleans.

The kids get a big laugh out of predictions by a gypsy in New Orleans (they will build a monument to you, etc.) that will all come true.

David Campfield is the embodiment of the 22-year-old Lincoln. Tall, lanky, dark-haired, no beard yet. His Abe is calm in the face of dangers, thoughtful and polite. Like many in this cast, Campfield is a skilled actor in both children’s and adult productions.

John Lamb and Dave Pierini play two sets of troublemakers: Garrett and Dindel, in-laws plotting to steal Lincoln’s cargo, and Blighty and Emmitt, New Orleans pirates who do steal the cargo. Lamb and Pierini have great fun playing the kind of bumbling characters kids love to laugh at.

Annie Duckett plays all three women in the play: stowaway Alice Offut, Garrett’s wife Lula and the New Orleans gypsy. Duckett, a member of the B Street Acting Intern Company, does a good job of creating the three distinct characters.

Denton Offut and pirate Big Red are played by Michael Stevenson. A veteran actor, Stevenson is familiar with both sides of the children’s theater stage. He directed “Junie B. Jones in Jingle Bells Batman Smells,” the previous B Street Family Series show.

Prolific actor and playwright Anthony D’Juan plays freeman Bocephus. Bocephus is Offut’s valet, business assistant and intelligent adviser. This character is an example to Lincoln what a man can accomplish if not subjected to slavery.

B Street producing artistic director Buck Busfield directs with a good eye for letting the audience use their imagination and humor.

B Street creative staff regulars Nancy Pipkin (costumes), Myke Kunkel (set design), Catherine Frye (co-design) and Ron Madonia create a fun, inventive and imaginative environment.

The children in the audience of “The Young Abe Lincoln” were having great fun. The acting is top notch. The sets are fun and imaginative. With action, a true hero, a damsel in distress, pirates, bumbling troublemakers and a happy ending, what more could they want?

There didn’t seem to be any sign of boredom with the adults accompanying the young ones either.

There are two more weekends to enjoy “The Young Abe Lincoln” on the B Street Family Series stage. Show run at 1 p.m. and 4 p.m. Saturday and Sunday through Feb. 27.

Click here for tickets and more information.

Capital Stage Takes a Close Look at "reasons to be pretty"

2011-02-11T23:36:57Z

"reasons to be pretty" at Capital Stage is the third in a trilogy of
plays by provocative contemporary American playwright, screenwriter and
director Neil LaBute. Capital Stage previously staged "The Shape of
Things" (2006) and "Fat Pig" (2007). These three plays are LaBute's
examination of the modern day obsession with physical beauty.

The play opens with a bang. As LaBute describes the scene in his
script: "Lights burst on. At home. Two people in their bedroom, already
in the middle of it. A nice little fight. Wham!"

We don't know what Greg said. Greg doesn't seem to know what he said.
Steph seems quite clear what Greg said -or at least what her best friend
Carly couldn't wait to tell her Greg said about her. What ever Greg
said it is enough for Steph to walk out on their four year relationship.

Cole Alexander Smith portrays Greg. Smith is a regular on Northern
California stages. He has the everyman, average Joe look that is perfect
for the role of Greg. The audience can't help but feel a little sorry
for Greg as he learns several life lessons through the course of the
play. Smith's portrayal of Greg is spot on.

Cole Alexander Smith as Greg, Stephanie Altholz as Steph

Stephanie Altholz, another regular on Sacramento stages, is Steph - the
very angry and upset girlfriend. Altholz takes a role that could be
shrill and unsympathetic and allows the audience to see Steph's humanity
and where this anger is coming from.

It is fascinating to see Altholz who's last role was the first grader
May in "Junie B. Jones, Jingle Bells Batman Smells" at the B Street
Theatre Family Series create such a strong adult character. There is,
though, some six year old behavior in all four characters here!

Debuting at Capital Stage are Chad Deverman as Greg's best friend Kent
and Allison F. Rich as Steph's best friend Carly. Greg, Kent and Carly
are also co-workers on the night shift at a packaging and distribution
plant.

Chad Deverman as Kent, Allison F. Rich as Carly

Deverman's Kent is the guy the audience loves to hate. Kent learned
early on that he can bully his way through life. That is except with
his wife. With Carly, Kent turns on the charm and can lie so sweetly.
Deverman balances his performance to create a Kent that is nasty enough
to hate but not so over the top to be unbelievable.

The role of Carly could also be one dimensional - the trouble making,
tough woman. She works security at the plant. Rich allows Carly's
vulnerability and empathy to come through. She also embibes Carly with
believable emotional growth.

Capital Stage co-founder and producing director Jonathan Williams puts
on his set designer hat here. He has created an eye popping pop art set
that is also versatile. It becomes a bedroom, workplace break room,
restaurant lobby and a ball field. And part of the fun of the play is
watching the set morph into each setting, some more than once.

Lighting by Ron Madonia, Costumes by Rebecca Redmond, Brad Thompson's
sound design and even Michael Coleman's props add to the fun and
believability of the play.

Capital Stage associate artist and frequent director Janis Stevens
direction keeps the action moving along. She creates an urgency of how
will all the effects of all these emotional entanglements resolve
themselves. Stevens brings out the humor in all of this.

Neil LaBute asks an important question in "reasons to be pretty." The
Capital Stage cast and production staff create a "reasons to be pretty"
that is accessible and even enjoyable while remaining thought provoking.

It's a Grand Night at the Cosmopolitan Cabaret

2011-02-10T23:18:06Z

From “Oklahoma” (1943) to “The Sound of Music” (1959), composer Richard Rodgers and lyricist Oscar Hammerstein II, popularly know as Rodgers and Hammerstein, were arguably the largest contributors to what is known as “The Great American Songbook.”

Five of their musicals were major hits. Their work has been described as groundbreaking. Revivals and regional productions of their shows continue to this day. “South Pacific” recently ended a Broadway run, and “Oklahoma” was a big hit at the Sacramento Music Circus last summer. They won numerous awards, including Tonys, Oscars and Grammys.

Richard Rodgers rt. Oscar Hammerstein II photo: http://www.morethings.com

What sets Rodgers and Hammerstein apart is how enduring their songs are. Over half a century after they produced their last song, folks still hum, sing and otherwise enjoy the songs of Rodgers and Hammerstein. Sometimes people don’t even realize the song they are enjoying was written by Rodgers and Hammerstein.

The Cosmopolitan Cabaret’s current production of “A Grand Night for Singing” is a wonderful opportunity to re-experience how great Rodgers and Hammerstein’s music is for those of us who know or think they know their music. And for those who are somehow not familiar, this show is a great introduction to some of the best songs ever written.

Many of the arrangements are the same as, or very close, to the originals. There are some amazing new arrangements that show just how versatile this music can be. Who would have thought that the mother superior and the nuns of the convent’s query “How Do You Solve a Problem Like Maria?” could come from a lovesick male? (Everything’s up to date in) “Kansas City” from “Oklahoma” becomes a jazzy, almost “Manhattan Transfer”-like song.

The two men and three women in the cast have great voices and backgrounds for singing songs from the musical-theater genre.

Ryan Drummond has performed roles such as Corny Collins in “Hairspray,” Ozzie in “On the Town” and Leo Bloom in “The Producers,” and he has been in several productions of “Forever Plaid” around the country and many other musical productions. He has also appeared in film, television and video games (as the voice of Sonic the Hedgehog).

Justin Michael Duval originated the role of Potsie for the national tour of “Happy Days: A New Musical.” Duval has performed in some 15 shows preparing him to sing Rodgers and Hammerstein, especially shows such as “My Fair Lady,” “Brigadoon” and “Fiddler on the Roof.”

Lisa Ferris last performed in Sacramento in “Funny Girl” at Music Circus last summer. She has also performed in “Fiddler on the Roof” and a great deal of Shakespeare plays.

Jill Van Velzer has also performed in some 15 productions, including lead roles in Rogers and Hammerstein musicals “The King and I,” “Camelot,” “Carousel,” “Oklahoma!” and “The Sound of Music.”

Melissa Wolfklain just finished playing Cindy in the last Cosmopolitan Cabaret production, “Suds.” While she has not performed in another Rogers and Hammerstein musical, she has a strong musical-theater background with leads “Crazy for You,” “Thoroughly Modern Millie” and “42nd Street.”

They are accompanied by Chris Schlagel, who is also the musical director of the show. Schlagel is a beloved accompanist at many theaters in Sacramento, including Cosmo Cabaret (“Forever Plaid,” “My Way”), Sacramento Theatre Company (“A Christmas Carol,” “Five Course Love”), B Street Theatre (“The Big Bang,” “The Last Five Years”) and Music Circus.

Chri Schlagel from facebook

Even though the songs are plucked from their original productions, each one is a little story in itself. Director and Broadway veteran Mindy Cooper has created very nice choreography to accompany the songs, helping tell their stories and transition from piece to piece. Her 25 years of choreographing and directing on Broadway, regionally and around the world comes though in her staging of these great songs.

Cooper also has a great set design by Jamie Kumpf to work with. Cooper stages the songs all over the set, adding interest to the story the music is telling. The set has terraces on different levels and several pillars. The design is quite sophisticated, as is appropriate for a Rodgers and Hammerstein production.

Lighting design by Sally Slocum enhances the design and action. The look of the pillars and other design elements change with changes in lighting, giving a nice effect.

Everything in this Cosmo Cabaret production of “A Grand Night for Singing” comes together to showcase what is central to this show: the music of Richard Rodgers and the lyrics of Oscar Hammerstein II. The nearly 30 songs from 11 musicals are beautifully presented in a lovely setting.

One would be hard pressed to find a more lovely, romantic time than spending a couple of hours enjoying “A Grand Night for Singing” at the Cosmopolitan Cabaret.

Mark Morris Dance Group Thrills at Mondavi

2011-02-10T20:58:13Z

Wedensday evening last week Jackson Hall at the Mondavi Center was buzzing with pre-show excitement. The packed house was waiting for the curtain to go up on the Mark Morris Dance Group, part of the Hallmark Inn Davis Dance Series.

The group did not disappoint their avid fans or those new to the ensemble. They opened with “Visitation,” set to the music of Ludwig van Beethoven’s Cello Sonata No. 4 in C Major, Op. 102 No. 1, performed by Wolfram Koessel on cello and Colin Fowler on piano. Maile Okamura was the principal dancer. Watch the video on this page for an excellent explination of Morris' relationship to music and his choreography.

This was a light, fun, playful dance overall. It featured several combinations of dancers, from duets to all 10 dancers simultaneously. This included male dancers in a duet, one of Mark Morris’ signatures. Two men dancing together create a strong physical presence. Single dancers are poised to join with a group of dancers but hesitate. One of the more interesting patterns is an intertwining chain where a lead dancer breaks from a circle dances under raised arms of two dancers in the circle forming a second circle creating infinity for a moment. Costume designer Elizabeth Kurtzman dressed the dancers in simple tops and pants — what I would describe as “dance pajamas.”

“Empire Garden” was set to Charles Ives’ Trio for Violin, Violoncello and Piano, S. 86. Koessel and Fowler were joined by Jesse Mills on violin. First written in 1904, the song could be described as a mishmash of American music: hymns, college fraternity songs, Stephen Foster and Dixie all thrown together. The “TSIAJ” in the second movement is an acronym for "This scherzo is a joke."

The bright colors and specific patterns of Kurtzman’s costume design kept the audience wondering: Are they toy soldiers? Theater ushers? Or a half-time performance?

Nicole Pearce’s lighting design at times dancers were in shadow, and at other points the stage would dramatically transition from extremely bright to completely dark.

There was action all over the stage, sometimes to the point where it was almost too much to take in at once. Dancers were carried horizontally like planks. They tilted, then fell on the floor. The emotions changed rapidly. We learned in the post-performance Q&A that the name “Empire Garden” comes from a Chinese restaurant in New York. It seems to be apropos.

After intermission the troupe performed “Grand Duo,” one of Morris’ most popular and critically acclaimed dances. The name comes from avant garde composer Lou Harrison’s “Grand Duo for Violin & Piano,” one of eight Harrison compositions Morris has set dances to. The duo consisted of Colin Fowler on piano and Jesse Mills on violin. It was quite a workout for them.

The “Grand Duo” dance included almost the whole troupe. The piece’s costume design by Susan Ruddie added a great deal of interest. The women wear anything from brightly colored long dresses that flow beautifully as they move to a smock worn over a singlet. Many of the male dancers are bare chested.

For all the variation in costumes, lighting and intense music, the dance was dramatically unified. Through much of the piece, the dancers were synced together. It was very dramatic seeing 14 dancers performing exactly the same movement. In the post-performance Q&A the dancers stated that "Grand Duo" and "Empire Garden" are two of their favorite pieces to perform because they involve the whole Dance Group.

The ending “Polka” sent the audience to their feet with cheering and resounding applause. Morris had again delivered a great evening of entertainment. His insistence of live music accompanying the dancers was like having a classical music performance alone.

Morris’ close collaboration with the costume and lighting designers enhances his choreography. This, combined with very talented dancers, produces an incredible visual and emotional experience.