Tag: Musical Theater

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PICK! ASR Theater ~~ Lucky Penny Rocks The House With “Trailer Park Christmas Musical”

By Barry Willis

Welcome back to Armadillo Acres, North Florida’s premiere residential destination. Napa’s Lucky Penny Productions ushers in the holiday season with The Great American Trailer Park Christmas Musical, through December 17.

Familiar characters return from last summer’s kitsch extravaganza: trailer park trash-ettes Pickles, Linoleum, and Bad Ass Betty (Kristin Pieschke, Shannon Rider, and Sara Lundstrom, respectively).

“The Great American Trailer Park Christmas Musical” cast are rockin’ it, y’all! Photo credit Kurt Gonsalves/KMG Design.

Two other cast members from that show return in new roles: Taylor Bartolucci as Darlene Seward, a Christmas-hating curmudgeon, and Skyler King as Rufus, the trailer park’s well-intentioned but goofy handyman, who’s annoyed Darlene by installing a community Christmas tree too close to her abode.

 … There’s a whole lot of trouble brewing in the trailer park as Christmas approaches …

We also get to enjoy some authentic redneck antics from Jackie Boudreaux (director Barry Martin), the cowboy-hatted owner of a pancake house called “Stax” pandering to lustful locals. The eatery employs Armadillo Acres girls as waitresses, who call it “IHOP meets Hooters.” They also delight in tormenting Darlene by pronouncing her family name as “C-word.”

The play’s director, Barry Martin as cowboy-hatted Jackie Boudreaux, at work. Photo credit Kurt Gonsalves/KMG Design.

Darlene is contentious with her trailer-mates from the beginning, but an electric shock prompts a twelve-day case of amnesia, during which time she forgets that she hates the holidays. And Linoleum has almost forgotten her husband Earl, a convicted killer executed by the state of Florida (he was on death row when we last checked in). She now wears dangling from her neck an amulet containing some of his ashes, but she’s clearly ready to move on.

There’s a whole lot of trouble brewing in the trailer park as Christmas approaches, most of it propelled by a hard-rocking band led by Debra Chambliss in an alcove above the stage. David Nehls’ infectious music spans rock and country genres—the cast are all superb singers—with many tunes echoing classic bad-taste musical comedies such as Little Shop of Horrors. Bartolucci’s tacky costumes are outrageous fun, as is the frenetic choreography by Alex Gomez.

Good times and great music in Napa! Photo credit Kurt Gonsalves/KMG Design.

No Christmas-theme production would be complete without references to Charles Dickens’ A Christmas Carol, and Betsy Kelso’s script doesn’t disappoint. Trailer Park includes ghosts of Christmas past, present, and future; an aggressive nay-sayer, and a mean-spirited capitalist oppressor (Boudreaux) who threatens to bulldoze the entire complex on Christmas Eve so he can build a megastore in its place.

      • Will disaster be averted?
      • Will Armadillo Acres survive?
      • Will its residents return to more-or-less peaceful coexistence?

The outcome won’t be revealed here! For that you’ll have to get one of the few remaining tickets. The December 17 closing performance of The Great American Trailer Park Christmas Musical is “100% sold out” according to Barry Martin, so hurry up and grab what’s left.

You’ll be glad you did.

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NorCal Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

ProductionThe Great American Trailer Park Christmas Musical
Written byBetsy Kelso
Music & LyricsDavid Nehls
Directed byBarry Martin
Producing CompanyLucky Penny Productions
Production DatesThru June 24th
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$22-$45
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ TheatreWorks’ Terrific “25th Annual Putnam Co. Spelling Bee”

By Joanne Engelhardt

A funny thing happened on the way to creating Silicon Valley TheatreWorks’ top-notch production of The 25th Annual Putnam County Spelling Bee. When auditions were held, Broadway actor (and TheatreWorks alum) James Monroe Iglehart was Spelling Bee’s director. He cast the fine actors who are now performing at Lucie Stern Theater.

But then Broadway called, and Iglehart left the production in the capable hands of Meredith McDonough and the Genie returned to the Great White Way for the plum role of King Arthur in Spamalot.

 “…get yourself to Lucie Stern Theatre!” …

But somehow Iglehart magically reappeared for opening night to watch the cast he chose spell themselves into a frenzy or two! All six of the “youthful” performers as well as their moderator (and fellow Putnam County Spelling Bee champion) Ronna Lisa Peretti (a dynamic, animated performance by Molly Bell) are first-rate.

Logainne (Jenni Chapman), Leaf (Blake Kevin Dwyer), Olive (Maia Campbell), William Barfée (Beau Bradshaw), Marcy (Mai Abe), and Chip (Dave J. Abrams) are eager to compete in TheatreWorks Silicon Valley’s “The 25th Annual Putnam County Spelling Bee”. Photo Credit: Kevin Berne

What’s fun about this show is that at each performance, several audience members are invited to join the spellers onstage. The four non-actors may or may not be good spellers, and when it’s their turn to spell a word, they sometimes are given one as easy to spell as “cow” – or their word might sound as if it has ten syllables and has a very obscure definition.

The cardinal rule of the spelling bee is that to continue, contestants must spell each word correctly. Spellers can ask the judges for pronunciation, a word’s etymological origin, and to say it in a sentence. After that, the spellers must take a swing at spelling it correctly or be eliminated. Which is how many real spelling bees work.

What makes this small-cast musical work is how well-balanced the storyline is. Each of the six Bee spellers has his or her own backstory, which come out one way or another along the way to achieving the epitome of spelling mastery: Being the last surviving contestant.

Mitch (center – Anthone Jackson) comforts a guest speller (Romelo Urbi) as he’s eliminated as the cast (background l to r: Mai Abe, Jenni Chapman, Christopher Reber, Blake Kevin Dwyer, Molly Bell, Maia Chapman) celebrate him in TheatreWorks Silicon Valley’s “The 25th Annual Putnam County Spelling Bee,” performing November 29 – December 24. Photo Credit: Kevin Berne

First produced on Broadway in 2005, the musical comedy was conceived by Rebecca Feldman, with book by Rachel Sheinkin and music and lyrics by William Finn. It ran for more than 1,100 performances and won two Tony Awards (Best Book and Best Featured Actor).

At TheatreWorks, Beau Bradshaw is affecting as William Barfee, a student who has found spelling success only by spelling out words using his right foot. He gears himself up for attempting the spelling by doing a little hop or two and then twisting his foot this way and that to spell out the word.

Though all the adult actors are playing middle school students, probably Mai Abe as Marcy Park truly comes closest to looking the part because of her diminutive size. The two other female contestants, Maia Campbell as Olive Ostrovsky and Jenni Chapman as Logainne Schwartzandgrubenierre, have unusual family backgrounds that make them both sympathetic characters.

As Leaf Coneybear, Blake Kevin Dwyer is endearing as he attempts to spell the word “capybara” as if in a trance. Dave J. Abrams plays Chip Tolentino, a speller who finds himself in a difficult physical predicament and ends up being the first one eliminated when he misspells his word.

Mitch Mahoney, played by the strong Anthone Jackson, is the “enforcer” for the contest. When someone is eliminated from the competition, it’s Mahoney who physically escorts that person off the stage.

Chip (Dave J. Abrams), Leaf (Blake Kevin Dwyer), and Logainne (Jenni Chapman) gawk as Marcy (Mai Abe) introduces herself to Rona (Molly Bell) in “The 25th Annual Putnam County Spelling Bee”. Photo Credit: Kevin Berne

Bee has about twenty songs (and several reprises), so Bill Liberatore’s small orchestra of three (Liberatore on piano, Artie Storch on percussion and Steve Park on woodwinds) is kept mighty busy.

A shoutout, too, to Courtney Flores-Kerrigan for her costume design and the amazing holiday scenic design of Andrea Bechert.

There’s so much more to this production of Spelling Bee that it’s best to just get yourself to Lucie Stern Theatre between now and Dec. 24 to enjoy a holiday treat.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

 

ProductionThe 25th Annual Putnam County Spelling Bee
Written byRachel Sheinkin
Music byWilliam Finn
Directed byMeredith McDonough
Producing CompanyTheatreWorks Silicon Valley
Production DatesThru Dec 24th
Production Address1305 Middlefield Road, Palo Alto, CA
Websitewww.theatreworks.org
Telephone(877) 662- 8778
Tickets$27 – $92
Reviewer ScoreMax in each category is 5/5
Overall4.75/5
Performance4.75/5
Script4.75/5
Stagecraft4.5/5
Aisle Seat Review PICK!YES!
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PICK! ASR Theater ~~ An Uplifting “Sound of Music” at Hillbarn Theatre

By Joanne Engelhardt

Rogers and Hammerstein’s iconic musical The Sound of Music is so ingrained in the annals of Broadway, Hollywood, and the community theatre world that one wonders what a new production can offer.

Quite a lot, to judge by the standing ovation given it on opening night (Dec. 1) at Hillbarn Theatre in Foster City.

Despite the fact that The Sound of Music is not a Christmas musical, director Dennis Lickteig creates holiday magic with an ethnically diverse cast that brings tears to the eyes by play’s end. There’s even a small live orchestra led by music conductor Debra Lambert to add to the production’s excellence.

Two professional actors play the two key roles of Maria and Captain von Trapp: an affecting Sophia Alawi and a commanding Jared Lee. Both possess strong voices and a naturalness that adds credibility. A slew of other cast members also enrich the production.

There’s even a tiny mite named Kaylee Lopez who plays the youngest von Trapp, Gretl, who generated many “awwws” from the audience. (On opening night she tried mightily to stifle a yawn toward the end of the 2 ½-hour production!)

All seven of the youngsters playing the von Trapp children are fine, with strong singing chops and the ability to provide texture and nuance to their scenes. Chloe Fong as Liesl stands out as does McKenna Rose as Brigitta. Nicki Weppner appears as Liesl’s love interest, Rolf, who brings a lot of telegrams to the von Trapp family home so he can chat with her.

Arguably the best voice in this Sound of Music belongs to Sarah Jebian who plays the Mother Abbess. Her lead vocal on “Climb Every Mountain” ends Act 1 on a high note. Another strong performance came from Brad Satterwhite as Max, the music festival promoter who helps the von Trapps escape the Germans as they take over Austria.

“The Sound of Music” at Hillbarn Theater.

It’s important to applaud Hillbarn for choosing live music for this production – expensive, yes, but so much better than canned. Music director Debra Lambert, who both conducts and plays one of two keyboards and the organ, also has two violins, a cello, and a reed player doubling on clarinet and cello in her orchestra.

Jayne Zaban’s choreography also adds a lot, especially in the musical numbers featuring the Von Trapp children. Stephanie Dittbern had her hands full designing costumes for the large cast – she actually created outfits for the children (supposedly made from Maria’s bedspread) that they wear for only about 15 seconds on stage!

Sound is so important in a musical, and Joshua Price’s sound design is spot-on throughout the show. Ditto Sarina Renteria’s lighting, but this writer felt Hunter Jameson’s scenic design was just a bit too static and artificial. A slight flaw, but easily forgiven with all the other reasons to see the show. Obviously it takes a village to create a show like The Sound of Music. Kudos to all whose work brings this classic to life.

Though not a traditional Christmas offering, The Sound of Music is well worth a trip to Foster City before it closes on Dec. 17.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

 

ProductionThe Sound of Music
Book byHoward Lindsay and Russel Crouse
Music byRichard Rodgers and Oscar Hammerstein II
Directed byDennis Lickteig
Producing CompanyHillbarn Theatre
Production DatesThru Dec. 17th
Production Address1285 E Hillsdale Blvd, Foster City, CA 94404
Websitewww.hillbarntheatre.org
Telephone(659) 349-6411
Tickets$32-$60
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.75/5
Script4.75/5
Stagecraft4/5
Aisle Seat Review PICK?YES!
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PICK! ASR Theater ~SF Playhouse Bends Genders in Superb “Guys and Dolls”

By Woody Weingarten

It’s virtually impossible to rate the new San Francisco Playhouse production of Guys and Dolls as anything but almost perfect, not quite as good as God’s long-running comic-tragedy, Mankind.

Sanitized, slang-spouting characters lifted from two 1920s and ‘30s Damon Runyon short stories remain extremely likeable 73 years after the Tony Award-winning musical comedy debuted on Broadway — New Yawk gamblers and gangsters mostly, but also a couple of inept Chicago crooks/crapshooters. And then, of course, there’s Sarah Brown, the Save-A-Soul missionary heroine who proves that love can conquer all.

… it’s the cast of the superb show …

Frank Loesser’s music (and lyrics) for this rendition — accompanied by a sprightly, hidden-onstage band under the direction of Dave Dobrusky — reaches the epitome of peppy, ideal for the holiday season.

Sky Masterson (David Toshiro Crane, center) and gamblers roll the dice.

Choreography by Nicole Helfer, even if somewhat derivative, hits an exciting high (with each dancer sublimely connected to all the others). Costumes designed by Kathleen Qiu appear both authentic to the era and playful (especially numbers in the Hot Box burlesque hall where Adelaide comically struts her stuff), augmented by sundry wigs concocted by Laundra Tyme—some straightforward, some whimsical.

Adelaide (Melissa WolfKlain, center) performs with the Hot Box Girls (from left, Malia Abayon, Alison Ewing, Jill Slyter, and Brigitte Losey) in “Guys and Dolls.”

The frequently revolving sets by scenic designer Heater Kenyon come across as exceptionally imaginative, a proverbial wonder to behold. Yet it’s the cast of the superb show — which is labeled a fable, but which adroitly delves into how one segment of society has trouble understanding another — that shines brightest.

Audience faces light right up, for example, each time Melissa WolfKlain, who delightfully and deliberately squeaks as Adelaide steps onto the stage, a stripper-star who’s been engaged for well over a decade to Nathan Detroit a guy whose livelihood stems from running a long-haul floating crap game. She’s particularly marvelous rendering “Adelaide’s Lament” (“In other words, just from worrying if the wedding is on or off, A person can develop a cough”), “Take Back Your Mink,” and “Marry the Man Today” (a duet with Abigail Esfira Campbell, as puritanical but seducible Sgt. Sarah Brown).

Campbell sings with a purity that can make most other vocalists jealous. She’s top-drawer on “I’ll Know” and “I’ve Never Been in Love Before,” with her acting chops becoming an ideal accompaniment to her vocals (her slinky drunk scene in Cuba is most noteworthy). Both melodies are performed, by the way, in duet with David Toshiro Crane as charismatic, cocky, sexy gambler Sky Masterson.

Crane gives the Masterson character a sturdiness that makes you believe he can change from a high-roller to a guy high on life and love. His voice, too, soothes while delivering whatever emotion is required.

Joel Roster acts appropriately oblivious to his doll as Nathan Detroit, the guy who can’t bring himself to commit to her but who’s committed to finding a gambling site somewhere.

Kay Loren, who uses the pronouns they/them, rounds out the frontline performers as Nicely-Nicely Johnson, a part usually filled by a man. Director Bill English and casting director Kieran Beccia, in fact, carefully gender-bent other actor-singers (such as having Kay Loren and Jessica Coker play Nicely-Nickely Johnson and Big Jule, respectively). They ethnic-bent, too, with Asian Alex Hsu assuming the slick role of Irish cop Lt. Brannigan.

But it takes only a minute or two for a theatergoer to fully suspended his or her disbelief and enjoy the binary and racial tampering.

Underscoring what unison truly means — musically and with a racial mix — is the praiseworthy chorus.

Sgt. Sarah Brown (Abigail Esfira Campbell, center) tries to enlist sinners for the Save-A-Soul Mission.

The major plot device is about finding a location for that dice game. The subplot feels terribly familiar: Guy meets and courts girl (because he bets the then huge sum of $1,000 that he can); girl is attracted to and then turned off by guy; guy gets girl.

Other don’t-miss tunes include the title tune, “Luck Be a Lady,” and “Sit Down, You’re Rockin’ the Boat” — and two exhilarating all-dance numbers, “Havana” and “The Crapshooter’s Dance.”

The only thing absent from this two hour-plus version is the thick, unpolished Lower East Side of New Yawk accents — along with the “deses” and “doses” — that instantly tell visitors from Boise, Idaho, that they’re in the Big Apple.

Guys and Dolls has been considered by many as the ultimate musical comedy. The SF Playhouse production shouldn’t disavow that opinion.

Dancers Chachi Delgado and Malia Abayon move fast but sensually in a Havana nightclub.

A Footnote: I’ve told the tale of my wife’s obsession with the show for about 20 years — ever since the last time we saw it.

Before watching a touring company at another San Francisco theater, she’d played the entire score for me on our piano at home. She’d followed by humming most of its tunes during our trip into the city from San Anselmo. And, as I did, she loved the show itself.

But then she inserted a CD of the score on the way back from that performance. I knew she’d adored the show penned by famed theatrical storyline fixer Abe Burrows and Jo Swerling ever since as a pre-teen she’d seen the original with Robert Alda, Alan’s dad, playing Sky Masterson — that final over-the-top fangirl action was much too much for me to handle.

Ergo, I had some trepidation about leading her to the SF Playhouse, even as a MysteryDate, something we’ve been doing for all 36 years we’ve been wed. A MysteryDate, FYI, is an almost-certain way to help keep the sizzle in a relationship — an activity you arrange without your partner knowing where she or he is going until you get there. Or vice versa — that is, one arranged with you in the dark.

After five years of working on it, not incidentally, I’ve just finished writing a book about MysteryDates, one that can double as a travel guidebook while clobbering the myth that long-term relationships are inevitably doomed to become unexciting, monotonous, or drab. The book should be available in January. Check out https://woodyweingarten.com to be sure.

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ASR Senior Contributor Woody Weingarten has decades of experience writing arts and entertainment reviews and features. A member of the San Francisco Bay Area Theatre Critics Circle, he is the author of three books, The Roving I; Grampy and His Fairyzona Playmates; and Rollercoaster: How a Man Can Survive His Partner’s Breast Cancer. Contact: voodee@sbcglobal.net or https://woodyweingarten.com or http://www.vitalitypress.com/

ProductionGuys and Dolls
Book byAbe Burrows and Jo Swerling
Directed byBill English
Musical Direction byDave Dubrusky
Choreography byNicole Helfer
Music/Lyrics byFrank Loesser
Producing CompanySan Francisco Playhouse
Production DatesThru Jan 13th, 2024
Production AddressSF Playhouse
450 Post Street
San Francisco, CA
Websitewww.sfplayhouse.org
Telephone(415) 677-9596
Tickets$15 - $125
Reviewer ScoreMax in each category is 5/5
Overall4.75/5
Performance4.75/5
Script4.75/5
Stagecraft4.75/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “The People vs. Mona”— Masquers Playhouse Delivers “Hootchie” & “Koochie”

By Susan Dunn

This musical comedy at Point Richmond’s cozy venue is all about involvement: our involvement. As we await the opening, actors drift into The Frog Pad bar, engaging audience members as they proceed to the stage. The MC and lead actor, the likeable, energetic Nelson Brown, opens the show for those in the seats: “Take out your provided fans and wave in unison.” First joke of the night, and a heads-up: “Listen up! You’re in this show too!”

It’s present day in the tiny south Georgia town of Tippo, where a murder has divided the populace into two factions, one represented by town prosecutor, suave manipulator, and would-be mayor Mavis Frye (Shay Oglesby-Smith). Their opponents are fronted by defense counsel Jim Summerford (Brown) who cannot get a truthful statement from the accused Mona May Katt (the stagey Michele Sanner Vargas). Frye’s fiancé of more than eight years, Summerford has never won a case—quite a defense attorney!

…This production sports a fine cast …

Early on, the odds are stacked against a not-guilty verdict. The town converges on The Frog Pad where an opening number pays froggy tribute with amusing choruses of “Ribbet, Ribbet.” A podium appears center stage and we are now in the courtroom, with an unpredictably opinionated Judge Jordan (Jeffrie Givens), who leads us through the trial. Givens swaps her judicial robe for a choir robe as Rev. Purify, guiding cast and audience alike through a rousing revival. Judge Jordan repeatedly reminds her court that she won’t tolerate any “hootchie” or “koochie.”

Musical comedy depends on outsized characters, hummable or memorable music and action paced at various speeds to bring us to a satisfactory conclusion. I enjoyed many of the songs, in various styles from hoedown blues, gospel, rock, and Cajun, to a winsome ballad by defendant Mona. The composers are the married duo Jim Wann and Patricia Miller, who keep us rapt with special surprises such as Officer Bell (Steve Alesch) trumpeting an operatic note whenever appropriate or not.

The town’s coroner Dr. Bloodweather (Arup Chakrabarti) turns out to be a dentist who, for clarity, insists on adding an extra letter to his professional title. Two key witnesses—including the town’s legendary litigator Eubal R. Pugh (Harrison Alter)—expire during the trial and their ghosts hilariously waft out the stage. Street-performing soul singer Blind Willy (Kamaria McKinney) does an outstanding number with cane and dark glasses. McKinney is also delightful in the role of local heartbreaker Tish Thomas. The show’s director Enrico Banson appears as bartender, court reporter, and does triple duty as onstage keyboardist.

Just when we thought we had seen all the play had to offer, Mona suddenly appears, in jail, in a sly side stage area where she performs the show’s only heart-rending ballad. Through all the fast-paced musical numbers, audience engagement is palpable.

This production sports a fine cast with outstanding leads and a “laugh a minute” script that whets our appetite for more. The numbers are long enough to engage us but short enough to keep the action going. The production is pulled together by Katherine Cooper’s choreography, perfectly scaled for a small stage. Marla Plankers Norleen supplied the characters’ amusing costumes; Vicki Kagawan did the props. This production makes for a fun evening!

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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: susanmdunn@yahoo.com.

ProductionThe People Versus Mona
Written byJim Wann and Patricia Miller
Directed byEnrico Banson
Producing CompanyMasquers Playhouse
Production DatesThru Nov 26th
Production Address105 Park Place
Pt. Richmond, CA
Websitemasquers.org
Telephone(510) 232.4031
Tickets$27-$30
Reviewer ScoreMax in each category is 4.5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ Poignant, Powerful “Without You” at the Curran

By Barry Willis

Love, loss, and acceptance all figure into Anthony Rapp’s solo musical Without You at San Francisco’s Curran Theatre.

Rapp’s show encompasses his first professional audition—a performance of REM’s “Losing My Religion,” reprised as the opener in this moving retrospective. The audition landed him a role in the off-Broadway debut of Jonathan Larson’s Rent, the AIDS-era reworking of Puccinni’s La Boheme, and in the larger long-running production.

…Without You is a wonderful show…

Larson died of an aneurism the night before his show opened. Rapp works that tragedy into his narrative and song selections, plus his loving relationship with his mother, who slowly came around to accepting his gay identity. His relationships with other members of his family are also depicted with fondness.

There’s no bitterness or rancor in anything he conveys. Backed by a superb onstage band, Rapp proves to be a compelling raconteur and singer. His penultimate song is a howl of anguish, but his closing number is one of universal love.

At 95 minutes—with no intermission—Without You is a wonderful show with an inexplicably short four-day run, closing Sunday October 22. Opening night was a near sellout—ticket buyers should jump on the remaining opportunity.

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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com.

 

ProductionWithout You
Written byAnthony Rapp
Directed bySteven Maler
Producing CompanyCurran Theater Co.
Production DatesThru Oct 28th
Production AddressCurran Theater
445 Geary St.
San Francisco, CA 94102
Websitehttps://sfcurran.com/
Telephone415.358.1220
Tickets$49-$160
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?YES!
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PICK! ASR Theater ~~ “Seussical” a Giddy, Colorful Musical at Woodside Musical Theatre

By Joanne Engelhardt

Dare to admit that you’ve never read “Green Eggs and Ham,” “The Cat in the Hat,” “Horton Hears a Who,” and….duh: “How the Grinch Stole Christmas.” OK, if you didn’t read them, then it’s likely someone read them to you when you were a little tike.

Woodside Musical Theatre’s playful production of the 2000 musical comedy Seussical by Lynn Ahrens and Stephen Flaherty takes you back to the entire world of Dr. Seuss even before the curtain opens. That’s when the pert, wily Olivia Swanson Hass as that famous Cat in the Hat (you know: the one with the tall red-and-white striped hat) hustles onstage to retrieve said hat.

The Cat in the Hat (Olivia Haas) takes Jojo (Tyler Kawata) on a ride! Photo credit Nancy Fitzgerald.

Sadly, in its initial Broadway appearance, the Great White Way apparently felt Seussical (a portmanteau of the words “Seuss” and the word “musical”), was a dud. Later it was revived and had several national tours and now is a frequent production at regional theatres and schools.

It’s easy to see that WMT’s production has a heart as big as the one of Horton – performed here with plenty of down-home sincerity by Jay Steele. His gentle, caring vocals help the audience understand how really compassionate Horton is.

…Bright primary colors make “Seussical” a visual delight…

Horton and a young boy named JoJo – who is doing poorly in school and is teased by his classmates – are at the core of the story. JoJo’s the only child of the mayor of Whoville and his wife, who are trying to decide how to discipline him. They tell him to take a bath, go to bed and have some normal “thinks.”

Two young actors alternate playing JoJo: Nadia Moehler and Tyler Kawata. On opening night Moehler was JoJo and she did a remarkable job. Her strong voice and commanding stage presence is rare in such a young person.

Jeffrey Ramos has his hands full directing the incredibly large cast – and he succeeds beautifully.

Standouts in the cast include: Leslie Chicano as Mayzie LaBird, who longs to have more than one tail feather – then comes to regret it when she gets more than she bargains for; Sarah Szeibel as Gertrude McFuzz; Angela Harrington as Sour Kangaroo, and Lauren Biglow as Yertl the Turtle. Biglow also plays a wacky judge in Act 2.

John Tondino makes a solid Vlad Vladikoff as does Mark Bowles as General Genghis Kahn Schmitz.

Of course, a musical with about 30 songs obviously needs strong singers – and a large orchestra to keep them all on key. Musical director Justin Pyne and his 13-piece orchestra are at the back of the stage mostly hidden from the audience by what looks like an ornate metal barrier.

Mayzie LeBird (Sarah Szeibel) and her Bird Girls (Samantha Ayoob, Samantha Ayoob, Ayanna Brewer, Erica Waxer, Jennifer Yuan) teach Gertrude (Leslie Chocano) how to be amayzing too. Photo credit Nancy Fitzgerald.

Greet Jaespert’s delightful costumes are an essential part of Seussical. She cleverly finds a way to help audience members remember who’s who by adding a feather here, a tiny kangaroo there, and a military-looking uniform that stops at the geneal’s knees to show off his silly socks.

All-around handyman Don Colussi deserves heaps of applause for not only creating the set, but doing lighting design and serving as technical director. Another crucial position for any musical is the choreography, and Richard Nguyen and his assistant choreographer Samantha Ayoob handle that chore gracefully.

It’s clear that for WMT’s actors and production staff, it’s a labor of love for their annual show.

It’s unfortunate that Seusical plays for only one more weekend because the effort put into it by the cast and crew deserves a longer run. Discounts are available for tickets outside the center orchestra premium section.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

 

ProductionSeussical
Written ByLynn Ahrens and Stephen Flaherty
Directed byJeffrey Ramos
Producing CompanyWoodside Community Theatre
Production DatesThrough Oct. 22nd
Production Address199 Churchill Ave., Woodside, CA
Websitewww.woodsidetheatre.com
Telephone(650) 206-8530
Tickets$30 (youth); $52 (seniors); $57 (adults).

Discounts available online.
Reviewer ScoreMax in each category is 5/5
Overall4.25/5
Performance4.25/5
Script3.0/5
Stagecraft4.25/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “Hello, Dolly” an Authentic Joy at Spreckels

By Sue Morgan

Spreckels Theatre Company lit up the 500-seat Nellie W. Codding Theatre at Friday night’s brilliant opening of the beloved classic Hello, Dolly.

With music and lyrics by Jerry Herman and book by Michael Stewart, director Elly Lichenstein’s production is refreshingly true to the original. Set in 1890s Yonkers and New York City, the play follows the machinations of Dolly Gallagher Levi, a former socialite forced to use her prodigious wiles as matchmaker and “arranger of all things” to earn a living after the death of her beloved husband Ephraim. Exhausted by the effort required to keep herself afloat, Dolly sets her sights on snaring the “well-known half-millionaire” Horace Vandergelder, while ostensibly trying to match him with comely milliner and widow Mrs. Irene Molloy.

The choice to stage Dolly in the wake of the complex (and also outstanding) contemporary Irish comedy Stones in His Pockets was a bit of showbiz genius by Spreckels’ Artistic Director Sheri Lee Miller. While at first glance the plays appear wildly disparate, in fact, they both explore the theme of the effects of living in wealth versus poverty, a topic of vital relevancy today as “haves” continue to displace “have nots,” housing prices soar, and wages stagnate.

While some might view Dolly as a gold digger, she is not at all interested in hoarding wealth, as evidenced by her assertion that she adheres to her former husband’s belief that, “Money, pardon the expression, is like manure. It’s not worth a thing unless it’s spread around, encouraging young things to grow.”

(Pictured: Daniela Innocenti Beem as Dolly Levi and Chris Schloemp as Horace Vandergelder).

Perfectly cast in the title role, Daniela Innocenti-Beem radiantly guides the action, charming the audience from her first appearance walking down the center aisle, handing out business cards for every conceivable need before taking the stage to introduce herself in song in the delightful “I Put my Hand In.” The spotlight always appears to shine brighter in her direction.

She’s a solid performer, whether enlivening the many comic scenes, conveying tender wistfulness as she beseeches her deceased husband to send her a sign, dancing, or showcasing her superb voice. Innocenti-Beem is absolutely the star of this show!

Chris Schloemp is spot on as gruff, miserly and calculating Horace Vandergelder. Zane Walters’ combination of earnestness and humor in his portrayal of Chief Clerk Cornelius Hackl hits just the right notes. Both men shine in their respective roles. Fun-loving widow Irene Molloy is deftly played by Madison Scarbrough, whose clear and rich tones during the gorgeous “Ribbons Down My Back” made the song a show-stopper. Kaela Mariano as Ermengarde is also a standout in her perfectly over-the-top depiction of Horace’s spoiled niece. There’s not a lackluster performance in this show!

“Hello Dolly” cast at work.

Set design by Eddy Hansen and Elizabeth Bazzano is beautifully augmented by Nick Lovato’s skillful projections. Lighting and sound design by Eddy Hansen and Jessica Johnson are straightforward and effective. Choreography by Karen Miles, superb throughout the show, reaches its crescendo during the madcap performance of the “Waiter’s Gallop” preceding dinner service at the Harmonia Gardens. Music Direction by Debra Chambliss is impeccable. Many guests made their way to the orchestra pit as the performers left the stage to enjoy seeing the musicians play the final notes of the evening. Oh, and you just have to see the wonderful costuming by Donnie Frank.

Spreckels Theatre Company’s production of Hello, Dolly is musical theatre at its best and kept this reviewer smiling throughout the performance and happily humming all the way home.

With an abbreviated schedule due to an unforeseen issue which caused the play to open a week late, Spreckels has added a special-price performance on Thursday, October 12 at 7:30 P.M. during which all tickets will be $20 for adults and $10 for youth 18 and under. Grab your tickets right away—the show ends its too-brief run October 15th.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: sstrongmorgan@gmail.com

 

ProductionHello, Dolly
Music & Lyrics by

Book by		Jerry Herman

Michael Stewart
Directed byElly Lichenstein
Producing CompanySpreckels Performing Arts
Production DatesThrough Sept 10th
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$16 - $36
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.75/5
Script4/5
Stagecraft4.5/5
Aisle Seat Review Pick?YES!
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ASR Theater ~~ Palo Alto Players’ “Matilda” A Mixed Bag

By Joanne Engelhardt

Palo Alto Players’ current production of the musical version of the beloved Roald Dahl book, Matilda is a bit of a mixed bag.

While there are odd bits to enjoy – most especially Doug Santana’s uproarious acting and buxom look as the school’s old bag principal, Miss Agatha Trunchbull – there are also times when the sounds of screeching little voices and painfully outdated sound system at the Lucie Stern Theatre make one wonder whether to leave at intermission. And why did someone run the air conditioning during the show, making people try to bundle up in their sweaters or jackets for a matinee production?

…Costume designer Greet Jaspaert also deserves a shout-out…

Two young girls play the title role of Matilda Wormwood: Sofia Zamora and Araceli Grace. This reviewer saw Grace as Matilda, so comments made here are about her. Grace is a charmer, though I also found it frequently difficult to hear her words clearly. Good news: when she sings, her words are crystal clear.

For those who are not familiar with Dahl’s book, it can be quite confusing to watch the PAP production. Matilda’s parents, Mrs. Wormwood (a campy take on the role by Brigitte Losey) and her husband, Mr. Wormwood (Randy Lee) are more interested in money and trying to con other people out of theirs than they are in Matilda.

But the young girl has two people who watch out for her: Mrs. Phelps (Kayvon Kordestani) and her kindly teacher Miss Honey (Madelyn Davis). Davis likely has the best voice in the 29-member cast, and she uses it in several numbers: “Pathetic,” “This Little Girl,” “When I Grow Up” and “My House.”

One of the best group musical numbers in Act 2 is “When I Grow Up” featuring the children, Matilda and Miss Honey. Four long swings are lowered from the rafters, and some of the youthful ensemble jump on them and swing away. Then four older boys take over and swing far out into the audience. That causes an audible “Oh!” from the audience, and applause. Credit choreographer Whitney Janssen for that bit of excitement.

Costume designer Greet Jaspaert also deserves a shout-out for coming up with appropriate clothes for the large cast – and for creating the comical clothing of Santana as the dreaded Miss Trunchbull.

As the Escapologist, Steve Roma plays a large part in Matilda, although to anyone not familiar with the book, it might be a mystery what he does.

For some reason, PAP seems to be focused on children’s stories this year.

Matilda runs for just four more performances this weekend, ending on Sunday, Sept. 24. If you go, prepare by bringing along a warm jacket. PAP’s next production in November is The Wizard of Oz, then there’s more adult fare in 2024.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

 

ProductionMatilda
Written by Dennis Kelly
Directed by
Janie Scott
Producing CompanyPalo Alto Players
Production DatesThru Sept 24th, 2023
Production Address1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$30– $57 (limited availability)
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.25/5
Script4/5
Stagecraft3.75/5
Aisle Seat Review PICK!----
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ASR Theater ~~ Meta-American Dreams: “Thanks For Playing: The Game Show Show” in San Jose

By Jeff Dunn

Game shows are the American Dream. “It could be me on that stage; Imagine winning all that money!” you might think. Well imagine attending San Jose Playhouse’s revival of their Thanks for Playing! The Game Show Show—you might think, “I love musicals! This one might be fun!” Not only might it be fun–in this one, you too might be contestant! And win an ironic box of Ramen.

The show is the brainchild of Scott Evan Guggenheim, with book and lyrics by his wife Shannon Guggenheim, and music by Shannon, her brother-in-law Stephen Guggenheim and Thomas Tomasello. It is billed as the “final revision” of the musical that premiered in 2010 and was reexamined by its creators in 2012 and 2020. I did not see the first version, although a few excerpts on YouTube indicate that while some songs have been dropped/replaced, the sets and props remain fairly much the same.

…Historical Note: 390 backers pledged $51,648  on Kickstarter to help bring this project to life, back in 2012-14…

And the best part of the show does seem to be the same: the high energy and accurate singing of its eight on-stage performers, the feeling they project of having a jolly good time together and wanting to carry the audience happily along with them in a slurry of upbeat tempos. And Julie Engelbrecht’s sets intensify the atmosphere with its palette of colors borrowed the from late 60’s show Rowan & Martin’s Laugh-In, not to mention her inventive costumes, one collection of which turned the cast into a giant slot machine.

Photo credit to Dave Lepori. — The cast at work as a collective slot machine!

The more problematic part of the show is the first act. Shannon herself plays Frankie Marks, a Game-show-history buff. We are told she’s attending the 70th anniversary of the first TV game show at Studio 84 in NYC (this would be in 2008). Very quickly, she is given the offer to play a mysterious “game” by an unseen godlike Announcer. She accepts, and is magically sent back into the beginning of a game show called “Secret Square” starting in the early 1950s.

As the show evolves, the Announcer periodically offers options to change history or even revise game-show personalities. I don’t know if this Meta-Announcer business is new to this revised version, but this reviewer found it confusing at first, and didn’t feel that changing history or personalities added much to the humor. (Suggestion to the Playwright: a straight-line “How to Succeed…” plot starting in the 1950s might be easier to grasp. Just sayin’.)

By the second act, after the show runs into trouble with revelations of cued contestants a la the $64,000 Question, the story becomes easier to follow and more enjoyable.

Photo credit to Dave Lepori. — Schannon and Scott Guggenheim as Frankie Marks and Bill Todson.

A love interest emerges between Frankie and Secret Square’s producer Bill Todson (Stephen Guggenheim), making me wish a bit more had been done in Act One to generate empathy with the protagonists. Such empathy might have required a ballad which might have the salutary effect of adding additional variety to the musical style. (As it was, only the last song, “Thanks For Playing,” really stuck in my memory.)

Hopefully, future attendees will not experience the sound issues that had the prerecorded orchestral track outbalance the singers, and younger gamer-attendees, used to computer role-playing scenarios, will have less trouble Meta-time-traveling.

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Jeff Dunn is ASR’s Classical Music Section Editor. A retired educator and project manager, he’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA.

His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.

ProductionThanks For Playing: The Game Show Show
Stage Direction byScott Evan Guggenheim
Producing CompanyGuggenheim Entertainment, Inc.
Production DatesThru Aug 20th
Production Address3Below Theaters, 288 S Second St, San Jose, CA 95113
Website
www.sanjoseplayhouse.org
Telephone
(408) 404-7711
Tickets$25-$55
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance4/5
Book/Lyrics2.5/5
Music2.5/5
Stagecraft4/5
Aisle Seat Review PICK?----
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ASR Music ~~ Iolanthe: Fairies and Lords Walk the Boards

By Jeff Dunn

Gilbert and Sullivan’s operetta Iolanthe is about two groups hidebound by rules who battle it out on stage. One group has power over the other because they’re magic, but both groups have definitely lost their marbles–just read what they sing!

CHORUS OF FAIRIES

Tripping hither, tripping thither,

Nobody knows why or whither;

We must dance and we must sing

Round about our fairy ring!

 

CHORUS OF PEERS (LORDS)

Bow, bow, ye lower middle classes!

Bow, bow, ye tradesmen, bow, ye masses!

Blow the trumpets, bang the brasses!

Tantantara! Tzing! Boom!

Imagine the silliness of it all–female fairies having power over men, forcing their favored half-fairy male candidate to run parliament houses. Fortunately, all the men and women marry each other at the end, and 19th-century normality is restored. There are other reasons than plot to enjoy Iolanthe, mainly Gilbert’s barb-aplenty text coated by the pill of Sullivan’s inoffensive music.

Lyric Opera has put many of their marbles into their chorus, and the result is a major strength in Music Director Michael Taylor’s department. Kathleen O’Brien’s colorful fairy costumes along with Shirley Benson’s stunted light-saber wands are another plus. Larry Tom’s set designs are spare, but not inappropriate. The single forest projection in Act 1 was so gorgeous, however, it made this reviewer wish there were more of them to follow—a hope unrealized.

…”Iolanthe”, or “The Peer and the Peri”, opened at the Savoy Theatre on November 25, 1882…

I was also hopeful that the soloists’ best efforts would match the consistent delights of the chorus, but no luck. However, voices improved as the operetta progressed opening night.

Bobby Singer was a standout as Private Willis, as was Katie Francis as Queen of the Fairies. Minju Jeong’s light but lovely voice was always on pitch as Phyllis. Tenor Eric Mellum grew well into his role of Lord Tollroller. Jeffrey Lampert’s Lord Chancellor was fun to watch in his famous “headache” patter song (where his jet pace even outpaced the orchestra for a moment!)

For a title character, G&S surprisingly gave Iolanthe only one aria, but Kaelyn Howard carried it off well, with the enthusiasm characteristic of the rest of the cast.

Iolanthe is ranked highly in the Gilbert and Sullivan canon by many commentators. To me, it was a good reminder of why our American Experiment did away with titled nobility. As to the current value of what replaced it, that’s a matter for later discussion.

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Jeff Dunn is ASR’s Classical Music Section Editor. A retired educator and project manager, he’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA.

His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.

ProductionIolanthe
Stage Direction byDoreen Finkelstein
Musical Direction byMichael Taylor
Producing CompanyLyric Theatre
Production DatesThru Aug 6th
Production AddressHammer Theatre Center, 101 Paseo De San Antonio, San Jose, C 95113
Website
www.lyrictheatre.org
Telephone(408) 986-1455
Tickets$25-$40
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Libretto4/5
Music2.5/5
Stagecraft3/5
Aisle Seat Review PICK?----
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PICK! ASR Theater ~~ Maximum Nostalgia: “Follies” at SF Playhouse

By Mitchell Field

Composer and lyricist Stephen Sondheim’s Broadway musical “Follies” first opened April 4, 1971. It was nominated for eleven Tony Awards, won seven, and has enjoyed many revivals.

During her 1987 West End performance, Eartha Kitt sparked a comeback and went on to perform her own one-woman show to sold-out houses after “Follies” closed. Several songs from the show—“Broadway Baby,” “I’m Still Here,” “Losing My Mind”—have become standards.

…an awesome, great, and exhausting show, done with San Francisco Playhouse panache!

The latest version of “Follies” arrived at the San Francisco Playhouse July 20, after five years in development and delays due to Covid. The show had never been performed in its entirety by a professional troupe in The City, according to director Bill English, also co-designer of the show’s imposing set and projections with Heather Kenyon.

Phyllis Rogers Stone (Maureen McVerry*, center) reckons with life’s choices through ‘The Story of Lucy and Jessie,’ accompanied by (L-R) Jill Slyter, Chachi Delgado, Anthony Maglio, M. Javi Harnly, Cameron La Brie, and Ann Warque. Photo courtesy SF Playhouse. (*Equity Actor)

Set as a reunion of past performers of the “Weismann’s Follies,” (a musical revue based on the Ziegfeld Follies, that played in that theater between the world wars) in a soon-to-be-demolished Broadway theater, the show focuses on two mature married couples at the reunion: Buddy and Sally (Anthony Rollins-Mullens and Natascia Diaz, respectively) and Ben and Phyllis (Chris Vettel and Maureen McVerry, respectively).

Sally and Phyllis were once showgirls in the Follies; both marriages are in trouble. Ghosts of former showgirls as youngsters glide through the crumbling theater without being seen by the revelers. Thus begins a series of musical numbers performed by the Follies’ many veterans, exploring their lives and desires, while “invisible” younger performers mirror them in counterpoint. Other ghosts from former shows appear and the characters try to recapture their youth in re-creations of past performances.

The ghosts of Follies past (L-R: Catrina Manahan, Samantha Rose Cárdenas, Ann Warque, Danielle Cheiken, and Emily Corbo) welcome you to Dimitri Weismann’s theater. Photo courtesy SF Playhouse.

Broadway producer/director Hal Prince said of the show: ” ‘Follies’ examines obsessive behavior, neurosis and self-indulgence.”

Spirited, emotional and touching musical numbers performed by a perfectly-cast blend of seasoned professionals and talened newcomers fill this production with energy and verve, as do many lively and dynamic dance routines.

While the book by James Goldman is thin on plot, as one of the show’s characters opines: “Facts never interest me, what matters is the song!” Originally a one-act show, “Follies” was later expanded into two acts. Ben Brantley of The New York Times wrote: “It wasn’t until the second act that I fell in love all over again with ‘Follies’.” This reviewer concurs.

As with several Sondheim shows, the second act is often “where the beef is.” The second act of “Follies” is wildly divergent from the first, as in “Sunday in the Park with George” and “Into the Woods.” In “Follies,” the first act is primarily the introduction of characters and their back-stories. It’s a lot of exposition in the midst of glittering showgirls and assorted middle-aged matrons at the reunion party. Either by design or possibly due to opening-night nerves, act one got off to a stilted start, making the second act all the more spectacular.

Benjamin Stone (Chris Vettel*, center) reevaluates his priorities during ‘Live, Laugh, Love,’ accompanied by the Follies company (L-R: Emily Corbo, Anthony Maglio, Samantha Rose Cárdenas*, M. Javi Harnly, Catrina Manahan, Chachi Delgado, and Danielle Cheiken). Photo courtesy SF Playhouse. (*Equity Actor)

In the ‘Loveland’ scene, (“the place where lovers are always young and beautiful, and everyone lives only for love”), Sally, Phyllis, Ben and Buddy, perform in a dream-like pastiche of vaudeville-style numbers in which each acts out their own particular folly.

The scene culminates in total hysteria, as the characters reveal their true emotions for all to see, before returning to the theater, the end of the reunion and the rest of their lives.

A long odyssey for SF Playhouse, “Follies” is an enormous undertaking for any theater company, requiring a large cast of triple-threat performers. The late critic Martin Gottfried wrote: “Follies is truly awesome and, if it is not consistently good, it is always great.”

This production lives up Gottfired’s description. Expertly directed by Bill English, with gorgeous costumes by Alba Berman and choreography by Nicole Helfer, it’s an awesome, great, and exhausting show, done with San Francisco Playhouse panache!

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Contributing Writer Mitchell Field is an actor and voting member of the SF Bay Area Theatre Critics Circle based in Marin County, California. Contact: mitchfield@aol.com

 

 

 

 

 

 

 

 

 

ProductionFollies
Written / Music byBook by James Goldman. Music & Lyrics by Stephen Sondheim
Directed byBill English
Producing CompanySF Playhouse
Production DatesThru September 10th, 2022
Production AddressSF Playhouse
450 Post St., San Francisco, CA.
Websitehttps://www.sfplayhouse.org
Telephone(415) 677-9596
Tickets$30-$100
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3/5
Stagecraft5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “The Drowsy Chaperone” Delights at Sonoma Arts Live

By Nicole Singley

What do a tipsy wedding chaperone, a blundering Italian lothario, a pair of mobsters disguised as pastry chefs, and a musical theater-obsessed divorcé in an armchair have in common? They’re the unlikely ingredients for a night full of toe-tapping music, fun, and laughter in Sonoma Arts Live’s production of “The Drowsy Chaperone,” on the Rotary Stage in Andrews Hall through July 31st.

With a delightful script that both celebrates and pokes fun at roaring 20s era musicals and vaudevillian hijinks, the show opens on North Bay stage veteran Tim Setzer – billed only as “Man in Chair” – regaling the audience with his love of classic musicals and ironically, his hatred of theater that breaks the fourth wall.

Tim Setzer as “Man in Chair” (Photo by Eric Chazankin)

But lucky for us, Setzer’s character continues to shatter that fourth wall to smithereens, with his frequently hilarious, oftentimes snarky, and occasionally sweetly reflective commentary. From the comfort of his armchair, he puts on a record and invites us to listen along to his all-time favorite musical as it comes to life before us on the stage.

With a quirky cast of characters, a bevy of silly song and dance numbers, and a classic will-they/won’t-they-tie-the-knot set-up, “The Drowsy Chaperone” – a fictitious musical from the late 1920s – is fantastic light-hearted fun, punctuated by catchy tunes and comical mishaps aplenty.

Daniela Innocenti-Beem in the title role (Photo by Eric Chazankin)

The production features some excellent ensemble work and a host of talented performers, though Daniela Innocenti-Beem steals the show with her powerhouse vocals. She’s an absolute hoot in the title role, too, stumbling in and out of scenes in a semi-drunken stupor.

. . . the perfect happy escape for anyone seeking a bit of refuge and good-natured fun.”

Andrew J. Smith is equally uproarious as Adolpho, the cape-clad caricature of an Italian ladies’ man, on a mission to break up the wedding. Maeve Smith takes an endearing turn as bride-to-be Janet Van De Graff, boasting a beautiful voice and a (deliberately) terrible French accent. Setzer is the show’s anchor, and phenomenally good in the role of “Man in Chair,” chaperoning us through the action on stage.

The cast of “The Drowsy Chaperone” at work!

Supporting cast members are marvelously entertaining, too. Jonathen Blue shines as George, the tap-dancing best man, joined by Stephen Kanaski, who makes a charming groom-to-be and earns laughs with his blindfolded roller-skating. Emily Owens Evans perfects the ditzy aspiring starlet trope as Kitty, and Sean O’Brien deserves kudos for enduring a series of preposterous spit takes in the role of “Underling.”

Liz Andrews has done an admirable job with style and period-appropriate choreography for this show. Rebecca Ann Valentino’s costumes deserve a nod, too, thanks to an array of fabulous, flapper-inspired frocks and a host of other elaborate get-ups that add immensely to the fun.

Stephen Kanaski and Maeve Smith as the bride and groom to-be (Photo by Eric Chazankin)

Brindle Brundage and Ryan Severt have designed and built a simple but charming set, with a clever layout enabling it to serve as both Setzer’s apartment and the stage for a full-ensemble musical. From ringing phones to record players, sound effects by Tom Luekens are perfectly timed. The accompaniment of a live band under Sherrill Peterson’s direction makes the music loud and lively, though at times it drowns out the singers on stage, due in part to the hall’s challenging acoustics. But any bumps in the road are easily forgiven amid the merriment.

As the “Man in Chair” reminds us, music and theater have the power to transport us away from our daily stress and struggles when we’re feeling blue. “The Drowsy Chaperone” is a celebration of this power, and the perfect happy escape for anyone seeking a bit of refuge and good-natured fun.

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Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.

 

 

 

 

 

 

 

 

 

 

 

ProductionThe Drowsy Chaperone
Written byBook by Bob Martin and Don McKellar; Music and Lyrics by Lisa Lambert and Greg Morrison
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThrough July 31st
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Websitewww.sonomaartslive.org
Telephone866-710-8942
Tickets$25 – $42
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!
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PICK! ASR Theater ~~ Latin Flair Brings the Heat as Transcendence Theatre Returns with “Let’s Dance”

By Cari Lynn Pace

Summers at Jack London State Historic Park in Glen Ellen have been parched and dusty ever since Transcendence Theatre Company abandoned their outdoor stage for two years due to the pandemic.

TTC’s award-winning assemblage of talented singers and dancers from Broadway and LA shows have finally burst back onto the stage for their summer season opener “Let’s Dance.” They’ve returned with smiles, boundless energy, and rhythm from top to toe.

When the orchestra sounds the opening note, and the bright lights go up onstage, prepare to be blown away!

Transcendence has presented productions under the stars at Jack London State Park for ten summer seasons. Their successful “Best Night Ever!” formula has traditionally been a potpourri of popular song-and-dance numbers from hit musicals. “Let’s Dance” is their first summer offering for 2022, to be followed by two later productions: “Hooray for Hollywood” in late July and early August, and “The Gala” in September.

“Let’s Dance” displays the influence of guest director and choreographer Luis Salgado, whose Puerto Rican roots give the entire production a Latin flair. Salgado enthuses “I wanted to showcase the cultural heritage of dance to include salsa, Peruvian tap, and drum solos. We blended these with contemporary moves. It was a challenge rehearsing new movement styles outdoors in the heat of the sun, waiting for it to cool off a little. But we did it! I love this community and its spirit, its soul!”

L to R: Catherine Wreford, Anna Aliau I. Guerra, CorBen Williams, Sophie Lee Morris, Kyle Kemph Photo Credit: Rob Martel

Salgado brings out the best from TTC’s troupe of skilled dancers. Their exhaustive efforts—strenuous, athletic, and precise—give a rousing start to the opening number in “Primer Acto” (Act I.) Twenty singers and dancers, including many new faces among beloved Transcendence regulars, keep the energy charged up.

Segundo Acto (Act II) starts with a Peruvian drum solo improvisation by guest artist Luis Antonio Vilchez Vargas in baggy white pants and a big smile. The audience claps as instructed, to amusing pantomime. The feel-good atmosphere rises as does the moon above the stone ruins of the park.

“Let’s Dance” is mostly dance, yet plenty of singing numbers also shine. Spanish speakers may enjoy “Dos Oruguitas” while all can follow the many musical medleys packed with Broadway hits. The production is splendidly accompanied by the 10-piece Transcendence Band conducted by Matt Smart.

Jack London State Historic Park starts admitting picnickers to TTC performances as early as 5 p.m. Patrons bring hampers, food trucks ply their wares, premium wine and beer vendors offer tastes and sell glasses and bottles—to be enjoyed outside the amphitheater, as no alcohol may be brought in.

CorBen Williams & Brianna-Marie Bell Photo Credit: Ray Mabry

Live music encourages the fun and friendly banter in the dry open field, amusingly mislabeled the “great lawn.” Outdoor seating, all assigned, begins in the stone ruins as the sun drops low beyond the mountains. New this season are chairs with padded seats and backs, a welcome addition to the winery ruins.

Just before the show starts at 7:30, take time to breathe deeply of the clear air in the summer night. As the nearby vineyards glow in the setting sun, get out a jacket and lap blanket, and enjoy the quiet beauty of this Valley of the Moon. When the orchestra sounds the opening note, and the bright lights go up onstage, prepare to be blown away!

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ASR Writer & Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

 

 

 

 

 

 

 

 

 

ProductionAn Enchanted Evening
Written byTranscendence Theater Co.
Directed byBrad Surosky
Producing CompanyTranscendence Theatre Company
Production DatesThru Sept 17th
Production AddressBeltane Ranch
Glen Ellen, CA
Websitewww.transcendencetheatre.org
Telephone(877) 424-1414. Toll free,
Tickets$35-$49
Reviewer ScoreMax in each category is 5/5
Overall3.75/5.0
Performance4.0/5.0
Script3.5/5.0
Stagecraft3.0/5.0
Aisle Seat Review Pick?----
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ASR Theater ~~ “Rent” Pays It Back with Spirit and Energy; MMT Performs at NT

By Cari Lynn Pace

In 1996 Jonathan Larson debuted “Rent,” his musical about rebellious and irresponsible youth leading a lifestyle of hedonism and drug use in the rough streets of NYC. Their dismal lives are pointless and the ending isn’t pretty, but they sing and dance about it anyway. The musical won both Pulitzer and Tony awards and spotlighted the AIDS epidemic of that time.

Although this synopsis of “Rent” sounds cheerless, this show’s over-the-top energy and talent provide much to cheer about. The production by Marin Musical Theatre Company, in collaboration with the Novato Theatre Company, is really spirited. It took MMTC many years attempting to gain the rights to perform the show. It was worth the wait.

“It took MMTC many years attempting to gain the rights to perform the show. It was worth the wait.”

Accompanied by four onstage musicians, eighteen actors explode with powerful voices, tight choreography, and stunning staging. The dancing is particularly energetic, using table tops and platforms between high scaffolding. NTC’s small 99-seat theatre is an intimate venue which allows the audience to feel up close and personal with the performers. “I’ve seen this show on Broadway and it wasn’t nearly as exciting as this one,” one audience member noted.

Director Jenny Boynton confided, “We’ve been rehearsing only six weeks, but this cast really gelled together right from the start and amazed me with their talent. It made my job a lot easier.”

Local theatre fans will be delighted to see many new faces onstage. An NTC board member commented, “This is the next generation of actors to keep performance tradition alive. They’re young, and they’re our future stars.”

Vocal standouts abound, including Nelson Brown in perfect harmony with Jake Gale. Gary Stanford Jr.’s voice fills the theatre to the rafters. Stephen Kanaski twirls across the stage and croons to great applause. Trixie Aballa beautifully belts out her songs while dancing, topped only by Shayla Lawler’s sensual solo in Act II. Kudos to choreographer Katie Wickes for such spirited dances—from Anna Vorperian’s tango to the explosive rock-out of the entire company.

“Rent” is a remarkable tour de force, a tight production far beyond one’s expectations. With the adult themes of the show, consider the appropriate age to bring youngsters. Tickets are selling briskly, so take possession of this show before the lease runs out April 10th.

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ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

 

 

 

 

 

 

 

 

 

ProductionRENT
Written byJonathan Larson
Directed byJenny Boynton
Producing CompanyMarin Musical Theatre Co. in collab. w/ Novato Theater Co.
Production DatesThrough April 10th
Production AddressNTC, 5420 Nave Drive, Novato 94949
Websitewww.MarinMusicals.org
Telephone
Tickets$18-$30
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script3/5
Stagecraft5/5
Aisle Seat Review Pick?YES
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An ASR Pick! Center Rep Delivers a Sumptuous “Christmas Carol” — by Barry Willis

Kerri Shawn and Michael Ray Wisely (Photo courtesy of Center Rep)

The holiday spirit can’t get any brighter or more uplifting than the one inhabiting Center Repertory Company’s “A Christmas Carol,” at the Lesher Center for the Arts in Walnut Creek through December 23.

A sumptuous large-scale production on one of the biggest stages in the Bay Area, this almost-a-musical update to the Charles Dickens classic is Broadway-quality, with a huge and hugely talented cast of approximately thirty actors/singers/dancers, and with spectacular scenic effects in what is arguably one of the premier physical theaters in Northern California. Center Rep is deeply endowed.

Why almost-a-musical? Productions of this enduring story always feature traditional Christmas carols—in fact, they’re among the many holiday irritants that provoke the wrath of miserable old miser Ebenezer Scrooge—but in this one, director Scott Denison and music director Michael Patrick Wiles have chosen to include a vocal quartet whose harmonies serve to underscore the drama, not to comment on it as in a Greek tragedy, but to deepen the emotional impact of key scenes. 

Jeff Draper as Marley

It’s a wonderfully effective gambit, as wonderful in its own way as is the towering set by Kelly James Tighe that serves as Scrooge’s office and home, as London streets, and as the netherworld from which emerge the ghost of Scrooge’s partner Jacob Marley (Jeff Draper), and the ghosts of Christmases Past, Present, and Future (Kerri Shawn, Jerry Lee, and Scott Maraj, respectively). Shawn and Lee are especially delightful—Shawn with gorgeous voice and glittering gown, flitting about as she leads Scrooge through a return to his youth, Lee with boisterous good humor and infectious dynamics as he shows the cranky old bachelor how his relatives and employees celebrate the holiday. Maraj is silently malevolent as the giant specter of Christmas Future—“wardrobe engineering” by Thomas Judd.

The Cratchit family is portrayed with great sensitivity—Michael Patrick Wiles as Bob Cratchit, Scrooge’s loyal and long-suffering clerk; Addison Au as his wife Belinda; William Foon as Tiny Tim; and a passel of sisters and brothers too numerous to name. Michael Barrett Austin does a convincing turn as Fred, Scrooge’s well-meaning nephew.

. . . as near-perfect a production of “A Christmas Carol” as you may ever hope to see . . . “

Michael Patrick Wiles and William Foon (Photo courtesy of Center Rep)

As in other productions, Scrooge’s viewing of the Fezziwigs’ annual party is a highlight of the first act, with wild dancing (choreography by Jennifer Perry) and frenetic comic acting by Michael McCarty and Jeanine Perasso as Mr. and Mrs. Fezziwig. It’s a beautifully portrayed pivotal moment in which Scrooge (Michael Ray Wisely, brilliant) begins to comprehend all that he’s lost in his single-minded pursuit of profits, but it takes much more than that to provoke an epiphany that converts him from despised capitalist oppressor to beatific benefactor. Visions of his own demise, the plundering of his possessions, dismissive sentiments among those who knew him, and ultimately, the loss of Tiny Tim, all combine to overwhelm him to change. 

All these plot points are stunningly conveyed in a production that’s both heartfelt traditional drama and techno-spectacular. 

Opening night was marred by a couple of minor glitches—voices inaudible during the opening scene (quickly corrected), and onstage voices competing with the unseen narrator. The populous streets of London aren’t as bustling as they might be, and some of the spectacle may be too much for very young children, of whom there were many on opening night, but no hysterical crying was heard from the audience in the capacious Hoffman Theatre.

Apart from these quibbles, this is as near-perfect a production of “A Christmas Carol” as you may ever hope to see. With a ground-floor art gallery open before the show, and a delectable assortment of restaurants nearby, the Lesher Center for the Arts is a tremendous destination, reachable by BART or an easy jaunt on Highway 24. However you get there, you’ll be glad you did.

Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

ProductionA Christmas Carol
Written byCharles Dickens, adapted by Cynthia Caywood and Richard L. James
Directed & Choreographed byDirected by Scott Denison; Choreographed by Jennifer Perry
Producing CompanyCenter Repertory Company
Production DatesThrough December 23rd, 2021
Production AddressLesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Websitecenterrep.org
Telephone(925) 943-7469
Tickets$33-$50
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review Pick?Yes!
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An Aisle Seat Review: “Buddy” A Rocking Good Time at 6th Street – by Barry Willis

Kyle Jurrasic as Buddy Holly (Photo Credit: Eric Chazankin)

1950s musical icon Buddy Holly had a short but prolific career. With 12 top 100 hits within three years, his sweet lyrics and catchy rhythms proved to have enduring influence on many artists that followed, including the Beatles and Rolling Stones.

Now in an extended run through February 16 at Santa Rosa’s 6th Street Playhouse, “Buddy—The Buddy Holly Story” follows his meteoric rise from the country music scene in Lubbock, Texas, to New York City and elsewhere—including his final performance in Clearlake, Iowa before a plane crash that took his life and those of fellow performers Ritchie Valens and The Big Bopper. Holly was only 22 and might have gone on to a long illustrious career, but the catalog he left behind is still a source of inspiration and joy.

The show is a “jukebox musical”—one that conveys the biographical facts interspersed with Holly’s many hits. Bay Area newcomer Kyle Jurrasic is excellent as Holly, capturing his signature look, song styling, and guitar playing. That’s to be expected of an actor who’s played the role multiple times. Director D.J. Salisbury also has extensive experience with the show, having directed and/or choreographed seven previous productions.

The show’s infectious energy carries it along beautifully…”

The large cast is generally tremendous, especially Seth Dahlgren as the Big Bopper, Marc Assad as Valens, and Charlie Whitaker as Maria Elena Santiago, Holly’s wife. Husband-and-wife team John and Jennifer Bannister are superb in multiple roles, while music-and-dance numbers are handled adroitly by triple-threat Trevor Hoffman with Selena Elize Flores and Jennifer Barnaba. Nick Ambrosio is comically delightful as Jerry Allison, Holly’s drummer.

Opening night was marred by a few technical glitches—what the heck was a battery-powered transmitter doing attached to a 1950s guitar?—but that didn’t seem to bother the sold-out crowd clearly assembled to revel in the music, delivered with gusto and authenticity over the course of nearly two-and-a-half hours. The show’s infectious energy carries it along beautifully, but as has been true for several recent 6th Street productions, the set is minimal—in this case little more than three pairs of flats decorated with neo-50s graphics, that serve as everything from office walls to elevator doors. Production values are otherwise fairly high—costumes, lighting, and sound. The skimpy set is all that holds this show back from a higher rating, but it may not be a concern for the many Buddy Holly fans likely to buy tickets.

Barry Willis is the Executive Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

ProductionBuddy—The Buddy Holly Story
Written byAlan Janes
Directed byD. J. Salisbury
Producing Company6th Street Playhouse
Production DatesThrough February 16th
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$35 – $48
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?-----
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ASR’s Year in Review: Our “Best of the Best” from 2019 – by Nicole Singley and Barry Willis

Better late than never, the old adage has it. Here (in no particular order) are some memorable productions from last season, a year full of four- and five-star achievements.

The Jungle (Curran Theatre): San Francisco’s renovated Curran Theatre was re-renovated for an immersive recreation of a 2016 crisis in a refugee camp in Calais, France. A huge and hugely talented multi-ethnic cast made this show last season’s most profound and moving theatrical experience. (BW)

After Miss Julie (Main Stage West): Ilana Niernberger and Sam Coughlin paired up for a thrilling pas de deux in Patrick Marber’s evocative spin on “Miss Julie,” transplanting Strindberg’s classic story to a summer night in 1945. A stunning set, great lighting, and white-hot performances brought class and erotic tensions to a boil, culminating in a seriously steamy tango scene that won’t be soon forgotten. (NS)

Rocky Horror Show (Marin Musical Theatre Company): MMTC took this Halloween favorite far over the top at the San Anselmo Playhouse, thanks to stunning efforts by Jake Gale, Nelson Brown, Dani Innocenti-Beem, Pearl Fugit and many others. (BW)

Barbecue Apocalypse (Spreckels): The laughs were served well-done in this quirky comedy, thanks to a witty script marinated in millennial-centric humor and a talented ensemble. Clever costumes, strong technical work, and excellent casting proved that all it takes to survive the end of days is a little raccoon meat and some serious comic relief. (NS)

Romeo and Juliet (Throckmorton): Mill Valley’s Throckmorton Theatre and the streets around it became Verona, Italy, in a sweetly evocative, imaginative, and fully immersive production of Shakespeare’s timeless tragedy. (BW)

Sex with Strangers (Left Edge Theatre): Left Edge Theatre turned up the heat in “Sex with Strangers,” a seductive modern romance that broaches big questions about love, ambition, and the price of success in the digital era. Dean Linnard and Sandra Ish brought the story’s unlikely couple to life with electric chemistry and powerful, nuanced performances. (NS)

Incidents in the Wicked Life of Moll Flanders (Ross Valley Players): RVP gambled and won with Jennifer LeBlanc’s adaptation of Daniel Defoe’s 1722 novel. Amber Collins Crane stole the show as the lead in a compelling tale about a beautiful, quick-witted woman who rose from miserable circumstances to respectability through petty crime, stealth, charm, and unusually good luck. (BW)

Drumming with Anubis (Left Edge Theatre): Left Edge Theatre invited us along to the Neo-Heathen Male Bonding and Drumming Society’s annual campout, where a group of aging death metal fans communes in the desert to beat their bongos. Things got a little dark, a lot hilarious, and surprisingly touching when the Egyptian god of death crashed the party. Local playwright David Templeton’s brilliant new show earned a 5-star reception, featuring a phenomenal cast and beautiful scenic design. (NS)

How I Learned What I Learned (Marin Theatre Company): Director Margo Hall coaxed a tremendous performance from Steven Anthony Jones, who brought grandfatherly wit and wisdom to the role of playwright August Wilson. A master class in story-telling. (BW)

Faceless (6th Street Playhouse): Former artistic director Craig A. Miller returned to helm this riveting courtroom drama about an American teenager caught running away to join her internet boyfriend in ISIS. Razor-sharp dialogue and powerhouse performances made for an intense and memorable experience in 6th Street’s intimate studio theater. (NS)

The Year of Magical Thinking (Aurora Theatre Company): Stacy Ross glowed in a masterly solo recital of Joan Didion’s play from her book of the same name. (BW)

Home (Berkeley Repertory Theatre): In this stunning piece of performance art by Geoff Sobelle, audiences watched a two-story house materialize from the shadows of an empty stage as if by magic. A spectacle of epic proportions, this visual feast reminded theatergoers that a house is just a space in which we come together to make a home. (NS)

Fully Committed (6th Street Playhouse): Patrick Varner channeled 40-some characters in his hilarious one-man depiction of a scheduling manager at his wits’ end in a high-end NYC restaurant, at Santa Rosa’s 6th Street Playhouse. (BW)

Merman’s Apprentice (Sonoma Arts Live): Daniela Innocenti-Beem brought Broadway legend Ethel Merman back to the stage with a larger-than-life performance in this sparkling world premiere, brimming with catchy tunes and colorful humor. Innocenti-Beem and teenaged costar Emma Sutherland boast some serious pipes, which made this charming new musical all the more fun. (NS)

Mother of the Maid (Marin Theatre Company): A mother’s love and devotion were never so well depicted as in this lovely, heart-rending piece about Joan of Arc’s mother Isabelle (Sherman Fracher). (BW)

Eureka Day (Spreckels): Laughter proved contagious in Jonathan Spector’s whip-smart “Eureka Day,” pitting parents at a Berkeley charter school against each other in the wake of a mumps outbreak. An all-star cast, elaborate set design, and top-notch technical work combined to make this a 5-star production. (NS)

Cabaret (San Francisco Playhouse and Napa’s Lucky Penny Productions): Both of these productions were excellent and amazing versions of this dazzling but starkly disturbing cautionary tale. (BW) 

Miss Bennet: Christmas at Pemberley (Spreckels): Theatergoers were dazzled by this cleverly written and superbly acted continuation of Jane Austen’s beloved Pride and Prejudice, containing everything an Austenesque story should: delicious drama, a heartwarming romance, and an abundance of humor and wit. Pitch-perfect direction and exemplary casting made “Miss Bennet” the ultimate holiday treat. (NS)

Harry Potter and the Cursed Child (Curran Theatre): Nonstop high-intensity theatrical magic is the only way to describe this extravagant production, running into next July. (BW)

A Gentleman’s Guide to Love and Murder (Spreckels): Hilarity ensued in this madcap musical about a man clawing his way to the top of the family tree. Tim Setzer stole the show as all nine members of the D’Ysquith family, all of whom meet their ends in some of the most creative and comical ways imaginable. Excellent ensemble work, cute choreography, and clever projections made this one killer production. (NS)

Barry Willis is the Executive Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.

 

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AN AISLE SEAT THEATER REVIEW PICK! “Merman’s Apprentice” Delights at Sonoma Arts Live – by Barry Willis

Sutherland and Innocenti-Beem light up the stage in “Merman’s Apprentice” (Photo Credit: Miller Oberlin)

A young girl with stars in her eyes goes on the trip of a lifetime, and takes the audience with her, in “Merman’s Apprentice,” at Sonoma Arts Live through October 13.

It’s New York, 1970. Broadway legend Ethel Merman (Daniela Innocenti-Beem) is enjoying the zenith of her long career when into her life comes Muriel Plakenstein (Emma Sutherland), a 12-year-old runaway whose big dream is to be a Broadway star like Merman, her idol. Muriel happens to know everything about Ethel Merman, including every song she ever sang and obscure details of shows that ran decades earlier. An obsessive who will find fulfillment only in absorbing everything-Mermanesque, Muriel gets her wish, and in doing so fills a huge gap in Merman’s life. 

The cast of Merman’s Apprentice (Photo Credit: Miller Oberlin)

The adult woman and the runaway form an almost-instant bond, reinforced early in the first act by the joyfully infectious song “Chums,” one that sets the emotional tone for the entire production. Innocenti-Beem is amazing as mentor/fairy godmother to a goofy talented girl with single-minded devotion toward becoming the next Ethel, as is 17-year-old Sutherland in conveying the innocence, enthusiasm, and vulnerability of adolescence. Playing younger is difficult for all performers, and Sutherland does it perfectly. As the story progresses, Muriel meets legendary musical theater impresario David Merrick (Patrick Barr), enjoys performances at the St. James Theatre, and dinners-and-drinkfests at Sardi’s. She also becomes Merman’s permanent house guest. Stars in her eyes, indeed.

Part fable, part fairy tale, and all heart, . . . a show that will delight theater fans of all varieties and ages.”

Playwright and lyricist Stephen Cole was a close friend of the real Ethel Merman in her later years and captures her signature snappy repartee perfectly. Innocenti-Beem, a huge-voiced stalwart of North Bay musical theater, has often been compared to Merman, including her penchant for improvisational off-color humor. When Cole met Innocenti-Beem for the weeks-long refinement process that rendered this show, he declared her “more Ethel than Ethel was,” echoing what local critics have been saying for years. She soars in “Listen to the Trumpet Call” late in the first act. One of Innocenti-Beem’s “Apprentice” costumes is the spectacular red dress she wore in a recent production of “Hello, Dolly,” a Merman signature role. 

Cole’s musical collaborator David Evans has cooked up a couple dozen tunes that evoke the glory days of big brash Broadway musicals. “Apprentice” is set in 1970 but it references an earlier, more innocent age—there’s no hint of the Vietnam War or the growing protest movement, nor of the era’s incendiary black radicalism. It’s as if 1955 were forever trapped in amber, but the music is tremendous, delivered by an ace seven-piece band under the direction of Sherrill Peterson. The songs all clearly reference blockbuster show tunes from the 1930s into the ‘60s. The finale seems to quote “Comedy Tonight,” the lead song from “A Funny Thing Happened on the Way to the Forum.” 

Holsworth and O’Brien as Mom and Pop (Photo Credit: Miller Oberlin)

Directors Larry Williams and Jaime Weisen Love have done something magical in bringing a production of this scale to the Rotary Stage. The large ensemble does an admirable job with Lissa Ferreira’s choreography on an impressive set by Gary Gonser, now recovering from a recent medical emergency. (Get healthy, Gary!) Sean O’Brien and Julia Holsworth are outstanding among the ensemble in their roles of Pop and Mom, respectively. Holsworth’s flat-footed shuffle is especially funny. The only real quibble with this world premiere is that the first act may be a bit overlong and the second act too short. It’s as if the second act needs one more song to balance the production. Cole and Evans can certainly supply this before the show goes to Broadway, as seems inevitable.

“Merman’s Apprentice” is a huge unabashed exercise in nostalgia. Part fable, part fairy tale, and all heart, it’s a show that will delight theater fans of all varieties and ages. The show and its stars are destined for much broader horizons, so catch it while you can.

ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

ProductionMerman's Apprentice
Written byBook and Lyrics by Stephen Cole; Music by David Evans
Directed byJaime Weiser Love and Larry Williams
Producing CompanySonoma Arts Live
Production DatesThrough October 13th
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Websitewww.sonomaartslive.org
Telephone(866) 710-8942
Tickets$25 – $42
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?YES!
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AN AISLE SEAT REVIEW PICK! Big Silly Fun in Cinnabar’s “Little Shop of Horrors” – by Barry Willis

Photo by Vero Kherian.

Roger Corman’s 1960 low-budget comedy/horror flick “The Little Shop of Horrors” is a classic of the genre. In the ‘60s and ‘70s it was a staple of late-night TV, inspiring an adaptation as a stage musical by Howard Ashman, with music by Alan Menken.

It’s been in continual production somewhere since it debuted in 1982, for good reasons. The story is cheesy, the characters are as broadly drawn as possible, and the music is absolutely infectious—think “Rocky Horror Show” meets “Grease.” Cinnabar’s current production of “Little Shop” is a tremendously high-energy treatment of this All-American classic, directed by Nathan Cummings and choreographed by Bridget Codoni, running through September 22.

The little shop is Mushnik’s Skid Row Florists, a failing retail business in a decrepit part of the city. Proprietor Mr. Mushnik (played with palpable fatigue and despair by Michael Van Why) prays for a miracle to keep his doors open. His hoped-for miracle appears when needed most— in the form of a carnivorous plant developed by Mushnik’s nerdy assistant Seymour Krelborn (Equity actor Michael McGurk).

Since its intro in 1982, American audiences can’t get enough schlocky story telling entertainment…

The presence of the plant in the shop generates astounding public interest for reasons that no one questions. Seymour names the plant “Audrey II” in honor of his co-worker Audrey (Sidney Raey-Gonzales), a sweetly reticent girl in an abusive relationship with a sadistic dentist, Dr. Orin Scrivello (Keith Baker, superb in multiple roles).

 

Seymour discovers by accident that the plant thrives on human flesh and blood — and that it speaks, demanding to be fed. Each feeding causes huge spurts in the plant’s aggressiveness and size—it goes from a “strange and interesting” thing in a small pot in the shop’s window to an enormous all-consuming monster that can devour a human in one gulp.

Mushnik’s business enjoys phenomenal growth in direct proportion to the plant’s, from selling a handful of posies each day to supplying all the flowers for the Rose Bowl Parade. Seymour undergoes a similar transition, from perpetually unnoticed back-room nobody to pop star, winning Audrey in the process. Her botanical namesake has solved multiple problems, but as in all monster lore — indeed, as in much of human life — the law of unintended consequences kicks in. Audrey II (voiced by Michelle Pagano, puppetry by Zane Walters — both excellent) becomes a massive problem. Solving it becomes Seymour’s new challenge.

Micheal McGurk as Seymour. Photo by Eric Chazankin.

The show’s patently ridiculous dramatic arc is further exaggerated by plenty of upbeat pop music, beautifully sung by Raey-Gonzales, McGurk, Baker, and the “doo-wop girls”: Ronette, Crystal and Chiffon (Selena Elize Flores, Aja Gianola-Norris, and Olivia Newbold, respectively). The trio’s harmonies are marvelous; the three are equally entertaining whether dolled up as an early ’60s girl group or in grunge mode as street urchins, and they nail the choreography. “Somewhere That’s Green,” a sweet invocation of idealized 1950s’ suburban living, is delivered with shimmering conviction by Raey-Gonzales. It’s the emotional high point of the first act.

The Doo-Wop Girls and Dr Scrivello. Photo by Eric Chazankin.

Baker clearly relishes going over the top as the hyper-caffeinated, charming-but-evil Dr. Scrivello. The ultra-kinetic McGurk is absolutely in his element as Seymour. Raey-Gonzales is commanding as Audrey, with a Brooklyn accent that never falters, even when she’s singing.

Peter Q. Parish has conjured a facile set serving as florist shop and city street, needing only a few brief changes from scene to scene. Their brevity helps propel this quick-moving musical—less than two hours including a fifteen-minute intermission. Hilarious and enthralling from beginning to end, this “Little Shop of Horrors” is an entertainment bargain certain to sell out fast. It’s simply big silly fun, fabulously well done.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

ProductionLittle Shop of Horrors
Written byWritten by Howard Ashman, from the screenplay by Charles Griffith
Directed byDirected by Nathan Cummings.

Assisted by Cecelia Hamilton.
Producing CompanyCinnabar Theater
Production DatesThrough Sept. 22nd
Production Address3333 Petaluma Blvd North
Petaluma, CA 94952
Websitewww.cinnabartheater.org
Telephone (707) 763-8920
Tickets$30 – $45
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?YES!
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AN AISLE SEAT REVIEW PICK! “Cabaret” a Bawdy Cautionary Tale at SF Playhouse – by Barry Willis

The Kit Kat dancers at SF Playhouse. Photo by Jessica Palopoli

Every summer, San Francisco Playhouse revives a classic musical and runs it all season long. It’s a brilliant marketing ploy leveraging Union Square tourist traffic, one that gives company principals a breather to prepare for an intense fall/winter schedule. The company’s current offering is a splendid take on Kander and Ebbs’s “Cabaret,” through September 14.

It’s one of several iterations of “Cabaret” to pop up recently in the Bay Area, thanks to the Trump presidency and its supporters. SFP’s bawdy effort is both wonderfully entertaining and horrifically startling—a cautionary tale about the rise of pure evil among seemingly nice friendly people, such as Ernst Ludwig (Will Springhorn, Jr.), the charming German businessman who befriends American novelist Cliff Bradshaw (Atticus Shaindlin) on a train ride into Berlin.

Cate Heyman as Sally Bowles works SF Playhouse. Photo by Jessica Palopoli

Ludwig introduces Bradshaw to Fraulein Schneider (Jennie Brick), proprietress of a rooming house where he soon takes up residence, and to the Kit Kat Klub, the cabaret of the show’s title. There he meets many denizens of Berlin’s cultural underworld, including the fetching Sally Bowles (Cate Hayman), a flighty British singer with whom he’s soon head over heels and sharing a room, both to his regret.

…if you haven’t seen it, make it a priority. If you have, it’s worth revisiting.

Many of the songs in this show made it into the pop repertoire, thanks to the commercial success of the 1972 movie: “Wilkommen,” “Don’t Tell Mama,” “Maybe This Time,” “Cabaret,” “Money,” and “Married,” a lovely duet performed by Fraulein Schneider and Herr Schultz (Louis Parnell), the fruit seller to whom Schneider gets engaged, both of them in late middle age. It’s a lilting note of hope in a show that’s ultimately and intentionally a very bitter pill buried in a thick coating of sugar. Herr Schultz is in deep denial about the rising tide of anti-Semitism, believing that as a native-born German Jew he will be considered a German first. Schneider knows better, and so does Bradshaw.

Jennie Brick and Louis Parnell as Schneider and Schultz. Photo by Jessica Palopoli

But the sugar is sweet and seductive. The Kit Kat Klub’s Master of Ceremonies is convincingly portrayed by John Paul Gonzalez, whose high-energy genderbending is the motive force behind most of the show’s many song-and-dance numbers (choreography by Nicole Helfer), performed by a tremendous ensemble, with music from an ace band under the direction of Dave Dobrusky.

Susi Damilano’s dynamic stage direction is first-rate, as is Jacquelyn Scott’s set design, but what sets this “Cabaret” apart from other very good productions is Cate Hayman as Sally Bowles. A theater student at Carnegie Mellon University (as is Atticus Shaindlin), Heyman brings a depth to her character that other performers have missed. Sally Bowles is usually portrayed as an annoying self-centered airhead, and Heyman encompasses that, but her Sally has an implied backstory that makes her much more substantial than most. Heyman is the best Sally Bowles this reviewer has ever seen.

Also superb is Abby Haug as Fraulien Kost, a resident at Fraulien Schneider’s who earns her living entertaining sailors by the hour. Haug and Heyman will prove justification for many ticket buyers. “Cabaret” at SF Playhouse runs a couple more weeks—if you haven’t seen it, make it a priority. If you have, it’s worth revisiting.

 

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

ProductionCabaret
Written byWritten by Joe Masteroff

Music by John Kander and Fred Eb
Directed bySusi Damilano
Producing CompanySF Playhouse
Production DatesThru Sept. 14th
Production AddressSF Playhouse
450 Post St., San Francisco, CA.
Websitehttps://www.sfplayhouse.org
Telephone(415) 677-9596
Tickets$30-$100
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4/5
Script5/5
Stagecraft4/5
Aisle Seat Review Pick?YES!
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AN AISLE SEAT REVIEW PICK! – “My Fair Lady” Isn’t Fair, It’s Loverly! Oversize Production is a Hit on Their Undersize Stage – by Cari Lynn Pace

The cast of “My Fair Lady” at work. Photos courtesy of Eric Chazankin.

In a bold move, Sonoma Arts Live removed 12 seats from the floor of their narrow theatre to make space for a London street scene. As the house lights go down, a certain cockney flower girl mingles with other back-alley workers awaiting the evening swells in tuxes and top hats. Scruffy Eliza Doolittle crosses paths with Professor Henry Higgins, and thus begins the delightful story of “My Fair Lady”. This energetic and rousing adaptation of the famed movie and stage musical by Lerner and Loewe is playing on the Rotary Stage at Andrews Hall in the Sonoma Community Center through July 28th.

Michael Ross directs an incredibly outsize production in this small and intimate theater. If you sit in the front row, you’d best pull in your legs as the high-stepping dancers rush by. The seven-piece orchestra, directed by F. James Raasch, is completely hidden behind the raised stage, opulently decorated as a two-story English drawing room with gramophone and fireplace.

Impish Sarah Wintermeyer reveals her golden singing voice and sweet face to create an irresistible Eliza. What talent!

When Eliza, a yowling flower girl, comes to call seeking language lessons, the game is on. Larry Williams brings forth arrogant Professor Higgins with a much better voice than Rex Harrison ever didn’t have. He and Colonel Pickering, a well-cast Chad Yarish, make a wager that the dirty, lowly street urchin could be transformed to pass as a real lady in six months if she only learned to speak as one.

And the flower girl? Impish Sarah Wintermeyer reveals her golden singing voice and a sweet face to create an irresistible Eliza. What talent! Before our eyes, she transforms from a sooty guttersnipe into an elegant lady, dressed for the ball. Cinderella could take lessons from her.

Speaking of dressing, Barbara McFadden’s costumes are a real treat, from garbage men and serving maids to elegant grey Ascot tuxes and outsize flowered hats. Simply marvelous!

Alfred P. Doolittle (Tim Setzer) sings “Get Me to the Church on Time” at Sonoma Arts Live. Photos courtesy of Eric Chazankin.

Several of the 12 actors fill multiple roles, and all sing and move in a smooth-flowing ensemble. A big favorite is Tim Setzer, who seems born for his hilarious role as Alfred P. Doolittle. His knockout songs “With a Little Bit of Luck” and “Get Me to the Church on Time” bring the house down. Ryan Hook shows a fine tenor voice when he croons “On the Street Where You Live” at Eliza’s doorway.

Executive Artistic Producer Jaime Love notes “We are thrilled to close our 2019 season with this timeless and iconic classic.” The entire family will enjoy this oversize production on this undersize stage.

ASR Reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

 

ProductionMy Fair Lady!
Written byBook by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThru July 28th
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Websitewww.sonomaartslive.org
Telephone866-710-8942
Tickets$25 – $40
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review Pick?YES!
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AN AISLE SEAT REVIEW PICK! One Singular Sensation: “A Chorus Line” – by Cari Lynn Pace

“A Chorus Line” cast (Photo courtesy of Transcendence Theatre Company)

Every summer through September, friends flock to one of four different “Broadway Under the Stars” shows: mix-and-mingle evenings full of fresh air, picnics, fine wines, stunning scenery, and professional singers and dancers. These extraordinary escapees from the bright lights of Broadway and LA have a single goal: to give patrons their “best night ever!” And they do!

Eight years ago a small circle of NYC and LA performers took the summer off and held a song-and-dance fundraiser in the open stone ruins of Jack London State Historic Park. Their first “Broadway Under the Stars” was so well attended it raised enough money to keep the park open.

Each year the three original members, Amy Miller, Brad Surosky, and Stephan Stubbins, recruit more high-energy performers and friends to join them. Today, with over 55 stellar performers, Transcendence is a family of talented dancers and singers who love performing on the beautiful open-air stage in Sonoma’s wine country. They’ve raised nearly $500,000 from ticket sales to keep the park open and are proud to bring performances and classes to local schools.

Transcendence delivers a knockout show at Jack London State Park.”

The first show in their summer lineup under the stars is the award-winning “A Chorus Line.” It couldn’t be a more appropriate choice for Transcendence. Based on actual interviews, the story is about a group of dancers anxiously trying out for limited spots in a Broadway show. Every one of the performers on stage no doubt went through countless such auditions. Now here they are, under the setting sun and rising moon, dancing and singing to win a part they’ve already joyously earned. This is life imitating life. It can’t get more real than this!

Kristin Piro and Matthew Rossoff (Photo courtesy of Transcendence Theatre Company)

About the Transcendence summer experience: Cast members exuberantly welcome Bay Area patrons who come early to the park for a pre-show dinner picnic under umbrellas. Local musicians entertain on a small stage while food trucks line the meadow. Beer and wine vendors offer tastes and glasses of their finest.

At 7:30, just before sunset, patrons gather up their picnic items (and extra jackets) to head for seats in the stone ruins. The orchestra’s pounding beat brings forth a stream of high-stepping performers who belt out songs with sleek moves and smiles against the background of Sonoma Mountain. Broadway never had such a stage setting!

Catch the stars in Sonoma’s Valley of the Moon in one of four upcoming summer shows:

“A Chorus Line” runs Friday, Saturday and Sunday evenings through June 30th.

“Fantastical Family Night” for the youngest friends begins July 19th for one weekend through July 20th.

“Those Dancin’ Feet” features world-class dancing full of passion, energy, and excitement, backed by a full orchestra. This program runs August 9th through 25th.

The finale of the summer shows is “Gala Celebration” to complete Transcendence’s magic of music and community, for one weekend only September 6th, 7th and 8th.

ASR reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionA Chorus Line
Written byBook by James Kirkwood Jr. and Nicholas Dante; Music by Marvin Hamlisch; Lyrics by Edward Kleban
Directed byAmy Miller
Producing CompanyTranscendence Theatre Company
Production DatesThrough June 30th
Production AddressJack London State Historic Park, Glen Ellen
Websitebestnightever.org
Telephone(877) 424-1414
Tickets$49-$154
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review Pick?Yes!
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AN AISLE SEAT THEATER REVIEW PICK! “Cinderella” Delights at Spreckels – by Barry Willis

Law and Graham (Photo Credit: Jeff Thomas)

Move over, Disney.

An ancient fairy tale gets a modern reworking in Rodgers and Hammerstein’s “Cinderella” at Spreckels Performing Arts Center in Rohnert Park, through May 26. Classicists will be relieved to learn that the story’s essential elements are still intact: a poor abused girl who dreams of a better life, her domineering stepmother and two nasty stepsisters, a magical fairy godmother, a smitten prince, and the promise of miraculous transformations.

Cinderella’s hope of exchanging her rags for the gowns of a princess is an expression of a persistent human dream, very much like the popular urge to buy lottery tickets week after week despite astronomical odds against winning.

In Cinderella’s case, she actually succeeds—she finds Mr. Right, he finds her, and after much travail they live happily ever after. It’s a timeless story—the basis of almost every piece of “chick lit” ever written. The plain yellow pumpkin still becomes a golden carriage, but Douglas Carter Beane’s version adds a new character and subplot in an attempt to make the story more contemporary: a radical firebrand named Jean-Michel (Michael Coury Murdock), who seeks social justice and economic opportunity for everyone. Instead of having his head lopped off instantly, as would happen in most real threats to ruling class hegemony, he succeeds not only in winning the hand of a mean stepsister (converting her to a decent person in the process) but in getting the prince to agree to sweeping changes to his kingdom. Cinderella wins the man and life of her dreams and her entire society gets to go along for the ride. Participation trophies for all!

Cinderella ensemble (Photo Credit: Jeff Thomas)

Director Sheri Lee Miller’s huge cast does a great job conveying the story—one with a 7:00 p.m. evening curtain time in anticipation that hordes of kids will fill the large theater. Brittany Law is marvelous as “Ella” the household maid renamed “Cinderella” by Madame (Daniela Innocenti-Beem) for the dirty work she tirelessly performs. Shawna Eiermann and ScharyPearl Fugitt are excellent as stepsisters Gabrielle and Charlotte, respectively, bringing more nuance to their characters than expected or required. Innocenti-Beem’s Madame takes delight in tormenting poor Cinderella, but has moments of surprising gentility and humor. Musical theater veteran Innocenti-Beem is likely the best singer in the cast but her role limits her to only a few lines of music. Her physical comedy and sense of timing are impeccable.

. . . excellent . . . superb family fare . . .”

Zachary Hasbany is superb as “Prince Topher”—the character’s name another nod to contemporaneity—with a good singing voice and fine sense of movement. The prince—a big guy himself—swings a giant sword in slaying a giant dragon (offstage) but the horse he rides is comically undersized. It’s one of few glitches in the otherwise excellent production. The worst is the huge suspension of disbelief required of the audience when Cinderella goes barefaced to the masked ball where the prince falls for her. Later when scouring the realm for her, he can’t recognize her until her foot fits the shoe she didn’t lose but intentionally gave to him. These twists on the original story aren’t improvements.

Larry Williams is gleefully evil as the conniving Sebastian, the prince’s minister, a sort of fairytale Rasputin, and Sean O’Brien matches him as Lord Pinkleton, another royal court sycophant. A gifted singer, O’Brien has a couple of breakout moments in the show’s many musical numbers. A high point is “Impossible” late in the first act, in which the ragged Marie (Mary Gannon Graham) is transformed into a fairy godmother who in turn transforms mice into liveried footmen, a pumpkin into a carriage, and Cinderella into a potential princess. Graham beautifully channels Billie Burke (Glinda the Good from “The Wizard of Oz”) in this bit, a duet of “Impossible” with Law, and the transformation is one of the show’s great illusions. Many times nominated for critical awards, choreographer Michella Snider is at her best. Group and individual dances and movements are delightful and take full advantage of the theater’s big stage and clear sight lines.

Set design by Elizabeth Bazzano and Eddy Hansen is gorgeous and facile, enabling quick set changes that keep the show moving briskly. Chris Schloemp’s huge colorful projections are stunning. Pamela Johnson’s and Chelsa Lindam’s costumes are gorgeous. Music director Paul Smith’s orchestra—in the pit, stage front—sounds tremendous. What’s not to like? All things considered, this “Cinderella” is excellent. Appropriate for all audiences, of course, it’s superb family fare that won’t require parents to do a lot of explaining when they get home—except for the fact that the “golden carriage” isn’t yellow. For that, you can simply say “It’s white gold.”

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

ProductionCinderella
Written byBook and Lyrics by Oscar Hammerstein
Music by Richard Rodgers
Additional material by Douglas Carter Beane
Directed bySheri Lee Miller; Music Directed by Paul Smith
Producing CompanySpreckels Performing Arts
Production DatesThrough May 26th
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3400
Tickets$18 - $36
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

 

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AN AISLE SEAT THEATER REVIEW PICK! “Bingo, the Musical” Offers Great Silly Fun – by Barry Willis

Through April 7, the intimate stage at Napa’s Lucky Penny Productions is transformed into a VFW bingo hall where three women brave the elements to vie for power, glory—and maybe a handful of petty cash—in a raucous production of “Bingo, the Winning Musical.”

The friends, Vern, Honey and Patsy, dead-serious Bingo fanatics all, converge to compete on the fifteenth anniversary of Vern’s split with her former friend Bernice (Jennifer Brookman), an event so traumatic that the two have never reconciled. It’s an injustice that Bernice’s daughter Alison (Pilar Gonzalez) is determined to make right.

Lundstrom, Innocenti Beem, and Rider (Photo courtesy of Lucky Penny Productions)

Outlandish challenges—“I’m a professional bingo player!” shouts Vern (the irrepressible Daniela Innocenti Beem)—an attempted seduction of the game’s number caller Sam (Tim Setzer) by the flirtatious Honey (Shannon Rider), and the invocation of spirits, talismans, and good-luck charms by the addled Patsy (Sarah Lundstrom) are only part of the fun, all watched over by Minnie (Karen Pinomaki), a mischievous sprite who manages the hall, an authentic recreation of such places found in almost every town in America. Lucky Penny’s set includes a real numbers board, a rotating hopper to randomize the balls, and bingo cards for each member of the audience, encouraged to play along at least three times in the course of the show. Napa just happens to be home base for a major distributor of bingo equipment. Who knew?

Infectiously energetic… great silly lightweight fun…”

Add to this some spectacular singing in ensemble numbers such as “Girls Night Out,” “Anyone Can Play Bingo,” “I  Still Believe in You,” “Under My Wing,” and “Ratched’s Lament.” Solo numbers are also superb (music direction by Craig Burdette), including “I’ve Made Up My Mind” (Alison), “Patsy’s Flashback,” “Swell” (Vern), and “Gentleman Caller” (Honey). Where else can you see a “straightjacket ballet” (choreography by Staci Arriaga and Taylor Bartolucci) in which bingo gals go all out like a bunch of lunatics recently released from the asylum? Does bingo make its players crazy or are they a little bit that way from the start?

Infectiously energetic, “Bingo, the Winning Musical” doesn’t offer profound messages or cosmic revelations, but—perhaps more appealing—it does ultimately set aside the petty resentments that infect us all in favor of enduring friendship among charmingly ordinary people. Tickets are money well spent on a couple hours of great silly lightweight fun with the added benefit of a potential sweep of “blackout” or “crazy snakes.” You can’t win if you don’t play.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

ProductionBingo, the Winning Musical
Written byMichael Heitzman, Ilene Reid and David Holcenberg
Directed byTaylor Bartolucci; Music Directed by Craig Burdette
Producing CompanyLucky Penny Productions
Production DatesThrough April 7th
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$30-40
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft3.5/5
Aisle Seat Review Pick?Yes!
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AN AISLE SEAT THEATER REVIEW PICK! Rollicking “Million Dollar Quartet” at 6th Street Playhouse – by Barry Willis

In recent years the jukebox musical has become a staple of American theater, in which a collection of great songs gets tied together with a plausible narrative and dramatic arc. “Million Dollar Quartet” fits snugly into this tradition, at Santa Rosa’s 6th Street playhouse through March 24.

A fictionalized account of a real event—an evening in early December, 1956, when Johnny Cash, Carl Perkins, Jerry Lee Lewis, and Elvis Presley converged and performed at Sun Studios in Memphis—the show is a rousing piece of Americana and a tour de force of iconic early rock ’n’ roll. An amalgam of African-American blues and gospel and white Southern folk music, rock emerged in the postwar period, giving voice to a new generation and shocking the cultural establishment both in the United States and Europe. Its pervasive effects continue to this day.

…a rousing piece of Americana and a tour de force of iconic early rock ’n’ roll… do not miss this show.”

Directed by Bay Area theater veteran Michael Ray Wisely, who has performed in and directed other productions of “Million Dollar Quartet,” the 6th Street show features two performers from the national touring production—Daniel Durston as Elvis and Steve Lasiter as Johnny Cash. Sonoma County actor/musician Jake Turner is superb as Carl Perkins, as is his guitar playing, and music director Nick Kenrick is astounding as the frenetic Jerry Lee Lewis.

(Photo Credit: Eric Chazankin)

Samantha Arden does a lovely turn as Dyanne, Elvis’s girlfriend, while Benjamin Stowe anchors the whole affair as Sam Phillips, the producer/recording engineer widely acknowledged as the “Father of Rock ‘n’ Roll.” And let’s not forget drummer Nick Ambrosino and bassist Shovanny Delgado Carillo, who provide infectious drive to the music of the four ersatz superstars. Conor Woods’s adaptation of the original set design is substantial, compelling, and versatile.

The song list includes a couple dozen classics from the early 1950s, including “Blue Suede Shoes,” “Folsom Prison Blues,” “Great Balls of Fire,” “Hound Dog,” and “Whole Lotta Shakin’,“ all of them stunningly rendered. This reviewer saw the national touring production, and 6th Street’s is just as good. If you’re a fan of that era, do not miss this show. Even if you’re only mildly fond of early rock, it’s still a really fun way to spend an evening.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

ProductionMillion Dollar Quartet
Written byColin Escott & Floyd Mutrux
Directed byMichael Ray Wisely; Music Directed by Nick Kenrick
Producing Company6th Street Playhouse
Production DatesThrough March 24th
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$40 – $48
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?Yes!
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AN AISLE SEAT THEATER REVIEW PICK! “Hello, Dolly!” An Eye-popping Extravaganza at the Golden Gate Theatre – by Barry Willis

A multiple Tony winner and perennial favorite since its 1964 debut, “Hello, Dolly!” was for decades a star vehicle for recently departed Carol Channing, the performer most associated with the lead role of yenta and all-around advice giver Dolly Gallagher Levi.

The legendary Betty Buckley handles the lead with aplomb in the sumptuous national touring show, at San Francisco’s Golden Gate Theatre through mid-March. In other productions, Dolly has been inhabited by Bette Midler and other top talents. Ms. Buckley manages to make the character her own without referencing any of the other stars that have taken it on, a major achievement in its own right.

…an absolute extravaganza… nearly everything about this show is incredibly good.”

Backed by what appears to be an unlimited budget, the show is one of the biggest spectacles to land in San Francisco in several years. The capacious Golden Gate is its ideal venue. The show is an absolute extravaganza, from stunning backdrops, costumes, and sets to the supreme talents of a huge cast, including Lewis J. Stadlen as Horace Vandergelder, the wealthy merchant and target of Dolly’s matrimonial intentions. Among the secondary cast, Nic Rouleau is a standout as the lovelorn Cornelius Hackl, one of Vandergelden’s underpaid and underappreciated employees.

Partial ensemble (Photo Credit: Julieta Cervantes)

As townspeople, waiters, and other characters, approximately 30 performers do everything from simple walk-on bits to astoundingly athletic dance numbers—all of it appearing nearly effortless, and the show moves along with grace, precision, and enormous energy. There are no weak links in this production—in fact, the only weak link, and it’s a stretch to say this, may be Ms. Buckley herself, because nearly everything about this show is incredibly good. If she’s the weak link, it’s a strong, supple one.

“Hello, Dolly!” is a lightweight musical set around the turn of the 19th century, with some great songs in mid-20th century style—not merely the title song, but others including the heart-rending “Before the Parade Passes By.” Adhering to a time-honored plot device of the matrimonially-minded seeking partners with money, the show has been unfairly criticized for lacking relevance to modern audiences—sold-out performances at the thousand-seat Golden Gate to the contrary. If you have a hankering for a classic Broadway musical the way it was intended to be seen, this is the show for you.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

ProductionHello, Dolly!
Written byBook by Michael Stewart, Music and Lyrics by Jerry Herman
Directed byJerry Zaks
Producing CompanyNational Touring Production
Production DatesThrough March 17th
Production AddressGolden Gate Theatre
1 Taylor Street
San Francisco, CA 94102
Websitewww.shnsf.com
Telephone(888) 746-1799
Tickets$56 – $256
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft5/5
Aisle Seat Review PICK!Yes!
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An Aisle Seat Theater Review! “Annie” a Winner at 6th Street Playhouse by Barry Willis

An unexpected benefactor saves a spunky orphan girl from a life of drudgery in the classic musical “Annie,” at 6th Street Playhouse in Santa Rosa, through December 22.

Based on the Depression-era comic strip “Little Orphan Annie,” this Michael Fontaine-helmed production features two separate casts of adolescent girls (at least, they appear to be adolescents) and an adult cast of North Bay theater veterans—Larry Williams as Daddy Warbucks, Daniela Innocenti-Beem as orphanage matron Miss Hannnigan, Jeff Coté as schemer Rooster Hannigan, Lydia Revelos as Rooster’s companion Lily St. Regis, Steve Thorpe as Franklin Delano Roosevelt, Trevor Hoffman as radio announcer Burt Healy, Morgan Harrington as Grace, assistant to Daddy Warbucks, and Dwayne Stincelli as Drake, head of the Warbucks household.

“Annie” will always be a relevant show…

On a versatile set by Jeff Thomson—with quick changes, it serves variously as orphanage, city streets, the Warbucks mansion, the White House, and a radio station studio—the show features many great and widely beloved songs, including “Hard Knock Life,” “Tomorrow,” “Easy Street,” and “I Don’t Need Anything but You.” Who have hearts so cold that they can’t be moved by a dozen scruffy orphan girls scrubbing the floor and singing away? Or a red-haired kid—Alina Kingwill Peterson on opening night—giving her big voice to a great anthem of hope? Let’s not forget Sandy, her fluffy pooch, who can’t seem to find her marks but prompts gushes from the audience.

Larry Williams brings believable gravitas to the role of Daddy Warbucks, including decent song-and-dance skills. Morgan Harrington is appealing as Warbucks’s assistant, with a soaring soprano voice that dominates every ensemble piece she’s in. Jeff Coté and Lydia Revelos are amusing as a pair of bottom-rung hustlers, and do some marvelous ensemble work with Dani Innocenti-Beem, especially in the crowd-pleasing “Easy Street.” Innocenti-Beem is clearly the audience favorite as the tippling harridan who can’t stand the kids she supervises. Her offhand comedic bits add spice to a deliciously convincing portrayal of the mean bitch you love to hate.

Dale Camden—a talented actor seen not enough recently on North Bay stages—has a hilarious breakout moment of song and dance as a member of Roosevelt’s cabinet. And Trevor Hoffman is delightful as butter-voiced radio personality Burt Healy.

There are many obvious parallels between our own time and the Great Depression of the 1930s. Although unemployment today is at an all-time low, we are still plagued with homelessness—homeless encampments were called “Hoovervilles” in the ‘30s, in honor of the president who ushered in the Depression—and disparity between rich and poor is as severe as ever.

“Annie” will always be a relevant show, and with its upbeat message, always a popular salve for our social malaise.

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com

 

ProductionMoon Over Buffalo
Written byKen Ludwig
Directed byCarl Jordan
Producing Company6th Street Playhouse
Production DatesThrough Feb 3rd
Production AddressSixth Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$20 – $30
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4/5
Script3/5
Stagecraft3.5/5
Aisle Seat Review PICK? --------
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An Aisle Seat Theater Review! “Sunday in the Park with George” is a Winner at SF Playhouse – by Barry Willis

Every summer, San Francisco Playhouse puts on a classic musical that runs from late June or early July into September. A hugely successful business model, the strategy takes advantage of tourist traffic in the city’s downtown Union Square area.

The current offering, James Lapine’s and Stephen Sondheim’s “Sunday in the Park with George” has been so successful that the Playhouse has had to add performances to accommodate demand.  Now halfway through its run, the show is popular for good reasons—among them, superb performances and stunning stagecraft.

…a  beautifully rendered and performed Broadway classic that deserves all the attention it’s getting…

In many ways award-winning director Bill English’s magnum opus, “Sunday in the Park” has amazing sets (also by English) and immersive projections by Theodore J.H. Hulsker that bring the paintings of George Seurat to life, as well as the island in the Seine immortalized in his most famous creation.

The first act’s story focuses on Seurat (John Bambery) and his obsession with 18th century discoveries in optics—in particular, the fact that two closely-spaced unlike colors seen at a distance appear to the eye as a third color. Red and blue appear as lavender, for example.

George (John Bambery) at work on his masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte.” Photo courtesy of SF Playhouse.

His pointillist technique was enormously time-consuming, leaving little margin for the proper treatment of his lover/model/muse Dot (Nanci Zoppi, who steals the show).  Zoppi also appears in the second act as Marie, Dot’s daughter, and Bambery is Seurat’s American grandson, also named George, and also an artist. There is some disagreement between Marie and this new George about his exact lineage, and about the direction of his art. The second act spoofs the 1970s art world, but the first act seems to take the artist’s struggle quite seriously.

There are no weak links in the large cast—they range from good to exemplary—but standouts include Maureen McVerry as the Old Lady in Act 1 and as modern art maven Blair Daniels in Act 2, and Anthony Rollins-Mullens as Louis.

George (John Bambery) shares a moment with the Old Lady (Maureen McVerry.) Photo courtesy of SF Playhouse.

The creative team is similarly of high caliber, particularly choreographer Kimberly Richards, costumer Abra Berman, and lighting designer Michael Oesch.

The cast of ‘Sunday in the Park with George’ take their positions in Georges Seurat’s famous painting. Photo courtesy SF Playhouse.

“Sunday in the Park” is an absolute spectacle. Sondheim’s music may give some visitors pause—it rarely rises to the level of recognizable melody, and unfortunately, the composer may have exhausted his considerable lyrical abilities in collaborating with Leonard Bernstein on “West Side Story.”

From the same era that gave us “Company” and “Sweeney Todd,” this show tends toward the atonal and repetitive, but it’s nonetheless a  beautifully rendered and performed Broadway classic that deserves all the attention it’s getting.

 

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.

 

 

ProductionYou Mean to Do Me Harm
Written byChristopher Chen
Directed byBill English
Producing CompanySF Playhouse
Production DatesThru Nov. 3rd
Production AddressSF Playhouse
450 Post St., San Francisco, CA.
Websitehttps://www.sfplayhouse.org
Telephone(415) 677-9596
Tickets$30-$100
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance4/5
Script3/5
Stagecraft4/5
Aisle Seat Review Pick?----

 

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An ASR Theater Review! Stunning, Perfect “Always, Patsy Cline” at Sonoma Arts Live – by Barry Willis

Patsy Cline’s meteoric career encompassed many firsts: first woman to be inducted into the Country Music Hall of Fame, first to tour as a lead act, first to headline in Las Vegas, first female country singer to perform at Carnegie Hall.

This all happened within the short span of six years: from her debut in 1957 until her 1963 death in an airplane crash at the age of 30. We can only speculate about what she might have achieved had she survived. Even so, her glorious honey-toned voice and prodigious output of classic country and popular songs earned her permanence in the pantheon of American music.

She has been widely imitated but never equaled, but Danielle DeBow gets as close as is perhaps humanly possible in “Always, Patsy Cline” at Sonoma Arts Live through July 29. A play-with-music about Cline’s enduring friendship with a fan named Louise Seger (the fantastic Karen Pinomaki), the story follows from their meeting at a honky-tonk club in Houston, through Cline’s career until her untimely death at the age of thirty.

“Always, Patsy Cline” is as near-perfect a production as can be imagined. It’s an absolute must-see.

Playwright Ted Swindley developed the piece from letters between the two. In that sense it is the truest of true stories and an abiding celebration of the power of deep friendship. It’s also hilariously funny. The intensely animated Pinomaki is absolutely convincing as both rabid fan and self-deprecating Texan.

Danielle DeBow at work as Patsy Cline.

She propels the narrative while DeBow melts the audience with Cline’s heart-wrenching songs, backed by the superb onstage Bodacious Bobcat Band and a four-man group appearing as The Jordanaires, legendary background singers who performed with Elvis Presley, among others. The ideally-cast and totally harmonious foursome include stage veterans Sean O”Brien, F. James Raasch, Michael Scott Wells, and Ted von Pohle.

Director Michael Ross (who also handled costume design and shared set design with Theo Bridant) has put together a show that is far beyond the very high level of performance that Bay Area theater fans have grown to expect. The pity is that it closes after an unjustifiably short run. With the wine country tourist season in full flower, this show could run all summer long to sold-out houses. It’s that good.

‘Always, Patsy Cline’ is as near-perfect a production as can be imagined. It’s an absolute must-see.

 

ASR Theater Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theater Critics Circle.

 

ProductionMy Fair Lady!
Written byBook by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThru July 28th
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Websitewww.sonomaartslive.org
Telephone866-710-8942
Tickets$25 – $40
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review Pick?YES!

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ASR Theater Review! “Tinderella” Delights at Custom Made Theatre Co. – by Nicole Singley

Tinderella: Tinder Creeps

What if Cinderella were alive today, resigned to searching for her kale-munching, kombucha-swilling, flannel shirt-donning prince on an Internet dating app, adrift in a sea of creepy stalkers and unsolicited ‘dick pics?’

Running through May 26th at San Francisco’s Custom Made Theatre Co., modern musical “Tinderella” puts a wildly entertaining spin on an age-old classic, thrusting our beloved Disney princess into the harsh realities of 21st-century online dating. FaultLine Theater has partnered with Custom Made for the world premiere of a brilliant show three years in the making, attracting a remarkably young, enthusiastic audience with a story acutely relevant to millennials and Bay Area living, and poking plenty of fun at our newfound reliance on all things digital. (Boomers, be warned – some generational references may be lost in translation.)

Tinderella: Dylan & Meg

Once upon a time, (shortly after the release of the iPhone 5, but before the release of the iPhone 5C, we’re told), our princess Meg (Juliana Lustenader) naively yearns for the fairy-tale romance she grew up believing she was destined for. Her ordinary life feels inadequate when measured against the glamorous Facebook facades of her social media-savvy stepsisters, whose virtual personas exude the confidence and fulfillment Meg aspires to. But when gay fairy-god-roommate Dylan (the magnificent Branden Noel Thomas) introduces her to popular dating app Tinder, it seems as though her luck may be about to change. “If you’re straight, hot, and white,” he tells her, “Tinder is like magic, (more or less).”

Tinderella: Julie & Marcus

Meanwhile, in couples’ land, Julie (the exquisite Sarah Jiang) and Marcus (Jackson Thea) are at a crossroads. Marcus wants to settle down with Julie, move to Texas, buy a dog, and crank out a couple of kids. Julie, on the other hand, wants… well, she doesn’t exactly know yet, but she’s pretty sure it isn’t that. She urges him to take a step back and explore other options. Marcus does just that, inviting his new Tinder match Meg to a “super cool party” at his San Francisco apartment. Full of hope, Meg sets out to meet her prince, win his heart, and catch the last BART train back to Oakland before midnight. But in a world where success is measured in “likes” and love is found by “swiping right,” all bets for a happy ending are off.

The cellphone-toting ensemble is well balanced and superbly gifted, and vocal talent abounds. Thomas is dynamic, empathetic, and often hilarious as quesadilla-making, tough-loving Dylan, with a powerful voice and a flair for delivery. In lead roles, Thea and Lustenader are both convincing and cute and remain lovable despite lapses of self-centered blindness.

Tinderella: Selfies with Stepsisters

Adielyn Mendoza and Alex Akin are well cast as New York fashionista Allie and world-traveling, do-gooder Tanya (Meg’s not-so-evil stepsisters). Their excellent voices, though regrettably underutilized, are put to good use in “Picture Perfect” and “Reality Check,” calling out our obsession with ‘selfies’ and the false images of perfection we project online.

Jiang shines in a standout performance as undecided Julie, questioning whether she’s in the best place she can be (“The Best Place”) and ultimately helping lead us to one of the night’s most insightful revelations – that we are all sometimes guilty of forcing others to play a role in our own stories. It takes courage to shed our misguided fairy-tale notions and break free from the pressure to conform. “I’m not giving up on my dreams,” Julie explains to Marcus, “but I’m giving up on yours.” Jiang’s beautiful voice only accentuates her knack for acting and reacting to the other cast members throughout the show.

The production is punctuated by riotous, foot-tapping musical numbers like “Old School Chivalry,” “Slow Grind Love Song,” and “(You’re Gonna) F***ing Rock It.” Weston Scott’s lyrics are funny and sharp, pairing perfectly with Christian B. Schmidt’s hip, vibrant score. Meredith Joelle Charlson’s choreography adds much to the tear-inducing hilarity of lighter-hearted acts. The more solemn, introspective pieces are lovely, too, spotlighting some of the incredible voices on stage.

“Tinderella” is the sexy, hilarious, and highly enjoyable triumph of an immensely talented cast and creative team. You, too, may fall in love at first swipe.

Nicole Singley is a Contributor to Aisle Seat Review.

 

“Tinderella: The Modern Musical” by Rose Oser, Christian B. Schmidt, and Weston Scott, in partnership with FaultLine Theater

Custom Made Theatre Co., 533 Sutter St, San Francisco, CA 94102

Through May 26, 2018

Tickets: $25—$49

Info: (415) 798-2682, custommade.org

Recommended for mature audiences

Rating: Five out of Five Stars

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ASR Theater Review! Journeying “Into the Woods” with SRJC’s Theatre Arts Department – by Nicole Singley

Santa Rosa Junior College’s production of beloved musical “Into the Woods,” running through May 6th at the Maria Carrillo High School Theatre, enchants audiences with an imaginative mash-up of famous fairy tale figures set to witty tunes by Stephen Sondheim.

Thanks to the curse of a hideous witch (Alanna Weatherby), a baker and his wife (Brett Mollard and Katie Smith) are unable to have the child they so desperately desire. To break the hex, they must venture into the woods to find four ingredients the witch needs to brew a special potion. Their paths soon cross with classic characters like Little Red Riding Hood (Serena Poggi), Cinderella (Ella Park), Rapunzel (Shayla Nordby), and Jack (Levi Sterling), each on a quest of their own.

The first act is fast-paced, funny, and feel-good, wrapping up neatly with the promise of ‘happily ever after.’ In the second chapter, however, all hope for a fairy-tale ending is quickly – and quite literally – crushed. The pace slows and the comedy wanes as we are forced to confront harsh realities in the ‘ever after.’ As our characters soon learn the hard way, getting what we think we want doesn’t always pan out the way we hope it will.

SRJC has assembled an energetic and enthusiastic cast, whose efforts transcended the distraction of some unfortunate technical difficulties at the opening night performance. Smith brings a charming candor and sense of comedic timing to the role of Baker’s Wife, and Mollard aptly matches her charisma. Their convincing banter propels the plot and keeps the laughter coming. Background characters add much to the amusement, too, manifesting as curious rabbits and cleverly-clad deer among other accessory roles. Siobhan Aida O’Reilly delivers a standout performance as Jack’s beloved cow, Milky-White, who at times steals the show with her expressive gestures and winning mannerisms. Victor Santoyo Cruz is hilarious in brief appearances as Hen and Dwarf.

Music drives much of the story’s action, and while Sondheim’s lyrics are sharp and entertaining, the songs often struggle to find their melody. On the whole this troupe rises to the challenge, with noteworthy vocal performances by Weatherby and Cooper Bennett (Cinderella’s Prince not-so-charming). The actors are accompanied by a live off-stage orchestra.

This production is a feast for the eyes thanks to Maryanne Scozzari’s creative, quirky costumes and Peter Crompton’s elaborate and absorbing set, evoking the magic and opulence of grand libraries past. Books act as fluttering birds and rolling shelves transform into horses. Papier-mâché masks are made from pages lined with text, and kitchen gloves become cow udders. Rather than detracting from the action, the visuals are impactful and effectively enhance the story.

Clocking in at around two and a half hours, “Into the Woods” makes for a long but enjoyable night at the theater, and remains family-friendly despite the darker turn things take in Act II.

Nicole Singley is a Contributor to Aisle Seat Review.

 

“Into the Woods,” by Santa Rosa Junior College Theatre Arts Department

2.5 hours, with one 15-minute intermission

Maria Carrillo High School Theatre, 6975 Montecito Blvd, Santa Rosa, CA 95409

Through May 6, 2018

Tickets: $12-$22

Info: (707) 527-4307, http://theatrearts.santarosa.edu/

Recommended for ages 12 and above

Rating: Three-and-a-half out of Five Stars

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ASR Theater Review! Outrageously Great Fun; “Head Over Heels” at the Curran – by Barry Willis

 

San Francisco’s Curran Theater is the last stop before Broadway for “Head Over Heels,” the delightful new musical featuring the songs of 1980s girl group the Go-Go’s.

Reputedly the most successful female pop group of all time, the Go-Go’s helped define the decade with a long run of infectious tunes, given new life in this stupendously quirky production. The opening scene is a fantastically well-done ensemble performance of “We Got the Beat” under a proscenium arch emblazoned with the faux-Latin slogan “Habemus Percussivo.”

Developed by Jeff Whitty from “The Arcadia” by Sir Philip Sidney, adapted by James Magurder, and directed by Michael Mayer, “Head Over Heels” is a pseudo-Shakespearean romantic comedy about a royal family seeking to prevent a prophecy of doom. This involves a troublesome journey to Bohemia, foreboding appearances by a transgendered oracle, mistaken identities, gender-fluid coupling, class-defying hookups, a self-doubting monarch, and some of the most spectacularly whimsical sets ever conceived—all of it propelled by the Go-Go’s great thumping pop-rock, done live by an ace all-female band above and behind the stage. Spencer Liff’s choreography is superb right from the opening drum whack.

Head Over Heels: A New Musical

The story concerns Basilius, the King of Arcadia (Jeremy Kushnier) and his wife, Queen Gynecia (Rachael York) who are seeking a proper marriage partner for their eldest daughter Pamela (Bonnie Milligan). Pamela’s little journey of self-discovery includes the realization that she isn’t all that interested in men, but her sister Philoclea (Alexandra Socha) is—especially Musidorus (Andrew Durand), a handsome shepherd boy with an exaggeratedly Shakespearean manner of speech. His speech is so ornate that at moments the other characters—no elocutionary slouches themselves—interrupt him and demand that he “speak English.”

Class distinctions prevent any immediate linkup between Musidorus and Philoclea. Disguising himself as “Cleophila,” an Amazon warrior woman in Roman armor and a fluffy blonde wig, he joins the travelling party and is soon the object of affection for the king himself. The Queen has a wandering eye, too. Central to the plot is the budding love affair between the marvelously comical Pamela and her maidservant Mopsa (Taylor Iman Jones), who also happens to be the daughter of the king’s goofy viceroy Dametas (Tom Alan Robbins). Anchoring the production, Jones is wonderfully confident in her role, and a tremendous singer, as proven during Mopsa’s contemplative visit to the island of Lesbos, where she gives the song “Vacation” a whole new meaning.

Kushier does likewise with “Lust to Love,” reinterpreted late in the saga as a revenge song during a sword fight between the king and Musidorus. No worries! Everyone lives—and loves—happily ever after.

Head Over Heels: Peppermint

Arianne Phillips’s costumes, Kevin Adams’s lighting, Andrew Lazarow’s projections, Kai Harada’s sound, and Julian Crouch’s set design all make huge contributions to the wild success that is “Head Over Heels.” The primary actors are superb, as are the ensemble, all of them veterans of multiple big-time musicals. The result is a stunning powerhouse performance that brought the opening night crowd to its feet in sustained appreciation—a crowd, it must be mentioned, younger and more boisterous than typically fills San Francisco’s big theaters, and one that lingered for the after-party in the lobby, enjoying the music of the B-52s, Talking Heads, Devo, and many other contemporaries of the Go-Go’s.

“Head Over Heels” is simply an outrageously over-the-top good time. It may be the most fun you will ever have in a theater.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.

 

What: “Head Over Heels,” the Go-Go’s Musical.

130 minutes, with one 15-minute intermission

Where: The Curran Theater, 455 Geary St., San Francisco, CA 94102

When: Through May 6, 2018.

Tickets: $29-$175

Info: 415-358-1220, SFCURRAN.com

Rating: Five Out of Five Stars

 

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ASR Theater Review! Quirky, Charming “Tenderly” at Napa’s Lucky Penny — by Barry Willis

Pop singer and sometimes actress Rosemary Clooney was among an endless procession of performers and celebrities with a complex of personal and professional problems (depression, marital discord, drug addiction) exacerbated by changing public tastes, waning popularity, and financial distress. Her career spanned the post-WWII era into the late 1960s, and resumed in the late 1970s when she reinvented herself as a jazz vocalist and nostalgia act.

Directed by Dyan McBride, “Tenderly: The Rosemary Clooney Musical,” at Lucky Penny Productions in Napa through March 11, picks up her story at the moment in 1968 when after a breakdown she reluctantly goes under the care of psychiatrist Dr. Victor Monke (Barry Martin). How she got there—from her origin in a small Kentucky town to international fame as a Hollywood icon with a series of unreliable high-profile husbands—is told in flashback, punctuated with very good performances of her most popular songs, such as “Hey There,” “I Remember You,” “Mambo Italiano,” “Sway,” and the show’s title song, backed by a solid instrumental trio led by Music Director Craig Burdette.

Lucky Penny Artistic Director Taylor Bartolucci gives a spirited portrayal of Clooney, masking her character’s ambition with a disarming amount of small-town self-disparagement. Bartolucci the actress nails the accent, attitude, and mannerisms while Bartolucci the singer does likewise with the songs’ melodies and phrasing, even though her irrepressible and totally enjoyable vibrato makes her singing only an approximation of Clooney’s.

The company’s Managing Director Barry Martin is excellent as the understanding but gently persistent Dr. Monke. Martin takes on multiple roles with only small changes in prop or costume, including Clooney’s mother, sister, and brother; her twice-husband Jose Ferrer, Frank Sinatra, and Bing Crosby. His mellifluous baritone is especially suited to the Crosby bit, and he employs it beautifully in a duet with Bartolucci.

The elegant compact set serves as medical office/hospital, the Clooney home, and several performance venues, with changes mostly provided by April George’s lighting. This combined with Martin’s instant morphing from one character to another keeps “Tenderly” moving along briskly. The show is especially appealing for fans from Clooney’s era but should also prove entertaining for younger ones eager to learn more about her. Best of all, it ends on an uplifting note with the late-career Clooney in full command of her life both onstage and off. Be thankful she didn’t take a desperate early exit the way so many have.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com.

 “Tenderly: The Rosemary Clooney Musical”

Through March 11, 2018

Lucky Penny Productions

Community Arts Center, 1758 Industrial Way, Napa, CA 94558

Info: www.luckypennynapa.com, 707-266-6305

 

Rating: Three-and-a-half-stars

 

***** ***** ***** ***** *****

 

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ASR Theater Review! ‘Company’ Storms SF Playhouse and That’s Good News! — by Kris Neely

SF Playhouse has learned a secret uncovered by few community and regional theaters: big musicals in the June 1 to Sept. 1 time-frame can make serious money. Especially in tourist destination cities or areas.

Raising a vodka gimlet to toast their own obvious success with this secret (as witnessed by the near sell-out audience last Saturday night), SF Playhouse’s production of Company, by Stephen Sondheim and George Furth, went down as smooth as a cocktail and left many patrons with a satisfied glow as a result.

Company is not your typical all-singing-all-dancing musical. In fact, there’s little enough dancing in the show—this is a musical with the emphasis on the music and the singing.Company is not a sort of A-to-Z straight-line plot, either. The show is composed of a variety of scenes that taken as a whole tell our tale.

The scenes/music/singing all revolve around the dating / marriage / commitment / relationships of one newly 35-year-old man named Bobby, played with almost detached studied aplomb by Keith Pinto. A perpetual bachelor and bon vivant, Bobby, and his married friends, are celebrating his birthday; that, in essence, is the story line.

As directed by SF Playhouse co-founder Susi Damilano, Company eschews the full orchestration and electric guitars of most productions, relying instead on two pianos, located stage left and stage right. Music Director Dave Dobrusky presides over one of these pianos and surely conducts his charges. The effect of this two-piano strategy is more personal, less grandiose than a full or even partial orchestra.

The set design by Bill English and Jacquelyn Scott is elegant on many levels because the set is built on, you guessed it, many levels. The scenic rear projections as designed by Micah Stieglitz add a powerful theatrical touch to the proceedings. The sound design by Anton Hedman works well, as does the lighting design by Michael Oesch.

Stage management by Tatjana Genser is tight with sound and light cues snappily in place. Costume design by Shannon Sigman takes full marks—elegant, well designed, and nicely rendered. All the actors looked darn good in Sigman’s work. The props design is fine—what props need to be in place are in place, work well, and underscore scenes nicely.

Choreography by Kimberly Richards, ably assisted by Morgan Dayley, is sharp and professional, given the limitations on dancing room due to the multi-plane set.

Let’s move on to the acting. Overall, the casting and associated acting of this show is a little bit uneven, but, to be sure, the acting is in general rendered with obvious verve and commitment.

I do wish we’d gotten to see a bit more of Abby Sammons’ (Jenny) good work. This is a talented lady.

Then there is Monique Hafen as Amy.

Can I say, “Oh. My. God.” in a review? There’s nothing else to say. To say Hafen nails the anxiety, the intensity, the comedy, and the speed-singing of Amy, who may not be getting married today, is like saying the Mona Lisa is “a pretty, sort of, mostly OK drawing.” Once Hafen starts acting and singing, almost all the other cast members turn to specters at worst or supporting actors/singers at best. Hafen is the most exciting and engaging musical performer in this cast, bar none. If she doesn’t have a suitcase permanently packed for Broadway by her home’s front door she’s doing something wrong.

Another notable performance is rendered by Joanne (Stephanie Prentice). Never far from a bar or a drink, the fragile, emotional wreck that is Joanne has one of the most powerful songs of the night (“The Ladies Who Lunch”) and Prentice nailed it cold.

Full marks must be given to Morgan Dayley in her character as a flight attendant who spends as much time looking up at bedroom ceilings as she does looking down airplane aisles. Dayley gives the role her all and does so without stepping into cliché or camp. Watch this performer, she is going places.

“Side by Side by Side/What Would We Do Without You?” is, I will admit, one of my favorite dance numbers and SF Playhouse did it with gusto. Overall, the music and singing were quite good.

All in all, SF Playhouse’s Company is a fine night on the town.

Company continues through Sept. 12 at San Francisco Playhouse, 450 Post St., San Francisco.

Rating: Four out of Five Stars

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

Mr. Neely is a huge fan of Tejava!

***** ***** ***** ***** *****

 

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ASR Technical Review! ‘Company’ Rocks at SF Playhouse — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of theater and performing arts.

SF Playhouse has learned a secret uncovered by few community and regional theaters: big musicals in the June 1 to Sept. 1 timeframe can make serious money. Especially in tourist destination cities or areas.

Raising a vodka gimlet to toast their own obvious success with this secret (as witnessed by the near sell-out audience last Saturday night), SF Playhouse’s production of Company, by Stephen Sondheim and George Furth, went down as smooth as a cocktail and left many patrons with a satisfied glow as a result.

Company is not your typical all-singing-all-dancing musical. In fact, there’s little enough dancing in the show—this is a musical with the emphasis on the music and the singing.Company is not a sort of A-to-Z straight-line plot, either. The show is composed of a variety of scenes that taken as a whole tell our tale.

The scenes/music/singing all revolve around the dating/marriage/commitment/relationships of one newly 35-year-old man named Bobby, played with almost detached studied aplomb by Keith Pinto. A perpetual bachelor and bon vivant, Bobby, and his married friends, are celebrating his birthday; that, in essence, is the storyline.

 

TECHNICAL SCORECARD

Scenic Design:

The set design by Bill English and Jacquelyn Scott is elegant on many levels because the set is built on, you guessed it, many levels. The scenic rear projections as designed by Micah Stieglitz add a powerful theatrical touch to the proceedings. (Score: 8/10)

Set Construction:

In a word: quality. A well constructed, well thought-out set. No extraneous architecture—nothing that didn’t need to be there was there. (Score: 8/10)

Stage Management:

As rendered by Tatjana Genser, the stage management was tight with sound and light cues snappily in place.  (Score: 8/10)

Sound:

The sound design by Anton Hedman works well. (Score: 7/10)

Props:

The props design is fine—what props need to be in place are in place, work well, and underscore scenes nicely. (Score: 7/10)

Costumes:

Costume design by Shannon Sigman takes full marks—elegant, well designed, and nicely rendered. All the actors looked darn good in Sigman’s work. (Score: 8/10)

Direction:

As directed by SF Playhouse co-founder Susi Damilano, Company is well blocked with excellent stage pictures rendered on the multiple layers of the stage. This adds complexity to the directorial process because it’s easier to watch/direct actors at the same time on a single level plane versus actors scattered liberally from stage left to stage right and upstage to downstage.

Blocking takes on aspects of choreography in many plays (both musical and non-musical), and Damilano handled movement well. My only nudge would be that cue pick-ups could be quicker, brisker, and the same nudge for scene transitions—a bit faster might have added even more audience energy to the proceedings. (Score: 8/10)

Musical Direction:

Company eschews the full orchestration and electric guitars of most productions, relying instead on two pianos, located stage left and stage right. Music Director Dave Dobrusky hosts one of these pianos and surely conducts his musical charges. The effect of this two-piano strategy is more personal, less grandiose than a full or even partial orchestra. That said, at times it felt a bit like the cast was fighting the sound envelope of the pianos. (Score: 6/10)

Lights:

The lighting design by Michael Oesch in and of itself works well. (Score: 8/10)

NOTE: But I have significant reservation about a couple of architectural lighting issues. The house right and house left tormentor lights spill too much light into the audience area. The same is true of the lights high, upstage center. The light spillage was very distracting and detracted from the quality of what was happening onstage.

Casting:

The casting was a bit uneven. Disappointing, as the majority of the cast ranged from good to superb.  (Score: 7/10)

Overall Production:

As presented by SF Playhouse, Company gives general audiences and those of us inside theater a solid example of taking a musical from some years back and making it modern, energetic, and appealing to a contemporary audience.

The acting of Monique Hafen made this show for me. Her stellar history with SF Playhouse is now the stuff of regional theater legend. Soon, I have little doubt, it will be the stuff of Broadway legend as well. (Score: 8.5/10)

Reviewer Score:

SF Playhouse has demonstrated to everyone that they know how to rock musical theater. From awards won to sell-out nights, SF Playhouse knows musicals. Company continues that proud heritage.

The quality of SF Playhouse musical productions should be a beacon to technical theater artists as well as actors across the US, and, indeed, globally. (Score: 8.5/10)

Overall Score: (92/120) Extremely good work.

 All in all, SF Playhouse’s Company is a fine night on the town.

 

Company continues through Sept. 12 at San Francisco Playhouse, 450 Post St., San Francisco.

Tickets are $20-$120 (discounts available). Call 415-677-9596 or visit http://www.sfplayhouse.org.

 

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

We don’t name names for obvious reasons — and Team ASR often buys their own tickets and do not announce their presence as such at a performance — but it is important to note that each Team ASR review is screened by one or more ASR Editors to insure a ‘fair’ review, warts and all, when appropriate.

The goal of Team ASR Reviews is to communicate directly with the technical staffs who are largely ignored by most reviewers. These behind the scenes folks work their collective butt’s off to mount a show, and they deserve well-intentioned constructive criticism from fellow artists as appropriate — and ditto for well-earned praise.

 

***** ***** ***** ***** *****

 

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ASR Theater Review! RVP Has a Hit with ‘Pirates of Penzance’ — by Kris Neely

The Pirates of Penzance, that stalwart classic penned by messieurs Gilbert and Sullivan, as rendered in Ross Valley Players’ last show of the season, is pretty much the model of what a modern community theater musical should be.

For those unfamiliar with the comic opera staple, here is the plot in a nutshell:  set on the rocky coast of Cornwall, England, the play, which sends up Victorian-era values, begins with a group of not-too-nice pirates who are celebrating the birthday of one of their own, Frederic, who has reached his twenty-first year. Finally having served the full length of his required time with the pirates, he decides to strike off on his own and become an upstanding citizen – which may even mean bringing the pirates to justice. This turns out to be a tricky prospect indeed, especially when Frederic’s freedom is called into question! It seems Frederic was born on February 29th, a birth date that only appears every four years — and even pirates can do that math. Insert singing matrons, dancing pirates, eyelash-batting lasses, clueless cops and a snappy major-general (more on him later), and in the end all winds up peachy-keen with the world, with all the he’s and she’s ending up with the right he’s and she’s.

Singing propels the story: fourteen songs in Act One and a matching number in Act Two. All that and an intermission in two hours. The result is, as always with Gilbert & Sullivan, a rousing good tale of duty done right.

Few stage directors know how to put actors into stage pictures as well as James Dunn. Mr. Dunn positions actors with such precision, sureness and balance that one could pluck a B&W Polaroid snapshot (if such a thing still existed) out of a stack of 500 directors’ scenes and know immediately it belonged to Mr. Dunn.

Mr. Dunn’s stagings to date have been Master’s theses in scene tableau. He earns full marks here as his hand and eye retain their touch in Pirates. Given the obvious spatial restrictions, lighting limitations and distinctive visual quirks of The Barn, that’s saying a lot.

Speaking of a master’s touch, the same meticulousness and seasoned expertise were apparent in Michael Berg’s costumes. It’s fair to say that Mr. Berg’s costumes were, with all respect to Mr. Dunn’s stage pictures, a hefty percentage of what made the production colorful and powerful. By the time the intermission rolled around, seven peacocks had gotten out of the business.

While we’re on the subject of hues, Ron Krempetz’s imaginatively simple set, adroitly executed by Michael Walraven, enjoyed the benefits of lighting designer Dhyanis’ (yep – one name) equally developed sense and appreciation for tint. Avoiding the cartoonish effects and crayon coloring that sadly so often accompany regional renditions of musicals of this stripe, Dhyanis showed restraint, and a keen eye, which permitted the set to support the show in style. Delightful work.

Then there was Norman A. Hall.

Holding the audience’s heart in the palm of his hand, Mr. Hall delivered a performance that alone was worth the price of admission. Aspiring actor Major-Generals, take note of Mr. Hall as The Very Model.

Pirates premiered in the Big Apple in 1879. In 1980, Joe Papp and the trusty New York City Public Theater revived the show and gave it a modern tonal makeover, driving a broader musical comedy style with the play as well, and as a result the show’s popularity has swelled for new generations. At Ross Valley Players, opening night 2015 served this tradition.

Some minor areas need smoothing-out, but there’s more than enough technical artistry and acting/singing/dancing pizazz to charm its audience.

Show dates are:

  • Thursdays 7:30 pm on July 23, 30 & Aug. 6 & 13
  • Fridays 8:00 pm on July 24, 31 & Aug. 7 & 14
  • Saturdays 8:00 pm on July 25 and Aug. 1, 8 & 15
  • Sundays 2:00 pm on July 26 and Aug. 2, 9 & 16

For tickets and other information, consult the Ross Valley Players website atwww.rossvalleyplayers.com or call their Box Office on (415) 456-9555.

Rating: Three-and-a-Half out of Five Stars

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

Mr. Neely is a huge fan of Tejava!

 

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