Tag: Palo Alto Players

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PICK ASR Theater! ~~ Thrills and Laughs in PAP’s “Murder on the Orient Express”

By Joanne Engelhardt

One would think everyone over the age of 16 has either read, watched, or maybe even performed in some version of Murder on the Orient Express, Agatha Christie’s novel that has seen numerous iterations in both plays and films. That’s because in 2017, playwright Ken Ludwig (whose Broadway hits include Lend Me a Tenor and Crazy for You) was invited by the Agatha Christie estate to write a stage adaptation of Christie’s novel.

From the reaction to the production of Murder on the Orient Express by Palo Alto Players that this reviewer attended, there’s much amusement to be found in watching Ludwig’s version of Christie’s “whodunnit.”

” …Best to head to this fine production…”

A good deal of the credit goes to the wife-husband team of director Katie O’Bryon Champlin and actor Michael Champlin, playing the part of the intrepid Belgium detective, Hercule Poirot. Champlin gets high marks for speaking impeccable French yet making his words understandable – something that even some of the great Poirots have had trouble doing!

Photo by Christian Pizzirani. Detective Hercule Poirot (Michael Champlin) explains what he has discovered to the passengers aboard the Orient Express in MURDER ON THE ORIENT EXPRESS, the comedic stage adaptation of Dame Agatha Christie’s celebrated murder-mystery novel at PAP.

PAP weathered a lot of difficulties mounting Murder due to the fact that its home, Lucie Stern Theatre in Palo Alto, is in the process of seat replacements. Fortunately, PAP was able to secure the modern auditorium at Woodside High School, but had to shorten its run to just seven performances. (It closes June 30.) Some of the planned production had to be revised because the exceptionally wide Woodside stage requires a lot of maneuvers of the clever-but-elongated two-sided sets.

So a big shout-out goes to the hard-working deck crew that moves them around efficiently: Hanna Lubinsky, Anton Popowitz, Neil Sahami and Amiah ‘Fern’ Woertink.

It’s natural that a great train like the Orient Express would have attractive sleeping compartments as well as a well-appointed dining room. Kevin Davies wears at least three hats here: scenic designer, technical director and master carpenter. He’s assisted by scenic painter Greet Jaspaert and carpenters Rebecca Lui and Dave Seiter.

Of course, Champlin isn’t the only fine actor in the cast of 11. Zachary Vaughn-Munck stands out as the pompous Monsieur Bouc, who runs the train line, as well as Patrick Rivera who doubles as Michel, the train conductor and as the head waiter.

Photo by Christian Pizzirani. (L-R) Hector MacQueen (Brandon Silberstein), Samuel Rachett (Kyle Dayrit), and Detective Hercule Poirot (Michael Champlin) meet on the platform of the Orient Express while being checked in by conductor Michel (Patrick Rivera) in MURDER ON THE ORIENT EXPRESS, the comedic stage adaptation of Dame Agatha Christie’s murder mystery.

Diverse characters show up to take the train trip from Istanbul to London – a few couples and a number of single passengers as well. Patty Reinhart is the comic relief as the chatty Helen Hubbard who’s always trying to get people to pay more attention to her. Another fine performance is put in by Brigitte Losey as the pious Greta Ohlsson, who seemingly only wants to get to Africa to take care of starving babies.

Linda Piccone, wearing what this reviewer thought was a somewhat ill-fitting wig, contributes laughs with her frowny faced doubletakes, especially in the final scene when Poirot relates that she’s now apparently gone to the “Great Beyond.”

April Culver makes a strong impression as Countess Andrenyi, whose nursing skills are needed when another passenger (Michelle Skinner) is slightly injured. Will Livingston plays Colonel Arbuthnot, who shows little emotion about anything — until his character is called into question in the final scene.

Photo by Christian Pizzirani. Samuel Rachett (Kyle Dayrit) is found murdered by Hector MacQueen (Brandon Silberstein), Princess Dragomiroff (Linda Piccone), Greta Ohlsson (Brigitte Losey), Detective Hercule Poirot (Michael Champlin) and Monsieur Bouc (Zachary Vaughn-Munck) in MURDER ON THE ORIENT EXPRESS now at PAP.

Additional production team members who deserve credit for Murder are Brennah Kemmerly as dialect coach and Lisa Claybaugh as costume and hair designer.

The full Christie/Ludwig storyline won’t be revealed here because it is 1) convoluted, 2) clever, and 3) way too difficult to explain. Best to head to this fine production to see for yourself. The production runs about two hours including one 15-minute intermission.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic who started out her journalism career as a news reporter. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

 

ProductionMurder on the Orient Express
Written by Agatha Christie
Directed byKatie O’Bryon Champlin
Producing CompanyPalo Alto Players
Production DatesThru June 30th, 2024
Production Address199 Churchill Ave., Woodside
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$35-$60
Reviewer ScoreMax in each category is 5/5
Overall4.75/5
Performance4.75/5
Script4.75/5
Stagecraft4.5/5
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Pick! ASR Theater ~~ Palo Alto Players’ Mesmerizing “Misery”

By Joanne Engelhardt

Expect to spend more than 1 ½ hours being mesmerized by the Palo Alto Players’ production of Misery, running through Feb. 4 at Lucie Stern Theater in Palo Alto. It’s so scary you might even consider taking a Valium before heading to the theater!

Because of all the suspense, violence, and downright nastiness in Misery, it’s no wonder that PAP has made it abundantly clear that this play is recommended for ages 17 and older.

Kimberly Ridgeway’s direction is so carefully executed that even the most violent scenes provoke fascination and horror. That’s also due to the two fine actors she chose to perform onstage nearly nonstop for the entire production.

Photo by Scott Lasky. Paul Sheldon (Chris Mahle) is being nursed back to health after a car crash by Annie Wilkes (Maria Marquis), in MISERY, one of Stephen King’s best novels come to life onstage.

As the quirky, isolated-from-society Annie Wilkes, Maria Marquis is both exquisitely frightening and authentic. Marquis’ Annie has a childlike vibe about her that makes her even more bizarre and creepy.

…When she says to Paul: “I’m your Number One fan!” it’s not a compliment …

As well-known author Paul Sheldon, Christopher Mahle is the object of all of Annie’s affection and attention after she pulls him out of his car when he has an accident not far from her home. She takes on the role of nursing him back to health in her spare bedroom, a task she relishes because she’s read all of his “Misery Chastain” novels and can’t wait to read the next one.

Although Annie is somewhat experienced in nursing, she also decides that she wants Paul all to herself for as long as possible. She takes away his car keys and cell phone, hiding them where he’ll never find them.

Annie’s delighted when Paul finally wakes up after being unconscious for four days. During that time, she discovers he has a new manuscript in his briefcase and asks him whether she might be allowed to read it as his “Number One fan.” Grateful for her care, Paul begrudgingly agrees. But when she discovers that the book isn’t about Misery Chastain, she is enraged.

She tells him he must continue writing about her favorite character, Misery. Paul tells her he wanted to write something somewhat autobiographical. Helplessly he watches as she sets fire to the book he’s spent months writing.

Even this much of the storyline doesn’t reveal a lot about the play’s plot because it has more twists and turns than a maze.

Photo by Scott Lasky. Annie Wilkes (Maria Marquis) discusses the mysterious disappearance of author Paul Sheldon with the local Sheriff Buster (Zachary Vaughn-Munck) who is on the case in MISERY at Palo Alto.

Written by playwright William Goldman, based on the Stephen King novel, the cast of Misery includes just one other character: the local sheriff, Buster (Zachary Vaughn-Munck). The sheriff makes several trips to Annie’s home to talk to her about the missing author.

Gillian Ortega’s rotating three-room set (plus a front door at the far right) is an integral part of Misery. The bedroom, living room and kitchen are the three rooms that slowly move in a circle as the actors sometimes rush through them to be in place when the pre-recorded music stops and lights go up on the next scene. Edward Hunter’s lighting is appropriately scary. Dave Maier also deserves a shoutout for making the fight scenes authentic (and again: scary).

With Misery, Palo Alto Players provides an absorbing evening of theatre. Just leave the kiddies at home.

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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

 

ProductionMisery
Written by William Goldman. Based on the novel by Stephen King.
Directed byKimberly Ridgeway
Producing CompanyPalo Alto Players
Production DatesThru Feb 4th
Production Address1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$35-$60
Reviewer ScoreMax in each category is 5/5
Overall4.75/5
Performance4.75/5
Script4.75/5
Stagecraft4.75/5
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PICK! ASR Theater ~~ PAP’S “Wizard of Oz” a Nostalgic Delight

By Joanne Engelhardt

There she is, her hair in short pigtails, wearing a starched blue-and-white pinafore over her plain white dress. If that doesn’t take you back to your own childhood, nothing will.

It’s Dorothy Gale (a delightful Libby Einav) and her little dog Toto (played by a stuffed replica named Beanie) who decides to hide from her Aunt Em (a rather stiff Kayvon Kordestani) and ends up being blown away when a hurricane pummels their little Kansas farm.

…So, what are you waiting for? Best get off to see the The Wizard of Oz!…

After an overly-long video of swirling clouds (and cows!), Dorothy finds herself and Toto somewhere new – and entrancing.

So begins this nostalgic story that just about everyone from eight years old to 80+ likely remembers fondly. There are a few new technological twists in this version, as well as delightful casting choices that make the Palo Alto Players’ production of The Wizard of Oz a must-see for all ages (over three).

Naturally there’s a mean-spirited (and green-faced) Wicked Witch of the West, played with devilish delight by Barbara Heninger.

Barbara Heninger as The Wicked Witch and Penelope DaSilva as Dorothy in “The Wizard of Oz”. Photo Credit: Scott Lasky.

The role of Dorothy is shared by two young girls: Einav and Penelope DaSilva, but for the purpose of this review, all comments are about Einav, who played Dorothy on opening night. As young as she is, Einav has already performed in a number of roles and obviously taken singing lessons because her vocals are strong, clear and sung with real meaning.

Credit PAP with making casting diversity a priority. Here, it’s the delightfully acrobatic Noelle Wilder as the Scarecrow, along with Lauren D’Ambrosio as their voice. Wilder identifies as Deaf. They actually look as if they are stuffed with straw the way they slither and maneuver their body!

Diminutive dynamo Stacey Reed serves as director and choreographer –- excelling at both. She smartly cast her husband, Michael D. Reed, as the Cowardly Lion who hesitates but finally agrees to join Dorothy to see if the Wizard can give him some courage. (His rendition of Act 2’s “If I Were King of the Forest” is a production highlight.)

Several other actors deserve a shout out as well:
~~Andrew Mo is the perfectly (and greenly) dressed Guard who determines who does – and doesn’t – get to see the Wizard;
~~Ian Catindig plays the Tinman who joins Dorothy’s merry troop to see the Wizard and plaintively sings “If I Only Had a Heart;”
~~Jessica Ellithorpe brings sparkly white sprinkles with her every time she enters and leaves as Glinda the Good Witch. It’s distracting, however, that Ellithorpe’s lovely gown seems too big for her, so she kind-of floats around inside it.

Naturally, The Wizard of Oz would be incomplete without disarmingly cute little Munchkins — who turn into equally cute-but-dangerous Winkies in Act 2.

There are numerous other surprises awaiting PAP audiences who see Oz. Other than Glinda’s dress, costume designer Jenny Garcia and her crew did an A+ job of creating the dozens of costumes for the 23-person cast.

Kevin Davies wears several hats – and excels with all of them. He’s the technical director, scenic and properties designer and master carpenter. The audience burst out in applause in the number “If I Only Had a Heart” as the Tinman blew smoke and whistling sounds from under his hat!

Mr. Reed (the Cowardly Lion) also found time to create the projections of the tornado footage that throws Dorothy out of Kansas and back again.

Lighting and sound are so important in a musical production and both are first class here thanks to Edward Hunter on lighting and Sheraj Ragoobeer on sound. Finally, Greet Jaspaert and her large crew deserve credit for the beautiful scenic backdrops.

So – what are you waiting for? Best get off to see the The Wizard of Oz before PAP’s production closes Nov. 19!

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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 Wizard of Oz
Written by L. Frank Baum with Music and Lyrics by Harold Arlen and E. Y. Harburg
Directed byStacey Reed
Producing CompanyPalo Alto Players
Production DatesThru Nov. 19th
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
Overall4.75/5
Performance4.5/5
Script4.25/5
Stagecraft4.5/5
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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
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ASR Theater ~~ ASR Theater. “Puffs”: All Things Harry Potter…Minus The J.K. Rowling

By Joanne Engelhardt

If you’ve never read a Harry Potter book or seen any of the movies based on the books, then how will you understand Puffs, a play written in 2015 by New York-based playwright Mike Cox?

One suggestion: Bring along a 13-year-old to enlighten you.

In any event, the full title of Cox’s play is: Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic.

…much to appreciate here…

Running through July 2 at Lucie Stern Theater in Palo Alto, Puffs definitely draws in a youthful demographic, most of whom were likely Potter devotees in their younger years. Frankly, if you haven’t seen the films or read the books, you’ll miss out on most of what’s going on. (A few groups of older patrons were conspicuously absent after intermission.)

Still, there is much to appreciate here. For example: The set is full of spectacular lights, sounds and moving parts, the characters are so darn silly (but likeable), the musical score is amazingly diverse, and the costumes so colorfully imaginative, that there’s plenty to occupy your eyes, ears, and other facial appendages.

Photo by Scott Lasky
Pictured: The Puffs learn of a troll in the dungeons on Halloween in “PUFFS Or Seven Increasingly Eventful Years at a Certain School of Magic & Magic”

Apparently Puffs has no connection whatsoever with J. K. Rowling, so that means it can’t show Harry, Hermione or Ron and can’t mention Hogwarts. How Cox’s play does this is rather ingenious, at least as represented by director Kristin Walter and the PAP production.

Director Walter, a self-proclaimed Harry Potter fan, tackles this somewhat unwieldy script as if it were one triple ice cream sundae. Smart choice to choose Tiffany Nwogu as the narrator because she brings some semblance of normalcy every time she opens one of the doorways and walks onstage to speak. Her colorful dress, created by costume designer Jenny Garcia, helps her stand out from everyone else in the cast.

Photo by Scott Lasky
Pictured: The narrator (Tiffany Nwogu) keeps the story moving in PUFFS at PA Players.

At the center of Cox’s play are three young men who ,mainly because they are new to the school and don’t know anyone, become fast friends. They discover that the “Sorting Hat” (of course! What’s a play without a hat with magical powers?) puts all three of them into the “Puffs” house. None of them want to be a Puff – they were hoping to be “Braves,” “Smarts” or “Snakes – but they eventually accept their fate.

Photo by Scott Lasky
Pictured: Megan Jones (Michelle Skinner) threatens Wanye Hopkins (Will Livingston) and Oliver Rivers (Nicholas Athari) in PUFFS.

In fact, it’s a tale meant for those who rarely get any recognition. None of these characters are a Harry Potter – and never expect to be. But they learn during their seven years at a certain school of magic that friendship is just about the best thing anyone can hope for.

Though none of the cast members are in their teens, the actors do a fine approximation of acting the age of college students. Will Livingston (Wayne), Nicholas Athari (Oliver) and Michelle Skinner as Megan are all excellent in their roles, as is Katie O’Bryon Champlin as Susie Bones and other parts.

The diminutive Champlin brings down the house whenever she walks out on stage wearing a familiar-looking maroon and gold scarf around her neck and carrying two mops – one bright red (representing Ron) and one brown (Hermione).

Photo by Scott Lasky.
Pictured: The Puffs pay their respects when their headmaster dies in PUFFS Or Seven Increasingly Eventful Years at a Certain School of Magic & Magic, the hilarious Off-Broadway hit.

Unfortunately, there is much in this show that will not be familiar without an understanding of the Harry Potter books or movies. Still, there’s both heart and humor for those who do “get” it.

Scenic designer Kevin Davies, assisted by scenic painter Greet Jaspaert, adds a lot of visual interest onstage, most especially the tall faux-stone staircase that gets moved around seamlessly just before someone walks out of a second-story door to walk down to the stage. That requires precision timing – bravo!

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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

 

ProductionPuffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic
Written by Matt Cox
Directed byKristin Walter
Producing CompanyPalo Alto Players
Production DatesThru July 2nd
Production Address1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$30– $57
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.75/5
Script3.25/5
Stagecraft4/5
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ASR Theater ~~ “The Spongebob Musical” Goofy, Wacky, Colorful at Palo Alto Players

By Joanne Engelhardt

When you’ve never watched one single cartoon episode of Spongebob Squarepants, you’re at a bit of a disadvantage seeing the latest Palo Alto Players production, The Spongebob Musical.

No matter.

The set is so full of spectacular lights, sounds and moving parts, the characters are so darn silly (but likeable), the musical score amazingly diverse, and the costumes so colorfully imaginative that there’s plenty to occupy your eyes, ears and other facial appendages.

A colorfully designed set including neon lights…

Now at the Lucie Stern Theater in Palo Alto through Sunday, May 14, the show starts way before the show starts when several gigantic beach balls get tossed back and forth, over and around the audience. Then Patchy the Pirate (Dane Lentz) comes out to tell the audience that he really wants to join the fun, but no one has invited him. Patchy seems a bit superfluous, but at least he’s not around long.

PAP’s executive director, Elizabeth Santana, admits she’s a bit baffled by the 30-to-40-year-olds turning out nightly to see the show. That was certainly the case on opening night last Friday – and very few children were in the audience.

SpongeBob SquarePants (Joe Galang) greets the day with his pet snail Gary in THE SPONGEBOB MUSICAL, Broadway’s award-winning bold, fresh, and hilarious deep-sea adventure that will make a splash with audiences of all ages. Photo by Scott Lasky

Yet, it’s easy to get caught up in the experience, thanks to artistic director Patrick Klein’s fast-paced direction and colorfully designed set including neon lights and imaginatively shifting sets.

A diminutive Joe Galang is Spongebob who sports a wide-eyed wonderment about everything in the world around him. His best friend Patrick Star (a jovial Rocky James Conception) stops to chat with him as he awakens and walks to the Krusty Krab restaurant, where he works. Mr. Krabs (a bigger-than-life Zachary Vaughn-Munck) wears gigantic red boxing gloves and reminds his young daughter, Pearl (a delightful Gillian Ortega) that someday she’ll own the restaurant.

Pearl Krabs (Gillian Ortega) and the other citizens of Bikini Bottom get ready to rock out at a benefit concert in hopes that the funds raised can save their town in THE SPONGEBOB MUSICAL. Photo by Scott Lasky

Pearl, of course, has other ideas and when Spongebob tells Krusty that he’d like one day to be the manager, Krusty laughs him off, telling him he’s just a simple sponge.

Suddenly a violent tremor rocks the entire town. After the tremor, a news report says the gigantic volcano, Mount Humongous, will soon erupt and likely will disgorge hot lava all over the area, destroying Bikini Bottom.

Many townspeople want to leave, but SpongeBob enlists his friends Patrick and Sandy Cheeks (a sensational Solana Husband) to join him, climb up the volcano to stop it from erupting.

And that’s only Act 1!

Of course, there’s always an evil villain – here it’s Sheldon Plankton (played by Michael Jackson-lookalike Nico Jaochico) and his tiny wife Karen the Computer (Kristy Aquino). But they’ll get their comeuppance, right?

One more actor deserves mention: Andrew Cope as Squidward Q. Tenacles. It certainly can’t be easy to walk around -– and even dance –- when you have four legs!

Squidward Q. Tentacles (Andrew Cope) dreams of stardom on the stage in THE SPONGEBOB MUSICAL. Photo by Scott Lasky

Music director Richard Hall and his keyboard are onstage while his 11-piece orchestra is hidden under a small opening at the center front of the stage, an opening that frequently becomes part of the set.

There’s a lot of enjoy here: Klein’s set is terrific, Stacey Reed’s choreography is fun, Edward Hunter’s lighting is spot on, Raissa Marchetti-Kozlov’s costumes, wigs and makeup are creatively outlandish . So: Even if you know nothing about SpongeBob, you’ll still find much to enjoy.

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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 SpongeBob Musical
Based on series by -

Book by - 		Stephen Hillenburg

Kyle Jarrow
Directed byPatrick Klein
Producing CompanyPalo Alto Players
Production DatesThru May 14th
Production Address1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$30– $57
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance3.75/5
Script3.5/5
Stagecraft4.5/5
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PICK! ASR Theater ~~ PAP’s Production Has Lilting Voices — And A Few Strange Choices

By Joanne Engelhardt

An enchanting Belle, a handsome, muscular Gaston and snappy choreography. What could go wrong?

A few things, actually, although the large opening night audience at the Palo Alto Players’ production of Beauty and the Beast probably didn’t notice. In fact, after the big Act 1 production number “Belle” — featuring the entire ensemble clicking metal drink cups — the audience whistled, applauded and stomped their feet so long, you’d have thought it was the finale!

Sam Mills is close to perfection as Belle, who is shunned by the townspeople for being a little strange (she loves to read books!). Her plain blue pinafore makes her look a bit like Judy Garland in….you know: THAT movie.

Sam Mills as Belle in Palo Alto Players’ production of Disney’s BEAUTY AND THE BEAST, the enchanting Broadway musical based on the animated film. Photo by Scott Lasky.

But she’s got gumption galore, and she does her best to take care of her somewhat eccentric father (Michael Johnson) who loves to fiddle with all things electronic. He’s especially proud of the automobile-type contraption he’s invented which has a habit of breaking down every few feet or so.

In addition to Belle, director Patrick Klein made several fine casting choices here: Frankie Mulcahy as Gaston is one. Mulcahy has played Gaston before, and he’s likely only grown better in the role. Such biceps! Such conceit! Such a devilish grin as he boasts to one and all that he — and only the magnificent he — will sweep Belle off her feet and she’ll melt like honey in his arms. Ha! Belle has absolutely no interest in the self-absorbed Gaston, and the more she resists, the more he’s sure she’s all his.

It’s difficult to go wrong when you’re watching a musical that has an enchanting musical score by Alan Menken, with lyrics by Howard Ashman and Tim Rice.

… Such biceps! Such conceit!

Lucky for Mulcahy that he has someone as versatile and pliable as John Ramirez-Ortiz who, as Lefou, gets batted around and mightily bruised whenever Gaston needs something to punch.

The hard-working cast of 24 brings choreographer Stacy Reed’s sprightly dance numbers to life, helping recreate the magic of the Broadway musical. Yet there are a few strange choices which, to this reviewer make it slightly less than it could be.

Sam Mills as Belle and Frankie Mulcahy as Gaston. Photo by Scott Lasky.

Michael Reed is strong as the Beast. His large structure, gnarled face, ugly horns (thanks to Shilbourne Thill and the Children’s Musical Theatre of San Jose, from whom all the costumes were borrowed), and thoroughly obnoxious disposition make him a Beast to cower before and obey.

But underlying that blustery front is a lonely man who has never known love. Reed’s vocals are clear and filled with longing. So, though he snarls and barks commands to his household servants (who are gradually turning into inanimate objects), he becomes subservient to Belle when she becomes the first person to defy him.

It’s simply delicious to watch him suddenly become a tongue-tied male in love with the dainty Belle.

“…I’m not going to dinner!”

Yet at play’s end, as the Beast finally explodes in a mighty whirl of smoke and lightning, why did director Klein decide to remove Reed from the scene and put in a different actor? It felt wrong because actor Justin Kerekes, as the Prince, looks nothing like Reed.

(To this reviewer, it actually looked as if Kerekes was embarrassed to be standing on stage in Reed’s place.) There’s no logical reason for this switch. Other productions have easily removed the Beast’s facial makeup and hair during the 10 – 15 seconds when he isn’t visible.

Several other supporting characters deserve mention, most especially Arjun Sheth as Lumiere, who was once the Beast’s servant but is now gradually turning into a chandelier. Sheth is so subtle that at one point he goes from a standing position to slithering across the stage like a snake!

Juliet Green is a charming, sweet Mrs. Potts, who, instead of serving tea, is gradually turning into a teapot, and Ben Chau-Chiu is a deservedly disgruntled Cogsworth.

But PAP choose not to have a live orchestra in the pit, so musical conductor Daniel Hughes is there, all alone, giving the actors musical direction.

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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

 

ProductionBeauty and the Beast
Based onWalt Disney’s animated film
Directed byPatrick Klein
Producing CompanyPalo Alto Players
Production DatesThru Nov 20th, 2022
Production Address1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$10 – $60
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script5/5
Stagecraft4/5
Aisle Seat Review PICK!YES!
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PICK! ASR Theater ~~ Palo Alto Players Delight with “School of Rock”

By Joanne Engelhardt

With a bushel of fresh-faced, multi-talented kids, Palo Alto Players has a hit on its hand with the broad comedy “School of Rock,” playing through Sept. 11 at Lucie Stern Theater.

Sure, there are tons of hackneyed caricatures in “Rock,” the kind that Julian Fellows creates here. In fact, almost all the production’s adults are caricatures, the better to contrast with their earnest, brook-no-prisoners reactions to the show’s fifteen kids.

…A special shoutout to the four youngsters who played their own instruments in solo numbers….

What’s even more amazing about these pint-sized stars is that the four youngsters who ultimately become members of the kids’ band are actually playing their instruments live. They do so despite the fact that a number of adult musicians are also playing in the orchestra pit during the show.

Photo by Kate Hart Photography Pictured: Dewey Finn (Jomar Martinez) and the kids of Horace Green rock out to “You’re in the Band” in Palo Alto Players’ SCHOOL OF ROCK!

Yet one adult actor – the crazy-good Jomar Martinez, playing out-of-work musician/faux substitute teacher Dewey Finn – stands out simply because Dewey is a kid at heart whose two loves are playing music and sleeping. Dewey is living in the bedroom of an apartment owned by his old bandmate, Ned Schneebly (the bland but affable Zack Goller) and his fiancée Patty Di Marco. Amanda Le Nguyen plays Patty with waaaay too much veracity—her Patty is so demanding that it’s hard to imagine she and the affable Ned would ever have connected.

It’s obvious director Doug Santana put a lot of love into this production—his own daughter Maddie plays one of the precocious kids! While he let the kids shine as much as they are comfortable, it might have made the show a little more reasonable if not every adult except Dewey was unpleasant or bland.

As Rosalie Mullins, the headmistress of the posh Horace Green School, Amy Kohmescher comes close to playing another caricature. But she loosens up when she agrees to have a cup of coffee with the ersatz substitute teacher. Turns out the coffee date is in a bar and with each sip of beer, Rosalie loses her inhibitions and becomes more fun. She and the disheveled Dewey even share a quick kiss as they part.

But the kids are really the heart and soul of “School of Rock.” From reading their biographies, most are middle school or high school students, although at least two are fifth graders. Nearly all have had drama experience either at their schools or with local theatre productions.

Photo by Scott Lasky Pictured (L to R): Hailey Matta as Summer, Adeline Anderson as Katie, Jomar Martinez as Dewey Finn, Rafael ‘Rafi’ Frans as Zack, and Alex Pease as Freddy in Palo Alto Players’ SCHOOL OF ROCK, the electrifying Broadway musical based on the hit movie.

A special shoutout to the four youngsters who played their own instruments in solo numbers: Adeline Anderson who, as Katie, played bass; Alex Pease playing drums as Freddy; CJ Fernando as Lawrence with his socko piano playing; and the blow-it-out guitar playing of Rafael “Rafi’ Frans as Zack.

Choreographer Joey Dippel smartly allows youngsters with previous dancing experience to lead the musical numbers, yet gives every one of the kids a chance to at least “doo wop,” dance, and sway to the beat.

Andrew Lloyd Webber composed “Rock’s” musical score, and Glen Slater provided lyrics. It has several memorable numbers, most notably: “You’re in the Band,” “Where Did the Rock Go?,” “School of Rock” and “Stick It to the Man.”

Photo by Scott Lasky. The teachers of Horace Green sing the “Faculty Quadrille” in Palo Alto Players’ SCHOOL OF ROCK!

Costume designer Noreen Styliadis really hit the mark here with cute maroon-white-and black plaid school uniforms worn by almost all the kids. She pulls off a coup when she dresses Martinez in – well, you’ll just have to see “Rock” to find out.

All in all, definitely worth the 2 ½ hours (with one 15-minute intermission) for young and old alike to revel in the clever joyfulness of “School of Rock.”

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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

 

 

 

 

 

 

 

 

 

 

ProductionSchool of Rock
Book by / Lyrics By / New Music ByJulian Fellowes / Glenn Slater / Andrew Lloyd Webber
Directed byDoug Santana
Producing CompanyPalo Alto Players
Production DatesThrough October 11, 2022
Production AddressLucie Stern Theater 1305 Middlefield Road Palo Alto, CA 94301
Websitewww.paplayers.org
Telephone(650) 329-0891
Tickets$30 – $60
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script5/5
Stagecraft4/5
Aisle Seat Review PICK!YES!