Tag: Sondheim

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PICK ASR Theater! ~~ TheatreWorks’ Sondheim Tribute a Delightful Production

By Joanne Engelhardt

Combine a half-dozen versatile actors, a maestro of the keyboard (Bill Liberatore) and TheatreWorks Silicon Valley’s long-time artistic director Robert Kelley (now retired), and the result is Being Alive: A Sondheim Celebration — a concoction that makes for a pleasurable two hours of theatre.

Both Kelley and Liberatore say they’ve been so influenced by Sondheim over the years that they felt he deserved his own production chockful of his incredibly long list of songs – some so familiar it’s hard not to start singing along.

The women (Melissa WolfKlain, Solona Husband, and Anne Tolpegin) butt heads with the men (Sleiman Alahmadieh, Nick Nakashima, and Noel Anthony Escobar) in TheatreWorks Silicon Valley’s “Being Alive: A Sondheim Celebration,” performing June 5-30.
Photo Credit: Kevin Berne

Many, like “Putting it Together,” “Send in the Clowns,” “Pretty Women” and “Love is in the Air,” not to mention the sensitive, soulful “Children Will Listen,” are as familiar to theatregoers as old friends. Others such as “Loving You,” “Love’s a Bond” and “There is No Other Way” introduce audiences to lesser-known Sondheim songs. Yet, by the time the audience heads home, the actors have sung a whopping 35 songs — 36 in fact,because “Send in the Clowns” is sung twice.

” … a pleasurable two hours of theatre …”

During Kelley’s 50-year tenure at TheatreWorks, he actually mounted 18 Sondheim productions. Upon learning that it’s now “legal” to create a musical review of Sondheim’s works, Kelley said the first thing he did was ask Liberatore to collaborate with him as they have many times before.

The cast (l to r: Melissa WolfKlain, Nick Nakashima, Solona Husband, Noel Anthony Escobar, Anne Tolpegin, and Sleiman Alahmadieh) put a show together in TheatreWorks Silicon Valley’s “Being Alive: A Sondheim Celebration. Photo Credit: Kevin Berne

And, while not every song or performance zings, it’s likely audiences will recognize once again Sondheim’s musical genius through most of the songs sung, danced and acted here. What’s so surprising is that all of the music – which sounds both fulsome and lyrical — comes from Liberatore’s melodious piano playing and Artie Storch’s occasional drumming accompaniment.

No small credit, of course, goes to the cadre of fine performers, most particularly the diminutive Solona Husband as Sally, who acts, dances, jumps and belts out her songs with joyfulness. Nick Nakashina as Gene and Melissa WolfKlain are solid additions who know how to charm an audience with a sassy wink or nod. Rounding out the cast with equally fine performances are Anne Tolpegin as Lena, Sleiman Alahmadieh as George, and Noel Anthony as Ben.

The cast (l to r: Anne Tolpegin, Sleiman Alahmadieh, Solona Husband, Noel Anthony Escobar, Nick Nakashima, and Melissa WolfKlain) embraces new possibilities in “Being Alive: A Sondheim Celebration.” Photo Credit: Kevin Berne

Sondheim, who passed away in 2021 at the age of 91, wrote an astonishing 334 songs in his lifetime. That’s why Kelley and Liberatore decided to concentrate on songs that are primarily focused on love – in all its iterations: first love, love lost, broken hearts, redemptive love and more. Audiences happily responded to the upbeat “Love is in the Air, ”Everybody Says Don’t,” “Can That Boy Foxtrot” and “You Could Drive a Person Crazy.” WolfKlain’s rendition of “The Wedding is Off” is another crowd pleaser.

Then comes the poignant “Send in the Clowns,” sung with heartfelt sincerity by Tolpegin, and the equally touching “We Do Not Belong Together” sung by Husband and Alahmadieh. Husband also stands out in “Our Time” with Nakashima and Alahmadieh as well. The same trio joins up in “Old Friends” and does a terrific switching hats routine.

Kelley sandwiches in touching songs like “Children Will Listen,” sung by WolfKlain and Tolpegin. with comedic ones like “Agony” sung by Nakashima and Anthony, as well as “Any Moment/Moments in the Woods,” sung by Anthony and WolfKlain, to balance out the program.

But it’s the song “Being Alive,” sung by all six performers, that ends the show on a high note. It’s a reminder of just how astounding Sondheim’s music really is.

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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

 

ProductionBeing Alive: A Sondheim Celebration
Conceived by
Robert Kelley and William Liberatore
Directed byRobert Kelley
Producing CompanyTheatreWorks Silicon Valley and Entre Acts
Production DatesThru June 30th
Production Address1305 Middlefield Road
Palo Alto, CA 94301
Websitewww.theatreworks.org
Telephone(877) 662-8978
Tickets$37- $82
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “Side by Side by Sondheim” Soars in Sonoma!

By Sue Morgan

For a few magical hours during the opening night of Sonoma Arts Live Theatre Company’s performance of Side by Side by Sondheim, the problems of the world fell away, leaving only delight. A musical revue of some of the best of Stephen Sondheim’s vast cannon of songs, with music by Sondheim, Leonard Bernstein, Mary Rodgers, Richard Rodgers, and Jule Styne, this is a production not to be missed.

This enchanting performance begins as four guests arrive for an evening of “song and festivities” at a swanky Manhattan apartment—beautifully designed by Carl Jordon. Cityscape glittering outside the window, the callers enjoy sparkling libations, including vodka stingers, while singing together, individually, and in various combinations. Two grand pianos, one on either side of the picture window, allow for a richer and fuller sound than a single piano could provide. Often played in harmony, they create a lush and complex musical texture that highlights the intricacy and sophistication of Sondheim’s compositions. As the full company begins to sing the enlivening “Comedy Tonight” and “Love is in the Air,” it is immediately apparent that this will be a very special evening.

…a production not to be missed!

The cast are, without exception, outstanding. That said, if consigned to live out my life on a desert island with only one performer for company, I would choose Danielle “Dani” Innocenti-Beem. With an artistic virtuosity so practiced that it seems effortless, Ms. Beem’s voice has a rare and indescribable quality that sets it apart from any other.

Danielle “Dani” Innocenti-Beem at work in “Side By Side By Sondheim”

Add to that her ability to convey the entire spectrum of emotion with no more than facial expressions, and we are witnessing a world-class performer. With songs ranging from the achingly gorgeous, “Send in the Clowns” to the hilariously tongue-twisting “The Boy From”—’Tall and tender, like an Apollo, he goes walking by and I have to follow, him, the boy from Tacarembo La Tumbe Del Fuego Santa Malipas Zatatecas La Junta Del Sol Y Cruz’—Beem delivers seamless performances.

Maeve Smith at work at Sonoma Arts Live.

Maeve Smith’s vocal range is a wonder to behold! From breathless whisper to full out belting voice, she is up for the task. With acting chops to match, she’s a formidable performer. In “Another Hundred People” Smith’s sense of disconnection feels palpable as she laments being surrounded by people but sharing intimacy with none. In “Getting Married Today,” Smith displays her ability to articulate perfectly while singing at break-neck pace, to wonderful comic effect.

Jonathen Blue’s beautiful tenor is both rich and wistful as he sings about the possibility of love in the stunning “Being Alive.” Blue’s deft use of tone and timing made this a standout among many such performances of the night. His solo comic tune, “Buddy’s Blues,” showcased a disarming charm as he elicited sympathy despite the dubious character he portrayed.

Jonathen Blue in “Side By Side By Sondheim”

From tenor to bass, Alexei Ryan, has a unique and compelling voice. His rendition of “I Remember”—typically sung by a woman—was simply gorgeous. His ability to sustain perfect pitch at the lowest register was astonishing! His duet with Innocenti-Beem in “You Must Meet my Wife,” was one of the funniest performances of the evening as his earnestness hilariously contrasted with Beem’s eye-rolling “give-me-a-break” disingenuousness.

Rick Love did his best as the narrator to infuse the outdated and frequently tone-deaf jokes with humor via his delivery, but it might be a mercy to simply drop the jokes. Love shined when acting as our guide, introducing and contextualizing the songs performed, providing background information on the composers and the stories behind the songs.

Director Andrew Smith is a master at drawing out natural-seeming performances from his actors. The performers mix drinks, mingle with one another and lounge comfortably around the set, which somehow has the effect of making the audience feel like guests at the party.

The cast of “Side By Side By Sondheim” at work.

Musical Direction by Ellen Patterson was spot on. The choices she made regarding who would perform each song were inspired, as was her direction of the superbly talented pianists.

The combination of Beem, Smith, Blue and Ryan and their ability to effectively convey the humor, heart and complexity of Sondheim’s music, the simple, yet ingenuous set design, and stellar musical accompaniment all work together to make this an awards-worthy production. I can’t wait to see what’s next for Sonoma Arts Live theater company!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: sstrongmorgan@gmail.com

 

 

ProductionSide By Side By Sondheim
Music byStephen Sondheim, Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne
Directed byAndrew Smith
Producing CompanySonoma Arts Live
Production DatesThursdays thru Sundays through May 7, 2023
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
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft4.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “Into the Woods” A Delightful Stroll at Foothill Theatre Arts

By Joanne Engelhardt

There’s nothing like a relatively small theater to enable audiences to appreciate the wonder, the magic and the magnificence of Stephen Sondheim’s way with words.

That’s what’s in store for anyone lucky enough to get a ticket to the current Foothill Theatre Arts production of Into the Woods, running through March 19 under the capable direction of Milissa Carey.

Several powerful voices in this version of Woods greatly add to the overall experience. Caitlin Gjerdrum, in the pivotal role of the Witch, excels in both acting and singing.

(L-R) Alicia Teeter, James Schott, and Caitlin Gjerdrum in “Into The Woods”. Photo by David Allen.

Equally strong in the vocal department is James Schott as the Baker, Alicia Teeter as the Baker’s Wife and, as the Narrator/Mysterious Man, Michael Paul Hirsch brings those characters to life in new, interesting ways.

”…the magnificence of Stephen Sondheim’s way with words.”

Into the Woods first opened on Broadway in 1987 with Sondheim providing the music and lyrics and James Lapine, the book. It won three Tony Awards that year – for best score, best book and best actress.

The story primarily involves fairy tale characters from Jack and the Bean Stock, Little Red Ridinghood, Cinderella, and Rapunzel, with several others having lesser roles.

Characters galore! Jack’s Mother, Cinderella, Witch, Baker, Cinderella’s Prince, Florinda, Lucinda, Rapunzel’s Prince, Stepmother, Mysterious Man, Little Red, and Baker’s Wife at work in Foothill’s “Into The Woods”. Photo by David Allen.

Music and lyrics, of course, are key and here’s where Sondheim shines. The song “Into the Woods” is interwoven throughout the show, but there’s also the haunting “Last Midnight,” “Children Will Listen” and “No One is Alone.”

There are many lighter musical moments as well, including “Hello, Little Girl,” sung by the Wolf to Little Red Riding Hood,” “A Very Nice Prince,” “Agony,” and “It Takes Two.”

Carey’s production team is top-notch as well. Scenic designer Yusuke Soi had his work cut out for him, trying to fit this big musical onto the Lohman Theater stage. But he came through with flying colors, making a tree-filled woods, several homes, a bakery, Grandma’s house and a special giant tree all fit.

He even made the orchestra part of the woods. By putting them at the rear center of the stage, audience members get to watch Horsley conduct a top-notch seven-person orchestra play the score.

Soi also is responsible for the remarkable design and construction of the hapless cow, Milky White. Some productions have two people wear a cow costume to play this character, but Soi’s design is remarkably fluid. Kudos, too, to Mateo Urquidez, who easily manipulated the cow character.

In many ways, the story line involving the Baker and his wife very much wanting to have a baby is just an excuse for stringing together beautiful Sondheim songs.  Just to cite two examples, read carefully and “listen” to his words, first in “Prologue Into the Woods”… 

“Into the woods without regret,
The choice is made, the task is set.
Into the woods, but not forgetting
why I’m on the journey.”

And then in the song “Children Will Listen”…

“Careful the things you say
Children will listen
Careful the things you do
Children will see and learn
Children may not obey, but children will listen”

 

Both, amazing and classically Sondheim.

Costume designer Sharon Peng’s amazing talent at work. Photo by David Allen.

Costume designer Sharon Peng did an outstanding job of creating the colorful outfits that seemed right for each storybook character as well as the ordinary people in the town. Lighting is a key part of the show as well, and Pamila Grey didn’t disappoint.

Two other production staff deserve mention: What good are song lyrics if they can’t be heard? Sound designer Andy Heller makes sure that doesn’t happen. Finally, Kayson Kordestani’s choreography works beautifully on the small stage.

To sum up: A beautifully presented production that shouldn’t be missed.

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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

 

ProductionInto The Woods
Book by / Music & Lyrics byJames Lapine / Stephen Sondheim
Directed byMilissa Carey
Producing CompanyFoothill Music Theatre
Production DatesThrough March 19th
Production AddressFoothill College
12345 El Monte Rd.
Los Altos Hills, CA 94022
Websitewww.foothill.edu/theatre
Telephone(650) 949-7360
Tickets$20 - $40
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ Spreckels’ “Night Music” – Theatre at its Best

By Sue Morgan

With amusing and sometimes moving lyrics and music by Stephen Sondheim, a charming book by Hugh Wheeler and an outstanding cast of Bay Area actors, A Little Night Music at Spreckels Performing Arts Center is regional theatre is at its best. The play is a rarity in that it’s a musical stage adaptation of a film, Ingmar Bergmann’s Smiles of a Summer Night.

At the dawn of the 20th century, Fredrik Egerman (Larry Williams) a previously widowed middle-aged attorney, has married lovely virginal 18-year-old Anne, (Brenna Sammon). Anne loves to tease Egerman’s earnest 20-year-old son, Henrik, (Samuel J. Gleason) a seminary student who wrestles with a secret passion for Anne, who has, eleven months after her nuptials, still not consummated her marriage to Henrik’s father.

Sexually frustrated, Fredrik seeks relief in the arms of old flame Desiree Armfeldt, (Daniela Innocenti-Beem) a once-renowned actress, who by chance is performing in Fredrik and Anne’s Swedish town, and has carried a torch for Fredrik for years. The lovers are interrupted by Desiree’s married lover, Count Carl-Magnus Malcolm (Michael Coury Murdock) whose wife, Countess Charlotte Malcolm (Taylor Bartolucci) knows of the affair and is desperate to regain her husband’s affections. Such are the tropes of multi-layered unrequited love, catalyst for both hilarity and poignancy in this effervescent production.

…spirited, professional and upbeat performances…

With the exception of Murdock’s full-throated Count Malcolm, whose “In Praise of Women” was wonderfully rendered, the ladies of the cast outshine the men in terms of vocal talent. Molly Belle Hart was perfectly cast as young Fredrika Armfeldt, daughter of Desiree and granddaughter of Madame Armfeldt (Eileen Morris). Hart’s rendition of “The Glamorous Life” was sung with the poise and professionalism of a much older performer. Morris’s solo “Liasons” managed to be both enchanting and amusing, conveying yearning for what had been and a sense of satisfaction in a life well-lived. Brenna Sammon’s “Soon” was plaintive and lovely.

Brenna Sammon as Anne and Samuel Gleason as Henrik.

 

There were two showstoppers during the opening night performance. The first was “Send in the Clowns,” which held the audience rapt throughout, performed with perfectly understated virtuosity by the stunningly talented Daniela Innocenti-Beem, who also gave the best performance overall throughout the production. Her Desiree offered a master class in theatrical expression and nuance. The second was “The Miller’s Son,” performed with power and a sense of unbridled joy by Kaela Mariano, who played Petra, Anne’s delightfully libidinous maid.

The Quintet Brandy Noveh, Stacy Rutz , Michael Arbitter, Ariana Arbitter, Sean O’Brien.

There were some sound issues during the beginning of the play, with the orchestra overwhelming the vocals as some of the performer’s mics appeared to be working only sporadically. The performers soldiered on professionally, however, and the problems were soon rectified.

Costumes by Donnie Frank were delightful, beautifully depicting the height of elegance in the early 1900s. The set was not such a delight, changing only in terms of props and lighting. Having the same backdrop throughout, despite whether the action was inside or out, with the same paintings hanging on every character’s wall. This seemed a bit too laissez faire.

Overall, Director Sheri Lee Miller elicited spirited, professional and upbeat performances from her talented and well-chosen cast, gifting her audience with an immensely enjoyable evening of entertainment.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: sstrongmorgan@gmail.com

 

 

ProductionA Little Night Music
Music/Lyrics by -- Book byStephen Sondheim --Hugh Wheeler
Directed bySheri Lee Miller
Producing CompanySpreckels Performing Arts
Production DatesThrough Feb 26th, 2023
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$12 - $36
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script4/5
Stagecraft3/5
Aisle Seat Review Pick?YES!