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Oct 16 2024
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Yaga

By Joseph Cillo

 

A Mesmerizing Blend of Myth and Mystery: Marin Theatre’s Yaga Reimagines the Power of Baba Yaga

At Marin Theatre, the mythical and the mysterious come together in Yaga, a darkly comedic crime thriller that masterfully reimagines the ancient Slavic figure of Baba Yaga. Directed by Tony-nominated Barbara Damashek and written by acclaimed Canadian playwright Kat Sandler, Yaga delivers a fresh, feminist take on the traditional “wicked witch,” reclaiming her as a symbol of female power, wisdom, and transformation. Running through November 3, 2024, this U.S. premiere deftly combines noir detective story elements with folklore, mystery, and a dash of dark humor.

Plot Encapsulation: A Dark Mystery with Folkloric Roots

The play follows a big-city private investigator, Charlie Rapp (Adam KuveNiemann), who is called to a small, isolated town to investigate the mysterious disappearance of a young heir to a yogurt empire. Partnering with local police officer Carson (Rachel Clausen), Rapp uncovers a tangled web of secrets involving a forensic bone expert, Katherine Yazov (Julia McNeal), whose shadowy past hints at her connection to the mythical figure of Baba Yaga. As the investigation deepens, the play veers into the supernatural, revealing that the folklore surrounding Baba Yaga may not be just an old wives’ tale, but something far more real and threatening.

The detective story unfolds as a clever whodunit, but as layers of myth and mystery unravel, the line between the real world and the supernatural begins to blur. Baba Yaga’s ancient magic creeps into the plot, challenging the characters to confront their own inner truths and weaknesses. The play delivers suspense and dark humor as the detectives follow a trail of clues, leading to a surprising and mystical conclusion.

Baba Yaga: A Witch Reclaimed

At the heart of Yaga is Baba Yaga, a figure deeply embedded in Slavic mythology, known for her ambiguous and often fearsome nature. Historically depicted as a crone who devours children and lives in a hut perched on giant chicken legs, Baba Yaga has long represented both the terrifying and the untamable. Yet, as modern reinterpretations show, she is also a figure of immense wisdom, independence, and power. In Yaga, Sandler reclaims Baba Yaga as a complex antihero—both a symbol of ancient justice and a figure of female empowerment.

Baba Yaga’s presence looms over the play as a force that disrupts the mundane world, drawing characters into her orbit as they grapple with their own truths. This production taps into the modern cultural fascination with witches as figures of resistance and transformation, reclaiming them as icons of autonomy and rebellion against societal norms.

Outstanding Performances: A Showcase of Versatility

One of the standout features of this production is the virtuosity of its cast. With just three actors—Rachel Clausen, Adam KuveNiemann, and Julia McNeal—playing a total of 14 characters, the performances are nothing short of extraordinary. The actors shift seamlessly between roles, often within a single scene, keeping the audience engaged and on edge.

Julia McNeal’s portrayal of Baba Yaga is a true highlight. She embodies the ancient witch with a mix of menace, humor, and mystery, capturing Baba Yaga’s complex duality as both a figure of fear and wisdom. McNeal’s performance anchors the play’s exploration of feminine power and transformation. KuveNiemann and Clausen complement her with sharp, witty performances that bring depth to the detective story unfolding around her.

Brilliant Direction and Design: A Perfect Fusion of Genres

Under the direction of Barbara Damashek, Yaga skillfully blends its noir mystery elements with the mystical folklore of Baba Yaga’s world. Known for her Tony-nominated work, Damashek ensures that the play moves seamlessly between humor, suspense, and moments of supernatural wonder. Her direction keeps the pacing tight, allowing the actors’ quick transitions between characters to feel natural and dynamic.

The set design by Carlos Aceves and lighting by Kurt Landisman add to the atmosphere, transforming the stage from a mundane small town to the eerie, otherworldly forest realm of Baba Yaga. The design elements heighten the play’s contrasts between the ordinary and the magical, reinforcing the themes of transformation and duality.

Themes: A Feminist Reclamation of the Witch Archetype

At its core, Yaga is about power—particularly, the power of women and how that power has been misunderstood, vilified, and ultimately reclaimed. Baba Yaga serves as a symbol of female autonomy, embodying the idea that strength can be both feared and respected. The play’s feminist undertones challenge the audience to reconsider their views on witches and powerful women, drawing parallels between Baba Yaga’s myth and contemporary struggles for gender equality.

By reclaiming the figure of Baba Yaga, Sandler turns the traditional “wicked witch” on its head, transforming her into a powerful antihero who represents the untamable spirit of women who live by their own rules. Yaga explores how society treats such women—whether they are revered or demonized—and invites the audience to embrace the complexities of these archetypes.

The Horn and the Phoenix: Symbols of Power and Transformation

As the play builds toward its conclusion, two powerful symbols emerge in Yaga: the Horn and the Phoenix. These motifs enrich the play’s exploration of power and change, aligning closely with Baba Yaga’s role in the story.

The Horn, often associated with summoning and authority, represents the call to uncover hidden truths and confront deeper mysteries. In Yaga, it symbolizes the awakening of characters to the ancient forces at work beneath the surface, as they delve into the disappearance of a yogurt empire heir. Just as the horn calls attention to something urgent, it echoes Baba Yaga’s role in awakening the hidden, untamed power within.

The Phoenix, a legendary bird that rises from its own ashes, represents renewal, transformation, and the cycle of life and death. Baba Yaga’s myth aligns with this symbolism—she is both a destroyer and a guide toward new beginnings. The Phoenix mirrors the characters’ journeys in the play, as they undergo their own transformations, emerging with new understanding and self-awareness. As the play reaches its final moments, these symbols tie together the themes of destruction, rebirth, and the characters’ evolution.

Conclusion: A Must-See Theatrical Experience

Marin Theatre’s Yaga is a mesmerizing blend of folklore, mystery, and feminist commentary that will leave audiences thinking long after the final curtain. With its sharp performances, brilliant direction, and thematic depth, Yaga offers a fresh take on the myth of Baba Yaga and the power of transformation. Whether you are drawn to the mystery, the symbolism, or the exploration of female empowerment, Yaga is a theatrical experience that shouldn’t be missed.

 

Oct 15 2024
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“Strangers on a Train”, presented by Meadow Brook Theatre, Rochester Hills MI

By Greg & Suzanne Angeo

 

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Ron Williams, Stephen Blackwell

 

Photos courtesy of Sean Carter Photography

Forget About Hitchcock

To launch their 58th season (and to get everyone in the mood for Halloween), Meadow Brook Theatre has chosen the murderous suspense classic “Strangers on a Train”. Adapted in 2004 for BBC radio and then in 2013 for the stage by British playwright Craig Warner, the story hews pretty close to its source material: the 1950 novel of the same name by Patricia Highsmith (who went on to write “The Talented Mr Ripley” in 1955). Warner’s adaptation premiered in London’s West End to critical and public acclaim. Surprisingly, the well-known 1951 film by Alfred Hitchcock bears almost no resemblance to the novel. Mr Hitchcock reportedly told the scriptwriters to “forget about the book”, and they went on to rewrite almost the entire story. So you should forget about the movie – and prepare for a long, strange trip.

Chip DuFord, Julia Glander

The basic premise is familiar: two men meet by chance on a train; Guy Haines, a moody but promising young architect, and Charlie Bruno, a maniacal mama’s boy with too much time and money on his hands. A philosophical discussion about Plato turns dark, and one of them proposes they “swap murders” – one man’s unfaithful wife, the other man’s stingy father.  At this point, expect the unexpected; the story begins to take many emotional twists and turns, as well as geographical ones, ranging from the American southwest to Florida to the east coast and back again. Throw in a suspicious detective, and you have the makings of a juicy thriller. Guy’s growing nightmare and Charlie’s growing menace increase exponentially, ending in a heartbreaking climax.

MBT veteran Ron Williams (“Ken Ludwig’s Moriarty”) plays Guy with sullen restraint, waffling between temptation and his longing for a secure, happy life. Fellow MBT regular Stephen Blackwell (“Moriarty”, “Clue: Onstage”) really takes the bull by the horns in this flamboyant portrayal of the crazed drunken hedonist Charlie. Much scenery is chewed, and all the better for it.

Not to be outdone, Julia Glander (“Calendar Girls”) as Charlie’s mother steals every scene she’s in. Her performance as the scheming, aging glamour queen Elsie highlights the possible reasons her son is such a mess. Another dependable MBT regular is Chip DuFord (“Father of the Bride”) as private investigator Arthur Gerard, family retainer and friend of Charlie’s father. He has a deceptively folksy, homespun air that leads people to underestimate him – at their peril.

Ron Williams, Ashley Wickett

Ashley Wickett’s portrayal of Guy’s fiancé Ann is rather loud and giggly at first, then evolves into melodramatic love and concern for her new husband. Tobin Hissong as Guy’s amiable partner and David Moan as his longtime friend round out the talented cast.

The complex set by Brian Kessler and lighting by Brian Debs reflect the numerous locations, often simultaneously: a massive staircase, various hotel rooms, a luxurious home, an office. One eerie scene involving a mirror is one of the best moments in the show.

This may be one of the most intricate and tightly paced shows by director Travis Walter. Although there are a few places where monologues can run a bit long, he skillfully manages to connect the slow, agonizing build of dramatic tension, multiple locales and characters – all moving parts – with very stylish “film noir” results. It would be interesting to see a version of this production with all black and white sets, makeup and costumes, and appropriate lighting to make us think we were really seeing a “film noir”. Maybe for another time…?

 

When: Now through November 3, 2024

 Tickets $39 to $48    

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

 

Special Note: As COVID-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website for the latest information on efforts to keep everyone safe.

This production is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 58 years.

Oct 06 2024
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LIZZIE: The Musical

By Joseph Cillo

 

Lizzie Borden: A Dark Chapter in American History and a Great Musical

Lizzie Borden is a name that has become synonymous with one of the most infamous murder cases in American history. In 1892, Lizzie was accused of brutally murdering her father, Andrew Borden, and her stepmother, Abby, in Fall River, Massachusetts. Though she was ultimately acquitted, the legend of Lizzie Borden has continued to capture public fascination, leaving lingering questions about her innocence or guilt. Did she commit these gruesome acts, or was she wrongfully accused?

LIZZIE: The Musical at 6th Street Playhouse brings this mystery to life with a fresh, gothic rock twist, adding new layers to the well-known tale.

A Great Rock Band and Outstanding, Creative Visuals: Velvet Grass Cast Delivers

The Velvet Grass cast at 6th Street Playhouse opened their run of LIZZIE: The Musical on October 5th with a show that rocked the stage in every sense. With its hard-hitting music and bold performances, the production breathes new life into the story of Lizzie Borden, transforming the courtroom drama into a high-energy rock opera. The live band is phenomenal—delivering powerful riffs and deep rhythms that perfectly underscore the emotional intensity of the story.

From the very first note, the audience is pulled into a gothic world where dark history meets modern rock. The visuals are nothing short of outstanding and creative. Director Patrick Nims skillfully blends the eerie feel of a 19th-century parlor with the raw energy of a rock concert. Lighting, set design, and costume choices work together seamlessly to immerse the audience in a space that feels both haunted and rebellious.

Velvet Grass: A Wicked New Twist

In this version of the story, Lizzie discovers a more discreet and sinister weapon—poison. When she stumbles upon Emma’s “Book of Household Poisons,” she learns about the deadly properties of velvet grass and shattercane. This leads to a suspense-filled scene where Lizzie considers using prussic acid to eliminate her enemies, adding an extra layer of danger and intrigue to the plot. This brilliant twist injects a fresh sense of unpredictability into the well-known tale.

Stellar Cast Performances with Rock and Edge

The Velvet Grass cast—Malia, Nicole, Andee, and Megan—are nothing short of spectacular. Each brings intensity, grit, and emotion to their roles, with vocal performances that soar alongside the incredible rock score. Their chemistry on stage adds to the energy, creating a dynamic that is as explosive as it is haunting.

The music, composed by Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt, gives the story a pulse-pounding rhythm, blending rock and gothic tones that complement Lizzie’s descent into madness. This is more than just a play—it’s a full-on rock concert with theatrical edge, and the band’s performance makes the show feel alive, raw, and unforgettable.

A Visually Stunning Production

Visually, this production is a feast for the eyes. With its combination of haunting Victorian aesthetics and rebellious rock visuals, the design transports the audience into a world where history, myth, and modern attitude collide. Whether it’s the eerie glow of candlelit rooms or the high-energy lighting of a rock stage, each scene is crafted with care, making every moment a visual delight.

Don’t Miss This Must-See Show

For lovers of true crime, gothic stories, and rock music, LIZZIE: The Musical is a show that hits all the right notes. With a great rock band, outstanding and creative visuals, and a killer cast, it’s an immersive experience that redefines the Lizzie Borden legend. Be sure to secure your tickets for this thrilling, high-energy production at 6th Street Playhouse!

 

Sep 21 2024
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Don’t Miss Nunsense at RVP

By Flora Lynn Isaacson

Photo by Jere Torkelsen

Novato Theater Company presents Nunsense on stage now through October 6.

Dan Goggins’ book, music and lyrics come to life thanks to a stellar cast, excellent direction by Lisa Morse and spectacular choreography by Marilyn Izdebski.

You won’t want to miss this hilarious musical comedy, which also features fine musical direction by Nick Brown and a lovely live band.

The play is set in a Catholic middle-school auditorium where five nuns from the Little Sisters of Hoboken are planning to raise funds by putting on a variety show.

As Act One begins they introduce themselves with the song “Nunsense Is Habit Forming.” Eight entertaining numbers follow showcasing the cast’s incredible range and energy.  Their acting, singing and dancing is a joy to behold, thanks to Nicole Thordsen (Sister Amnesia) Lauren Sutton-Beattie (Sister Leo), Kristine Ann Lowry (Sister Hubert), Tina Smith (Sister Robert Anne) and Jane Harrington (Sister Regina).

Stand out performances include Thordsen’s hilarious rendition of “So You Want To Be A Nun” sung with a foul-mouthed nun-puppet named Sister Mary Annette.

Another highlight is when the company dons tap shoes for a rousing dance number “Tackle That Temptation.”

Act Two features nine fabulous songs including “The Drive In” (Thordsen, Smith and Sutton-Beattie),and Lowry performing “Holier Than Thou.”

Congratulations also to Tom O’Brien/Set Design, Adrianna Gutierrez/Costumes and the entire production team for creating such a memorable and enjoyable show.

Coming up next at Novato Theater Company is Noel Coward’s Present Laughter, directed by Carl Jordan, January 24-February 16.

Sep 15 2024
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Nunsense

By Joseph Cillo

An Uproarious Night with Nunsense at Novato Theater Company

The Novato Theater Company kicks off its 104th season with a bang, bringing the hilarious musical comedy Nunsense to life in a delightful and laugh-filled production. Directed by Lisa Morse, this show is a comedic gem that masterfully blends quick wit, slapstick humor, and heartfelt performances. From start to finish, Nunsense delivers the perfect mix of laughter and lightheartedness, making it a must-see for local theater enthusiasts.

The plot follows 5 nuns who are left to organize a fundraiser after a botulism outbreak—caused by none other than Sister Julia, Child of God, a humorous nod to the famous TV chef Julia Child. Sister Julia accidentally poisons 52 of her fellow sisters with her tainted vichyssoise, and it’s up to the remaining nuns to raise enough money to cover the burial costs. Although Sister Julia is only mentioned in the story, her culinary mishap sets the stage for the comedic chaos that follows.

Kristine Ann Lowry shines as Sister Mary Hubert, the second-in-command with a love for gospel music. Lowry’s powerful stage presence and comedic timing make her moments unforgettable, particularly in her musical numbers that brim with energy and joy. Tina Smith’s Sister Robert Anne, the streetwise nun with a penchant for the spotlight, also delivers a standout performance, bringing her character’s ambition and humor to the forefront. Her song “I Just Want to Be a Star” is one of the evening’s highlights.

Nicole Thordsen plays Sister Mary Amnesia, the nun who lost her memory due to a falling crucifix. Thordsen’s portrayal is both endearing and hilarious, as she navigates her character’s childlike innocence with impeccable comedic timing. Her interactions with the audience, combined with her musical talents, offer some of the most uproarious moments of the night.

Lauren Sutton-Beattie as Sister Leo, the novice with dreams of becoming a ballerina, rounds out the cast beautifully. Her dance numbers bring an additional layer of humor and charm, and Sutton-Beattie’s youthful exuberance lights up the stage.

The production’s choreography, by Marilyn Izdebski, is one of the true highlights of the show. Izdebski’s movements are playful and perfectly in tune with the show’s comedic tone, ensuring that every dance number is both entertaining and laugh-inducing. The musical direction by Nick Brown is equally impressive, with the cast’s vocal performances adding richness and depth to the score. Each song is brought to life with humor and heart, perfectly complementing the story’s zany plot.

The set design also deserves special mention, providing a playful and colorful backdrop that enhances the story’s whimsical nature. From the convent setting to the props used in the various skits and musical numbers, the design elements work seamlessly with the direction and performances to create a fun and immersive experience.

In the hands of director Lisa Morse, Nunsense becomes more than just a musical comedy—it’s an experience that audiences will cherish long after the curtain falls. The production’s balance of sharp humor, heartwarming moments, and infectious energy make it a standout in the Novato Theater Company’s lineup this season.

Whether you’re a longtime fan of community theater or new to the scene, Nunsense promises a night of entertainment that will leave you smiling and laughing from start to finish. Be sure to catch this delightful production, running from September 13 through October 13, 2024, at the Novato Theater Company.

 

Sep 15 2024
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Ross Valley Players 95th Season Opens with Crossing Delancey

By Flora Lynn Isaacson

Ross Valley Players opens its 95thseason with Crossing Delanceyby Susan Sandler, September 13-October 13 at the Barn Theater in Ross.

Director Adrian Elfenbaum returns to RVP after directing It’s a Wonderful Life-A Live Radio Play(a fabulous show) last December. This fall, he thought it would be nice to “present a fun, romantic comedy, a love story enriched by its celebration of classic Jewish humor.”

The story is set in New York, in the fall of 1985. Elfenbaum explains the character Izzy (Lisa Morse) “is at a romantic crossroad, deciding whether to take a chance on Tyler (Steve Price), the charming, aloof writer or Sam (Mark P. Robinson), the humble pickle seller.”  Izzy’s grandmother Bubbie (Tamar Cohn) and Hannah, the matchmaker (Jennifer McGeorge) are the “comic engine” for the story according to Elfenbaum.

Special thanks to Producer Steve Price and Mikiko Uesugi for her lovely Set Design.

Coming up next at Ross Valley Players is Blithe Spiritby Noel Coward, November 15-December 15.

Sep 12 2024
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God Of Carnage

By Mitchell Field

Theater Review by Mitchell Field
San Francisco Bay Area Theater Critics Circle voting member…

‘God of Carnage’

While I have previously seen three other productions of this Yasmin Reza play, there are enough funny moments in it to make it worth another go.

‘God of Carnage’ is the type of play which post-Covid theaters prefer today, i.e., one set, no scene changes and just four actors. Tidy and relatively inexpensive to produce.

The play involves the get-together of two couples, each of whose young sons has been involved in a fight, in which one of the boys has sustained minor injuries from a blow from a stick.

In one couple, the blustering Alan, (Todd Duda), is a distracted, self-important lawyer who is perpetually on his cell phone, particularly as he is busy orchestrating a cover-up for his most important client, a big-Pharma manufacturer whose huge-earning drug is suspected of causing major health problems just two weeks before it’s upcoming shareholder meeting and his prim wife Annette, (Allison Gamlen), who is ‘in wealth-management’.

The meeting takes place in the suburban living room of another couple, the husband of which, jovial everyman Michael, (Tony Daniel) is a wholesaler of plumbing supplies, with an ill mother who phones him frequently and his tense and controlling wife Veronica (Katharine Otis) an artist, who is busy writing a book about Darfur.

The couples have come together to resolve the matter of their children’s fight and resulting injury in a civilized manner, however, as the evening wears on, the parents become increasingly childish and the meeting devolves into chaos as loyalties shift and alliances form, then break apart in quick succession.

During a particularly funny yet dramatic moment in the play, while topics including politics, racial prejudice, homophobia and sexism are being argued, the perky Annette projectile-vomits onto husband Alan, the coffee table and an irreplaceable first-edition of Francis Bacon illustrations, which Michael then tries to dry-off with a hair dryer.

I was lucky enough to have been at the 2008 London opening of the play which starred Ralph Fiennes and the equally wonderful Tamsin Greig and Janet McTeer, during which a power failure occurred about an hour into the show. After a wait in the dark, the audience was offered a refund, a rain-check, or the opportunity to watch the rest of the play with emergency lighting (fixtures on extension cords run from outside on each side of the stage) which the audience raucously cheered for, before the show resumed.
It went on to win The Olivier Award as Best New Play of The Year.

The subsequent Broadway production was also a hit, becoming the third longest-running play of the 2000’s after ‘The 39 Steps’ (upcoming Nov.15th at Masquers Playhouse BTW) and ‘August: Osage County’ and winning the 2009 Tony Award for Best Play.

Roman Polanski directed the 2011 film adaption of ‘God of Carnage’, the title of which was shortened to ‘Carnage’ and featured Jodie Foster and Kate Winslet.

Masquer’s Playhouse production of ‘God of Carnage’, which, like the original contains ‘strong language’ and slurs, is remarkably well-directed by Masquers newcomer and recent Muhlenberg College grad Chris Rubingh, on a simple, tight set, in which each of the actors get, in addition to their snippy, snappy and often argumentative and provocative dialog, their own brief monologue, which each handles exceptionally well, as the play careens explosively between the deliciousness of (and recipe secrets for) the French dessert Clafoutis, the efficiency of certain plumbing fixtures, the complexities and vagaries of human nature, the quandary of parental responsibility and brutality toward pet hamsters, all of which are aired in this dark, one-act comedy.

Numerous members of the San Francisco Bay Area Theater Critics Circle were in attendance on Friday and we all agreed that this production warrants our ‘Go-See’ seal of approval.

Masquers Playhouse is located in the tiny, quaint town of Point Richmond, also sometimes
                                    referred to locally as The Point, a neighborhood in Richmond, California, at                                     the Eastern end of the Richmond-San Rafael Bridge.

Where:                         105 Park Place, Point Richmond Richmond, California. 94807.

When:                         Sept. 6-29 2024 with talk-back with cast and production team after the                                             9/15 performance.

Single tickets for non musicals are $30. Seniors and Students save 10%. Performances on Fridays and Saturdays at 8pm, Sundays at 2pm. Additionally, there is one Special Performance per production on a Thursday Evening for the discounted price of $15 per ticket. Seating is General Admission. Seating is first come first served, but there is not a bad seat in the house. Doors open 30 minutes prior to show time.

How:             Tickets online at info@masquers.orgi or by calling 510-232-4031.

Why:             To support local theater and have a fun time doing it!

Sep 09 2024
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Sweeney Todd: The Demon Barber of Fleet Street by Stephen Sondheim at Avon Playhouse, Rochester MI

By Greg & Suzanne Angeo

 

Reviewed by Suzanne Angeo (American Theatre Critics Association), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

 Photos by Bryan Clifford

 

 

Mario Simone, Joy Oetjens

 

 

Deliciously Wicked

 

There’s a hole in the world like a great black pit
and the vermin of the world inhabit it
and its morals aren’t worth what a pig could spit
and it goes by the name of London.

                                 — A disillusioned Sweeney Todd, on his hometown

 

To kick off their 2024-2025 season, the Avon Players offer “Sweeny Todd: The Demon Barber of Fleet Street”, a gleefully macabre tale filled with bitter irony, the blackest of black humor, and simply fantastic music. Not just horror for horror’s sake, it has a massive sweep, addressing not just the desire for retribution on a personal level, but the inequities of society at large. Just the thing to get you in the mood for Halloween next month.

 

Opening on Broadway in 1979, the acclaimed musical, with book by Hugh Wheeler, and lyrics and music by Stephen Sondheim, won eight Tony awards, including Best Musical. The diabolical barber-turned-serial killer, “who served a dark and a hungry god”, is based on a literary character, dating as far back as the 16th century. Sweeney Todd may or may not have actually lived, but he lives on in legend.

Sweeney Todd Cast

The time and place: early 19th century London. Todd has just returned home from 15 years of imprisoned exile in Australia, and he’s an angry man on a mission. He craves revenge on the evil judge who ruined his life and stole his wife and child. He will stop at nothing to avenge the wrongs done to him, and decides to go back to work as a barber – using his sterling silver straight edge. He has a little help from his friends, including a slightly daffy pie shop proprietress named Mrs Lovett. The two concoct a scheme that soon gives a boost to Mrs Lovett’s business and has the whole neighborhood smacking their lips. If only they knew…

 

The cast and crew at Avon Players are working with the best of the best material, and they do a worthy job of holding up their end. Sondheim’s trademark – pithy, complex lyrics that unfurl with lightning speed – challenge even professional actors and singers. And due to the cast using English/Cockney accents, it can sometimes be hard to understand what’s being said or sung onstage. It’s well worth looking up the lyrics beforehand (or afterward) so you can get the full benefit of the Sondheim effect.

Nicholas Kwiechski & Maia Fetter

But that’s not a problem with Mario Simone, who as Sweeney Todd possesses a wonderful baritone and excellent clarity. Here’s an example of perfect casting. He assumes the role with relish, commanding the stage with his sturdy physical presence whenever he’s there, which fortunately is most of the time. He’s a pleasure to watch and to hear.

 

Joy Oetjens delivers a strong performance as Todd’s partner in crime, Mrs Lovett. She brings more than a little comic relief and witty rejoinders, although her accent is hard to decipher at times. Other notable performances: Nicholas Kwiechski as Anthony Hope, a young man in love whose name says it all; his beloved Johanna, played with wistful winsomeness by Maia Fetter; Steve Grady, sufficiently dastardly as Judge Turpin; Jack Stoll as the dull-witted Tobias Ragg, Mrs Lovett’s shop boy; and the engaging Adam Wager as the slippery-but-doomed Adolfo Pirelli. A deranged beggar woman, played by Tracy Murray, drifts in and out of the story but ends up being the key to a mystery. The rest of the large ensemble cast does well with the choreography and Greek chorus musical numbers.

Jack Stoll (center) & cast

Stoll and Oetjens have a touching duet, “Not While I’m Around”. What’s perhaps the best number in the show, next to “The Ballad of Sweeney Todd” sung by the company, is “A Little Priest”, a cynically tasty duet about what’s on the menu, sung by Simone and Oetjens.

 

Director John Deierlein’s tight pacing propels the story and keeps your attention glued to the stage. The impressive set design (Kevin Miller) allows action on two levels simultaneously, in silhouette or in spotlight. Stunning choreography (Maritoni Harte) and lighting and costumes (Deierlein) are picture perfect. The lighting and fog effects really create the seamy, mysterious atmosphere of 19th century London. Although during a recent matinee, the follow-spot was a bit errant, wavering from side to side more than once, which was just a little distracting.

 

A capable 9-piece orchestra, directed by Tim Schoenherr, performs 24 numbers over the show’s 180-minute running time. The vast majority of the production consists of music, making it more like an opera than a traditional musical. From its foggy prologue to its finale, “Sweeney Todd” is at once thrilling, unsettling and profound. You can’t wait to see what happens next, and the three hours pass before you know it.

Now through September 21, 2024

Tickets $32.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

 

 

Avon Players Theatre is a registered 501(c)3 non-profit organization

Sep 07 2024
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Young Frankenstein

By Joseph Cillo

 

Monstrously Good Fun at Sonoma Arts Live

If you’re in the mood for a hilarious and energetic night at the theater, look no further than Sonoma Arts Live’s production of Young Frankenstein. Directed by the talented Larry Williams, this production has it all: sharp humor, fantastic performances, and a thoroughly entertaining storyline that pays homage to the original Mel Brooks film.

While Young Frankenstein might not be to everyone’s taste, it’s a should-see for fans of quirky humor, classic film adaptations, or Mel Brooks’ signature style. The musical brings plenty of laughs and clever moments, and the range of musical numbers enhances the experience. Here are the songs you’ll enjoy during the performance:

Act I:

  1. The Happiest Town in Town – Villagers
  2. The Brain – Frederick Frankenstein
  3. Please Don’t Touch Me – Elizabeth Benning
  4. Together Again – Frederick and Igor
  5. Roll in the Hay – Inga, Frederick, and Igor
  6. He Vas My Boyfriend – Frau Blücher (This number brought the show alive with its humor and eccentricity, delighting the audience.)
  7. It’s Alive – Frederick and Company
  8. Transylvania Mania – Igor, Inga, Frederick, Monster, and Company

Act II:

  1. He’s Loose – Villagers
  2. Listen to Your Heart – Inga and Frederick
  3. Surprise – Inspector Kemp and Villagers
  4. Please Send Me Someone – The Hermit
  5. Man About Town – Monster and Company
  6. Puttin’ on the Ritz – Frederick, Monster, Igor, Inga, Elizabeth, and Company
  7. Deep Love – Elizabeth and Monster
  8. Finale Ultimo – Company

The standout numbers “Transylvania Mania” and “Puttin’ on the Ritz” bring the house down, while “He Vas My Boyfriend” brought the show alive with its humor and character, truly capturing the essence of the quirky fun that runs through the production.

Ensemble Performance:

The ensemble was truly outstanding, giving the production its high energy and comedic charm. Special kudos to:

  • Kim Williams as Frau Blücher, whose eccentricity and comedic timing made “He Vas My Boyfriend” one of the evening’s highlights.
  • Joanna Lynn Bert as Elizabeth Benning, with her humorous portrayal and strong vocal performance, particularly in “Deep Love.”
  • Kevin Allen as The Hermit, who brought warmth and comedic depth to his performance, especially in the touching number “Please Send Me Someone.”

Be sure to check out the fantastic cast in action! The dynamic performances truly brought this production to life.

Sonoma Arts Live continues to prove itself as one of the premier theater companies in the Bay Area, and with this production, they’ve truly outdone themselves. The set design, costumes, and lighting all add to the immersive experience, and it’s clear that a lot of love and care went into making this show a success.

If you haven’t grabbed your tickets yet, now’s the time. Whether you’re a fan of the original film or just looking for a fun night out, Young Frankenstein is a delightful experience that will have you laughing all the way through. Highly recommended!

 

Sep 02 2024
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You’re a Good Man, Charlie Brown (Revised)

By Joseph Cillo

 

A Delightful Evening with Charlie Brown and Friends at Spreckels Performing Arts Center

I had the pleasure of attending the opening night of You’re a Good Man, Charlie Brown (Revised) on Friday, August 30, at the Bette Condiotti Theatre, Spreckels Performing Arts Center. This vibrant and joyful production truly captured the essence of Charles M. Schulz’s beloved Peanuts comic strip, making it a heartwarming experience perfect for the entire family.

Directed by Elly Lichenstein, with music direction by Janis Wilson, the show skillfully blends nostalgia with timeless life lessons and joyful melodies, offering something for audiences of all ages. The talented cast brought the iconic characters to life with energy and heart, ensuring that both children and adults found plenty to enjoy.

Anderson Templeton shone as the ever-hopeful Charlie Brown, capturing his lovable and relatable nature.

Kaela Mariano delivered a standout performance as Lucy Van Pelt, perfectly embodying Lucy’s sassy and headstrong personality

Tyler Ono charmed the audience as Linus Van Pelt, while

Nicole Stanley brought youthful exuberance to the role of Sally Brown.

Chase Thompson played the piano prodigy Schroeder with conviction, and

Brady Voss was a delightful scene-stealer as the whimsical Snoopy, especially during the musical number “Suppertime.”

The musical numbers were entertaining and well-executed, including memorable songs like “Happiness Is…” and “The Baseball Game.” The set design and costumes effectively evoked the familiar Peanuts world, enhancing the charm and relatability of the production.

This production is truly family-friendly, providing a wonderful opportunity for parents and children to enjoy theater together. You’re a Good Man, Charlie Brown (Revised) at the Spreckels Performing Arts Center is a delightful tribute to the simple joys of being yourself, making it a perfect evening of entertainment for everyone.

For more information and to purchase tickets for upcoming performances, visit spreckelsonline.com.