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Aug 25 2014
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Pleasant ‘Dreamgirls’ from Broadway By the Bay

By Judy Richter

R&B, soul and pop from the ’60s and ’70s take center stage in “Dreamgirls,” presented in a highly polished production by Broadway By the Bay.

With tuneful music by Henry Krieger and a book and lyrics by Tom Eyen, “Dreamgirls” tells the story of three young Chicago women who call themselves the Dreamettes and who sing their way to Motown musical success, but not without some major bumps along the way.

Based on actual groups like the Shirelles and Supremes, the Dreamettes start with Effie Melody White (Miranda D. Lawson) singing the lead and with her brother, C.C. White (AeJay Mitchell) writing some of their songs.

However, their manager, Curtis Taylor Jr. (Anthony D. Jackson), dumps Effie not only as his lover but also as the lead singer, replacing her with Deena Jones (Janelle LaSalle). When Effie begins to rebel at her diminished role in what is now called the Dreams, Curtis dismisses her entirely. She responds with the defiant “(And I Am Telling You) I’m  not Going,” which brings down the house near the end of the first act.

The story goes on to detail the payola and other devious methods that Curtis uses to derail Effie’s solo career in the second act.

Director Angela Farr Schiller, aided by associate director and choreographer Robyn Tribuzi, keeps the action moving swiftly, thanks also to the light tower-based set by Kelly Tighe. This BBB production is inspired by the original Broadway production directed by Michael Bennett. After premiering in 1981, it went on to win six Tony Awards and became a movie in 2006.

Although the large cast features fine performances throughout, some of the best come from Jackson as Curtis, Lawson as Effie and Dedrick Weathersby as James Thunder Early, a funky soul singer.

Sean Kana directs the fine orchestra. Kudos also to Margaret Toomey, whose costume designs become ever more glamorous and timely for the women.

“Dreamgirls” will continue at the Fox Theatre, 2215 Broadway St., Redwood City, through Aug. 31. For tickets and information, call (650) 579-5565 or visit www.broadwaybythebay.com.

 

Aug 24 2014
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“Funny Girl” at 6th Street Playhouse, Santa Rosa CA

By Greg & Suzanne Angeo

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

 

Photos by Eric Chazankin

Taylor Bartolucci and Company

A-dork-able, Dazzling “Funny Girl”

We owe a debt of gratitude to YouTube. Thanks to this ubiquitous online video site, there’s a historical record of nearly every human activity that was or can be captured in visual form, from lessons on how to apply eyeliner to grisly executions; from old TV reruns to ballet and opera. And YouTube is one of the remaining places where you are sure to see Fanny Brice in all her original glory.

This legendary and trailblazing singer, comedian, actress and radio star performed from the dawn of the 20th century until her death in 1951 at only 59 years old. She was an ordinary-looking woman possessed of extraordinary talent that captured the hearts of generations of theatregoers. Her legend took a flight of fancy in the retelling of her inspirational story when the musical “Funny Girl” first appeared in 1964, catapulting Barbra Streisand into the stratosphere. The show had a tortuous beginning with false starts in casting, directing and choreography. After many long delays, writes and rewrites, the book was finally completed by Isobel Lennart with a musical score by Jule Styne and Bob Merill. The story begins in 1910 with Brice’s early work in vaudeville, chronicles her rise to international fame in the Ziegfeld Follies, and ends in 1926 with her heartbreaking separation from her husband, the gangster and professional swindler Nicky Arnstein.

Taylor Bartolucci, James Sasser

As told in flashback, the stage musical and subsequent film present a highly fictionalized but equally entertaining version of Brice’s life. The original Broadway hit that was “Funny Girl” was produced by Brice’s own son-in-law Ray Stark. He was facing a possible lawsuit by then-living Arnstein, so almost the entire story of Brice’s life was altered to cast Nicky in a more favorable light. And, as is the case with many biographical works, quite a bit of creative license was taken by Lennart to make Brice’s story even more compelling than it already was. Brice was from a prosperous family, not a poor one. She used neither roller-skates nor pregnant-pillows in her act. Nicky was far from handsome and was not even Brice’s first husband. It’s fact vs fiction, but at the end of the day, on stage and film, the results were nothing short of sensational.

“Funny Girl” isn’t presented at regional theaters very often, possibly because the title role calls for more than your usual triple-threat. In just one person, you need top-notch talent in both broad and subtle physical comedy, dramatic and comedic acting, and a strong, lyrical voice. These folks are hard to find outside of Broadway and Los Angeles, but with the help of a lucky penny, 6th Street Playhouse found its star, and does a pretty wonderful job presenting this challenging show for its new season kickoff.

Barry Martin, co-founder and president of of Napa’s Lucky Penny Productions was tapped to direct. He had always loved the show, but in directing it he fell in love with Brice, too. He describes her as “an amazing woman who was far ahead of her time, who took her career into  her own hands and became a star on her own terms.” And for the role of Fanny Brice, his Lucky Penny co-founder Taylor  Bartolucci – a treasure-trove of local talent – was chosen. From her opening scene until the end, Bartolucci grabs onto your heart and won’t let go. She plays Brice with such honest humility and originality, and her lovable klutz Fanny is so very down to earth that, just between us, she makes that other Funny Girl look like a big phony. Bartolucci shows us very clearly that Fanny uses her clowning as a shield to protect her tender heart. There’s no gloss, no glamour in this Fanny Brice – just raw, energized talent.

Anthony Martinez, Janine LaForge

Playing Fanny’s shady husband Nicky is James Sasser, who imbues the role with polish and appeal, slowly developing his character from a rather stiff but classy dude to a loving friend. Janine LaForge as Fanny’s mother Rose nearly steals every scene she’s in, along with Barbara Nemko as her prickly-pear best friend Mrs Strakosh. Fanny’s longtime showbiz pal Eddie Ryan is played with warm sincerity by Anthony Martinez in a very engaging performance. Eddie stays by her side through thick and thin, harboring a hidden love as he helps her on her way to stardom.

There are so many wonderful moments in this show that it’s hard to choose favorites without writing a whole book, but let’s try. Some of the early Follies scenes, like the number “His Love Makes Me Beautiful”, complete with zany gorgeous showgirls, authentic period costumes (and that fateful pillow), take your breath away. “Don’t Rain on My Parade” is a standout number about Fanny knowing what she wants and going for it. The most popular hit song from the show, “People”,  is featured in a key scene with Fanny and Nicky, and Bartolucci’s phrasing and interpretation of this lovely ballad are sheer perfection. But it’s the final number that sears the soul with her rendition of Brice’s standard “My Man”. It will make you forget you ever heard anyone else sing it. She makes the song, and the show, her own.

Taylor Bartolucci

Martin’s confident direction trims the extravagant production down to size, distilling it to a potent, soulful elixir. He guides the performers in unexpected ways, especially if you’ve only seen the film. Dance numbers are effectively staged by LC Arisman, recently arrived from New York, although there are the usual troubles with tap numbers. Costumes by Barb Beatie work well in recalling fashions from late Edwardian to the Jazz Age. It’s easy to overlook the off-key horn section since it only seems to add to the charm. Occasional stumbles in choreography and uneven vocals are forgivable. The standing ovation at the end was saved for our Fanny, and it was well-deserved. Looks like 6th Street has another hit on its hands.

When: Now through September 14, 2014

8:00 p.m. Thursday, Friday and Saturday

2:00 p.m. Saturday and Sunday

Tickets: $15 to $37

Location: GK Hardt Theater at 6th Street Playhouse

52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185

Website: www.6thstreetplayhouse.com

Aug 24 2014
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‘Moonlight and Magnolias’ goes behind the scenes for ‘GWTW’ script

By Judy Richter

“Moonlight and Magnolias” is a behind-the-scenes look into the process of transferring “Gone With the Wind” from print to screen 75 years ago.

Based on actual events, Ron Hutchinson’s comedy shows that despite the book’s enormous popularity, it wasn’t easy to distill the 1,037-page saga of the Civil War South by Margaret Mitchell.

Dragon Theatre’s intimate stage (set by Kevin Dunning) facilitates the sense of confinement imposed by producer David O. Selznick (Aaron Weisberg), who brings in newspaperman Ben Hecht (Dave Leon) to write the screenplay with the assistance of director Victor Fleming (Bill C. Jones). Hecht is trying to succeed where numerous other writers have failed.

There’s one more problem: Hecht hasn’t read the book. Therefore, his two colleagues venture to re-enact it for him during the five days that all three are locked in Selznick’s office with nothing to eat except bananas and peanuts.

Their only contact with the outside world is Selznick’s beleaguered secretary, Miss Poppenghul (Sarah Benjamin).

In the process, Hecht objects to the book’s explicit racism. He also equates that racism with the anti-semitism that the two of them and numerous otherHollywoodluminaries have faced.

The recently defunct San Jose Repertory Theatre successfully presented the Bay Area premiere of the play in 2006 under the astute direction of Timothy Near. Unfortunately, Dragon director Lennon Smith seems unequal to the play’s challenge.

Weisberg and Jones do fairly well as Selznick and Fleming, respectively, but Leon is too one-dimensional as Hecht. Benjamin seems to be directed to be one step above the dumb blond, belying the efficiency of the character’s actions.

Thus the play tends to be flat rather than funny, a disservice to this look at what it takes to create cinematic magic, which is what “Gone With the Wind” was and still is.

“Moonlight and Magnolias” will continue at Dragon Theatre, 2110 Broadway St., Redwood City, through Sept. 7. For tickets and information, call (650) 493-2006 or visit www.dragonproductions.net.

 

Aug 24 2014
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The Masquers’ BERLIN to BROADWAY with Kurt Weil ends on a “Happy Note”

By Kedar K. Adour

Berlin to Broadway with Kurt Weill: Musical Revue. Music by Kurt Weill text by Gene Lerner.  Directed by Ellen Brooks, Musical direction by Bruce Haines. Masquers Playhouse, is located off of Highway 580 (Richmond Parkway exit) at 105 Park Place, Point Richmond.   (510) 232-4031 or www.masquers.org.  August 22 – September 20, 2014

The Masquers’ BERLIN to BROADWAY with Kurt Weil ends on a “Happy Note” [rating:4] (4 of 5 Stars)

The mention of the name Kurt Weill automatically brings to mind three things. They are The Threepenny Opera, Lotte Lenya and the song “Mack the Knife.” You are in for a big pleasant surprise when you attend, and you should, the charming but uneven production of Berlin to Broadway (B to B) at the Masquers’ well-appointed 99 seat theatre in Port Richmond. In this their 59th year of producing plays they have accepted the challenge of mounting a musical revue that requires quality singers and actors.

They seem to have a plethora of actors/singers at their casting calls to make even the problematic shows work. B to B requires a tenor ((Nick Hengl), baritone/bass (J. Scott Stewart), soprano(s) (Tina Marzell & Gayelan Tietje-Ulrich) and a mezzo-soprano (Maria Mikheyenko). The role of the narrator is shared by the entire cast.

This musical revue using the biography and songs of the musical genius Kurt Weil first appeared in 1972 at the experimental Theatre de Lys Off-Broadway in New York City. It is a tribute to Weil’s work and chronologically unfolds beginning in 1928 Berlin where we are introduced to his longtime collaborator Bertholt Brecht and his sole-mate/wife Lotte Lenya and the rest of the cast. They are putting on their version of  John Gaye’s Beggar’s Opera renamed The Three Penny Opera. The milieu of that era is reflected in song with “How to Survive” and an ensemble rendition of “Mack the Knife.”

With rise of Nazism and objection to the musicals Happy End and Rise and Fall of the City of Mahagonny, there is an exodus from Germany to Paris and London. Those two shows had social consciousness with antiwar sentiment that is apparent in all of his later work . From those shows, the writers extracted, amongst others,  “March Ahead to the Fight, “Bilbao Song”, “Surabaya Johnny”, “Alabama Song”, “Pirate Jenny” with “Sailor’s Tango” ending the first act.

An often heard critical comment about plays: “There is a ‘problem’ with the second act. That was not so at opening night of the Masquers’ musical revue of Berlin to Broadway.  The second act is a humdinger appropriately ending with “Happy Ending.”

When Weil moved to America  in 1935 his diligent and superb musical compositions led to collaboration with such noted librettists as (alphabetically) Maxwell Anderson Marc, Blitzstein, Bertolt Brecht, Jacques Deval, Michael Feingold, Ira Gershwin, Paul Green, Langston Hughes, Alan Jay Lerner, Ogden Nash, George Tabori and Arnold Weinstein.

From the many Broadway shows, the writers of B to B have selected some of the most notable songs and the women in the cast have show-stoppers. First up is Jenny Matteucci , in a gorgeous blue-sequined gown to nail “September Song” from Knickerbocker Holiday. Audience favorite diminutive Tina Marzell steals the limelight with “Saga of Jenny” followed by

Tina Marzell

Maria Mikheyenko’s trained contralto voice singing “My Ship” both from Lady in the Dark.  Beautiful Gaylen Tietje-Ulrichbly is extremely competent in the most difficult role as Lotte Lenya. Nick Hengl and J. Scott Stewart earn accolades for their acting and song interpretations.

And then the cast has great support by the fine six piece on stage orchestra headed by musical director Bruce Haines on the piano. Running time a little over two hours with an intermission.

CAST: Nick Hengl, Tina Marzell, Jenny Matteucci, Maria Mikheyenko, J. Scott Stewart, Gayelan Tietje-Ulrich.

ARTISTIC STAFF: Directed by Ellen Brooks; Musical direction by Bruce Haines; Costumes design, Maria Graham; Lighting design, Ellen Brooks, Production manager, Arthur Atlas; Properties, Jean Rose, Set Design, Malcolm Rodgers; Sound Design, Billie Cox; Stage Manager, Betsy Bell Riger.

ORCHESTRA: Piano, Bruce Haines; Percussion, Barbara Kohler; Synthesizer, Dean Starnes; Flute,       Crystal Diamond; Trumpet, Brett Kelin; Double Bass, Vincenzo Delarosa.

PRODUCTION TEAM: Costume Assistant,  Daniel Yelen; Lighting & Sound Technician, Judy Zimola; Set Construction, Rob Bradshaw, Norman DeVeyra, John Hull, Heinz Lankford, Malcolm Rodgers, Bob Westman; Postcard/Poster, DC Scarpelli; Program Layout & Design, Linda Ellinwood; Lobby Manager, Anne Collins; Scenic Coordinator, Rob Bradshaw.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Photo by Budinger & Scarpelli

 

 

Aug 23 2014
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Andy and Renee in House Concert: Catch Them When You Can!

By David Hirzel, Uncategorized

House concerts—what a concept! Invite a few musicians over to your house to make music all afternoon, invite all your friends and their friends over to your impromptu venue bringing something to drink and something to share, and some cash for the band, and there you have it.

All the logistics are the same as for any party, with live music. It helps if you have a good-sized living room, a nice yard in sunny weather, or a clubhouse at your condominium. It helps even more if the musicians have the outsized talent of Andy and Renee. This L.A. based duo have been performing together for twenty years, and make a west-coast tour every August up to Canada and back, stopping to do house concerts along the way. If you hear of one of their stops near you, by all means go.

I’ve seen them performing six times now, in bars, on stage, and best of all in the Living Rooms of mutual friends. Last night in the clubhouse at Pacific Point Condominiums was in its own unique way the best of them all (but I think I say that every time. . .) Not the best room, hard walls and floors with too much echo, but Andy and Renee made the best of it. The music—almost all original, always thoughtful and intriguing, and always performed at the highest level of profession and art—comes through wherever they play. They both sing, play keyboards and guitar, and write songs you aren’t likely to hear anywhere else.

Andy and Renee at Telluride

Andy and Renee started out following a printed setlist (a handy reference for those who really like a song, and want to buy the CD), but about the fourth song in abandoned the sequence, and went for the flow. Some of my favorites—”Murder on the Pier,” “14thof February,” “New Orleans I’m Coming Home”-— some new to me—“Insignificant Other, “ “Kids These Days” –performed in this intimate setting to just the few of us gathered, was on transitory moment of absolute purity, one to return to in memory, every time wondering how anything could be so beautiful.

Well, until they turned off the amps, gathered the chairs into a circle, and sang to us as friends not audience, and the evening turned from amazing to magical. Two guitars, two voices, eight or ten songs. Among the songs Lucinda Williams’ “Jackson,” my own favorite Andy and Renee song “Everything Disappears,” Renee’s unique take on “Sweet Home Chicago,” Andy’s powerful “The Night that I Left Town” with its extended guitar coda, an acoustic miracle that amazed even Andy this night out. All this, and the dozen or so of us on hand to share this moment.

Here’s a comment from one of our friends last night: “ Wowowowow! They rock! It was the absolute sweetest concert I’ve ever attended. So much talent and so much heart! I love them!! Just fabulous!!! Bravo!! What a way to start the weekend, and going forward I’ll be driving up and down 280 rocking out to their cds. . .”

So, take my advice. If you ever have the chance to catch these two on their west-coast house-concert tour, do it.  Until then, hover your icon over some of the song titles above for a preview.

Website:  http://www.andyandrenee.com/

Review by David Hirzel

Aug 22 2014
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Fetch Clay, Make Man West Coast premiere at MTC

By Kedar K. Adour

Fetch Clay, Make Man: Hip Hop Drama by Will Power. Directed by Derrick Sanders.Marin Theatre Company, Marin Theatre Company (MTC), 397 Miller Avenue, Mill Valley, CA 94941.(415) 388-5208  or www.marintheatre.org. West Coast premiere. August 14 to September 7, 2014.

Fetch Clay, Make Man West Coast premiere at MTC   Rating: ***1/2 stars of 5

A former Professor of drama who taught fledgling playwrights strongly suggested that a play’s title is integral to attracting an audience. Will Power, whose play Fetch Clay, Make Man is receiving a thought provoking production at Marin Theatre Company before it moves on to Maryland’s Round House Theatre might wish to rethink the title.  Or, maybe not. It is definitely intriguing and possibly appropriate considering there are various ways of interpreting it.

Former Hip-Hop artist author Will Powell most likely is still influenced by his stint with Anne Bogart’s ensemble based SITI Company where he collaborated with three other authors to dramatize the story of black man John Henry who in the 1800s died working on the railroad and was made famous in song. That title was Steel Hammer and the plight of Blacks was stunningly depicted at the Humana New American Play Festival in a multi media production.

Whereas John Henry accepted his role in a white society, Powell’s inspiration, the former heavy weight boxing champion Cassius Clay (Mohammed Ali played by Eddie Ray Jackson), was equally as powerful as John Henry but did not accept a subservient role. Clay refers to himself as “The People’s Champion” and is honored as a leader in the Civil Rights Movement. Powell imagines an intimate relationship between Clay and the famous comedian and film actor Stepin Fetchin (Roscoe Orman ) whose real name was Lincoln Andrew Perry.

The production is a multimedia staging relying heavily on projections and music to create the atmosphere of the 1960s era. The time is 1965 and the place is Clay’s dressing room in Lewiston, Maine where he is training for his second fight with ex-con Sonny Liston. Clay has converted to the Islamic religion eventually taking the name of Mohammed Ali. He is despised by my many whites and there have been death threats. He is protected by a cadre of the Muslim Brotherhood with a private bodyguard Brother Rashid (Jefferson A. Russell). The then 27 year old Ali has married Sonji (Katherine Renee Turner) who rejects the acquiescent role of Muslim women and their traditional dress.

Ali has summoned the controversial Perry who has parlayed his characterization as “laziest man in the world” into a respectable fortune and being the first black man to receive screen credit. In Power’s mind, Perry was, if not equal, almost as important to Civil Rights in the 60s as was Clay/Ali.  Stepin is in Lewiston as the “secret strategy man” to teach Ali the infamous “anchor punch” used by legendary heavyweight champion Jack Johnson.

In order to give credence to his concept about the importance of Perry’s role in furthering Civil Rights, Power has written a second story line about Perry’s conflicts in Hollywood in general and his relationship with white William Fox (Robert Sicular) the head of 20th Century Fox Studio.

There are personal levels of conflict woven into the overpowering inequalities suffered by the blacks and the rage of the white populous depicted in the projections.  There is the individual animosity of Brother Rashid (a perfect Jefferson A. Russell) to “uncle Tom” Stepin Fetchit that bristles with frightening rage. Perry’s general conflict with 20th Century Fox studio and specific relationship William Fox is not well defined. The individual schism between Ali and his wife Sonji bristles with authenticity and is the best scene in the play. Eddie Ray Jackson has the physical attributes to portray Ali and the acting ability to give credence to the role. Katherine Renee Turner as Sonji captures the audience with her strength under adversity.  Roscoe Orman seems uncomfortable as Stepin Fetchit/ Lincoln Andrew Perry.

There are many levels for discussion generated by this play including what is meant by the title beyond the obvious fact that it reflects the name of the characters in the play. In the Qur’an (Koran): “God created man from clay.” Ali always emphasized that he was God’s creation both “handsome and strong.”  Thus fetch clay [and] make [a] man [of God]. Running time 2 hours and 15 minutes including the intermission.

CAST: Eddie Ray Jackson (Clay/Ali), Roscoe Orman (Stepin Fetchit); Jefferson Russell (Brother Rashid), Robert Sicular (William Fox); Katherine Renee Turner (Sonji Clay)

ARTISTIC STAFF:  Director, Derrick Sanders;  Scenic Designer, Courtney O’Neill; Lighting Designer, Colin Bills; Costume Designer, Heidi Leigh Hanson; Sound Designer, Christopher Baine; Video Designer, Caite Hevner Kemp; Stage Manager, Sean McStravick; Properties Artisan, Kirsten Royston; Casting Director, Meg Pearson; Dramaturg, Margot Melcon; Assistant Director, Edgar Gonzalez.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Aug 21 2014
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“Oliver!” by Lionel Bart, Spreckels Performing Arts Center, Rohnert Park CA

By Greg & Suzanne Angeo

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Photos by Eric Chazankin

 

Ari Vozaitis (in top hat), Tim Setzer (center), Jordan Martin (right)

Consider Yourself in for a Treat: Moppets and Poppets Take the Stage in “Oliver!”

It’s safe to say that just about anything by Charles Dickens can be called important. “Oliver Twist” was only his second novel , but it caused a sensation by drawing attention to the dehumanizing conditions suffered by poverty-stricken children in the English workhouses of the day. And it was the first novel ever written to have a child protagonist. Over the decades, the story has been told and retold on film and onstage. The best-known of these is the rousing musical “Oliver!” by Lionel Bart. The dark humor of the novel was brightened up with cheerful tunes, the squalid roughness given a bit of polish to increase its appeal and a hit musical was born. “Oliver!” premiered to huge success in London’s West End in 1960, with an equally successful Broadway run starting in 1963. It won three Tony Awards, including one for Bart’s original musical score.

Jordan Martin

“Oliver!” first opened in London 54 years ago, and it’s finally made its way to Rohnert Park. In its presentation at Spreckels Performing Arts Center, it shines a bright light on young, emerging local talent.  Many members of the Spreckels Summer Youth Workshop are cast as poor workhouse kids. An intensive five-week theatre arts program focusing on musical theatre performance, the Workshop is guided by the sure and steady hand of theatre veteran Denise Elia-Yen. She and stage director Gene Abravaya collaborate to present a delightful and very entertaining show.

The title role is double-cast, and on a recent evening, ten-year-old Jordan Martin appears as the winsome orphan Oliver, uttering that immortal line, “Please sir, I want some more.” Young Martin is simply angelic in the role, offering a sweet voice in his solos and a gentle demeanor that offers a sharp contrast to the cruelty around him. Adding some zest to the proceedings is Ari Vozaitis as the Artful Dodger, a bit older than the innocent Oliver, and more worldly-wise. Martin and Vozaidis really sparkle together, especially in the number “Consider Yourself”. The Dodger soon brings Oliver into the underground world of child pickpockets, run by the crafty old crook Fagin, played by the amazing Tim Setzer in one of Dickens’ most controversial roles.

Ari Vozaitis

The original characterization of Fagin as an evil, greedy swindler has been called anti-Semitic stereotyping by some. For Bart’s musical version, the character was rewritten as more clownish to make him less threatening. Setzer is remarkable in the role with his formidable talent as actor, singer and comic, but his Fagin seems to be holding back just a bit. Rather than restraint, it would have been  nice to see a little more over-the-top buffoonery to completely disarm Fagin’s villainous deeds.

Zachary Hasbany as Fagin’s partner-in-crime Bill Sykes is a fearsome presence onstage, but his performance seems one-dimensional. Sykes should more than just a big, angry guy. A hint that Sykes may also be a bit of a psychopath would be just the thing to kick it up a notch and make the character more edgy. Kelly Brandeburg gives an outstanding performance as Bill’s long-abused but plucky girlfriend Nancy. Her commanding presence and beautiful voice give a boost to the energy level whenever she’s onstage, most notably in numbers like “Oom-Pah-Pah” and “As Long as He Needs Me”.

There are some notable performances by the ensemble cast, especially in the opening number “Food, Glorious Food”. Standouts include: Alyssa Jirrels (Bet), Peter Warden (Mr Sowerberry), Harry Duke (Dr Grimwig) and Michella Snider (Chorus/Choreographer).  Perhaps the most beautiful number in the entire show is the haunting “Who Will Buy”, which epitomizes the perfect union of the talents of cast and crew. Snider’s nimble choreography allows performers of varying talents to look great.  And of course, those Summer Youth Workshop kids are hard to resist, promising more great shows to come.

Kelly Brandeburg, Alyssa Jirrels

As for the stagecraft, lighting designer Eddy Hansen makes very good use of blackouts and spotlights to help with scene changes. Set designers (Hansen with Elizabeth Bazzano) crafted visually appealing structures and platforms. Spreckels’ exclusive Paradyne system provides lightning-fast changes in atmosphere that can’t be duplicated anywhere else.  In a show like this, music is number one, and in this regard “Oliver” doesn’t disappoint. The orchestra is first-rate, conducted with high energy and style by musical director Janis Dunson Wilson.

After all is said and done, despite some uneven performances, “Oliver!” is a pretty spectacular achievement and is a must-see show this season.

Selected Ensemble, Kelly Brandeburg (right rear)

 

When: Now through August 31, 2014

8:00 p.m. Fridays and Saturdays

7:30 p.m. Thursday, August 28

2:00 p.m. Saturdays and Sundays

Tickets: $22 to $26
 

 

Location: Spreckels Performing Arts Center

5409 Snyder Lane, Rohnert Park CA
Phone: 707-588-3400

Website: www.spreckelsonline.com

Aug 20 2014
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San Francisco’s Golden Age of Poetry Open Mics Lives On

By David Hirzel

San Francisco’s golden age of poetry open mics lives 0n behind the wide-open doors of Glen Park’s venerable Bird and Beckett Bookstore. It’s hard to believe so many literary and artistic opportunities can coexist in one small space. That space is packed with books—packed in a good way, tall shelves lined with the new and used common and uncommon selections of owner Eric Whittington. It’s very hard for any book retailer to anticipate my geeked out interests, yet on my two visits, here they were: a (used) first-hand account of sailor’s life in the U.S. Navy in 1901, and a (new) translation of Mikhail Bulgakov’s 1966 classic The White Guard. Reason enough right there to take BART down to Glen Park and trust to serendipity from time to time.

Here’s another reason: Every other Monday evening the bookshop hosts a poetry reading with featured readers followed by a well-attended open mic. Tonight’s was my first to attend, but I trust it is representative of the high level of spoken-word artistry to be expected. The featured reader was a young gentleman’s insightful commentaries on romance, city life, family life, and possums. Ayo Khensu-Ra led us through recent works of his own and a favorite poet, with a seasoned musical counterpoint on saxophone, flute, and digeridoo by his father Ra-Ta Khensu-Ra. Some of the poems were good enough to deserve a second reading.

This featured performance was followed by ten poets at the open mic. Some rhymed and some not, some witty to make you laugh—another small mammal, this time a marmot—and some poignant with painful looks into the harsher aspects of family life or the complex rewards of a nurse’s work. All of them poetry in all its many forms, the voice’s music to the ear and the word’s music to the mind.

Bird and Beckett’s nonprofit provides a minimal stipend to the featured artists, supplemented by the passed hat, but the rewards for this enterprise come not from money, but from a common love of the word shared in a space that celebrates and enlivens that word. On other days and nights the same stage is held by jazz musicians, or books, depending. In any case, you can’t go wrong.

Support your local independent bookstore, support live music! Don’t forget to bring some cash for the tip jar and the CDs, and by all means look for that unique book to bring home with you.

Bird and Beckett Books:  653 Chenery St., San Francisco CA 94131    Phone:  (415) 586-3733

Bird and Beckett calendar: http://www.birdbeckett.com/# 

Review by David Hirzel: www.davidhirzel.net

Aug 17 2014
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The Pirates of Penzance by the Lamplighters is a rollicking fun evening.

By Kedar K. Adour

Lamplighters Music Theatre presents Gilbert & Sullivan’s: The Pirates of Penzance (Musical Operetta) Lyrics by William S. Gilbert and Music by Arthur Sullivan. Stage Director Jane Erwin Hammett, Music Director/Conductor Baker Peeples. Yerba Buena Center for the Performing Arts, Moscone Center, San Francisco (August 14-17) Bankhead Theatre, Livermore (August 23-24), 2014

The Pirates of Penzance by the Lamplighters is a rollicking fun evening.

 [rating:5] (5 of 5 Stars)

It is difficult to write a specific review about a Lamplighters production since the major roles are mostly double-cast and there is no advance notification of who will play what role on any given night. Last night, with a minor caveat here and there, the chosen cast created a rollicking fun evening that will have you humming the music and lyrics for days and nights.

The stated mission of Lamplighters Music Theatre is to share their “enthusiasm and love for the works of W.S. Gilbert and Arthur Sullivan through productions of their comic operas and of other works of comparable wit, literacy and musical merit.” Their productions have lavish costumes and sets, live orchestra, excellent comic acting, and gorgeous unamplified singing.  Just so you do not possibly miss the tricky lyrics they also provide super titles.

The Bay Area is fortunate that this group rotates each show through various venues. The Yerba Buena venue is their third stop and the show has nary a hitch with an enthusiastic ensemble, humorous lines, gorgeous costumes and rich voices.

Swaggering booming voiced baritone Ben Brady as the Pirate King thoroughly controls his eclectic band of (loveable?) ruffians with authority. Young handsome Robin Vann as Frederic is an impressive tenor making him attractive to the ladies including the “aging Ruth (Sonia Gariaeff) who accidentally apprenticed him into a Pirates life. You see, she confused “pilot” for “pirate.”  

 The plot gets sillier and sillier but never fear all turns out well when the Major-General Stanley’s (F. Lawrence Ewing) daughters (all 20 of them???) turn up in the Pirates lair. The most beautiful is Mabel (Elena Galvin) and love blooms. Galvin has a marvelous contralto voice that is crystal clear with a vibrato to die for.

The one caveat is that Ewing falters in the pivotal patter song “I Am the Very Model of a Modern Major-General.” To his credit he has spot-on comic timing earning him many laughs throughout the evening. There are laughs galore from the every facet of the show. The basic choreography by ladies, pirates and Keystone Kops (I did tell you about them?) are a hoot and a holler. Recommendation: Do not miss. You still have a chance if you go to Livermore. Running time 2 hours with a 20 minute intermission.

CAST: (Cast for last night’s show are in italicized bold) SAMUEL, The pirate lieutenant, Chris Uzelac ; THE PIRATE KING Ben Brady or Charles Martin; FREDERIC, The pirate apprentice, Samuel Faustine or Robert Van; RUTH, Pirate-maid-of-all-work, Sonia Gariaeff or Deborah Rosengaus; Major-General Stanley’s daughters EDITH, Ellen Leslie or Michele Schroeder; KATE, Susanna Ketron or Talia Trozzo, ISABEL, Lindsey Rae Johnson; MABEL, Elena Galvin, Kaia Richards; MAJOR-GENERAL STANLEY, F. Lawrence Ewing; BUTLER, John Rouse; SERGEANT OF POLICE ,  Steve Goodman or Robby Stafford

CHORUS:Adeliz Araiza, George Ashworth, Amanda Renee Baines, Simon Banaag, Jeffrey Beaudoin, Kelly Brodie, Melissa Butcher, Nicholas Dahlman, Giovanni de Leon, Robert Dorsett, George Fernandez, Drew Green, Beth Guido, Andrew Gustafson, Hilary Hecht, Don Kemp, William Loney (u/s Samuel), Douglas Mandell, Daniel G. Norberg, Timothy Pickett, Rich Pryor, Alan Roberts, Corynne Scott, Bobby Singer, Pete Shoemaker, Allison Spencer, Genie Tjahjadi, Hannah Velichko, Sarah Velichko.

ARTISTIC STAFF; Production Manager: Nicolas Aliaga; Technical Director: Zach Sigman; Scenic Design: Peter Crompton; Original Costume Design: Melissa Wortman; Costume Design: Miriam Lewis; Lighting Design: Joey Postil; Make-up Design: David Kirby; Wig & Hair Design: Kerry Rider-Kuhn; Asst. Director/Props: Elizabeth Durst;Asst. Music Director: Jennifer Ashworth; Stage Managers: Jan Brown, Elisabeth Reeves; Costume Assistants: Sonia Hauser, Koledon Lambright; Costume Cutting/Construction: Melinda Hare, Koledon Lambright, Aviva Raskin; Wardrobe: Alexandra Gray; Costume Crew: Willa Anderson, Shelley Johnson, Claire Kelm, Ellen Kerrigan, Judy Macllvaine, Alan Roberts, Sally Shunsky-Hernandez, Melissa Wortman; Make-up Assistant: Joanne Kay; Supertitles Manager: Joseph Giammarco; Supertitles Operators: Judith Epstein, Nancy Benson, Sarah Vardigans; Rehearsal Accompanists: Paul McCurdy, Michael Schuler; Graphic Design: Tim Dunn, Dunn@Dunn Graphic Design, Joanne Kay; Photography: David Allen.

Kedar K. Adour, MD

www.theatreworldinternetmagazine.com.

Aug 16 2014
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The women shine in CAT ON A HOT TIN ROOF at Tides Theatre

By Kedar K. Adour

CAT ON A HOT TIN ROOF: Drama by Tennessee Williams. Tides Theatre Company, Tides Theatre, 533 Sutter Street 2nd Floor, (Between Powell & Mason), San

Francisco. 415-399-1322 or www.tidestheatre.org. July 10 –August 30, 2014

The women shine in CAT ON A HOT TIN ROOF at Tides Theatre.

[rating:3] (3 of 5 stars)

In Freshman English Composition at the Hamilton College (Alexander Woolcott was an alumnus) the instructor assigned an “F” to any essay beginning with “According to Webster’s dictionary. . .” However, a review of Tennessee Williams’ Pulitzer Prize and Drama Critic’s Circle Award play, CAT ON A HOT TIN ROOF almost demands such a beginning. The word is mendacity: a noun; untruthfulness, lies.

After the play opened 60 years ago, the word became very popular, often used in a jocular vein by comedians and forever associated with Big Daddy, the South and the play.  Mendacity is a major theme and the cause of fractured relationships and internal torment throughout all 3 acts. Yes, 3 Acts, three hours with two intermissions. The third act became a source of friction between original director Elia Kazan and the author. Two act plays came into vogue later. Williams has created a play in classic format honoring the three unities of time, place and characters (action). Co-directors (?) Christian Haines & James Baldock have used the powerful, final, 1974 version with Big Daddy’s explicative, the forbidden word “queer”, and the raunchy elephant joke intact. Paradoxically, Williams used a version of the “Broadway” third act advised by Kazan.

Deteriorating relationships are a distinguishing characteristic of a Tennessee Williams play. In CAT, rather than deteriorate, the relationships become excruciatingly apparent in their vindictiveness as the mendacity of the major characters is revealed.  It is a family affair, an impending death of the patriarch, Big Daddy (a one-dimensional performance by Joe Kearns replacing the injured Christian Phillips) and an inheritance to protect.

Brick (only occasionally believable Peter Townley) Big Daddy’s youngest and favorite son at age 27 has become an alcoholic after the death of his best friend Skipper. He has his right leg in a cast and uses a wooden crutch to move about. He has married Maggie (a superb Jennifer Welch) who is spurned sexually and emotionally by Brick. She describes her situation as if she is a cat on a hot tin roof and she can’t jump off. The entire first act is basically a monolog for Maggie “the cat” and Welch’s performance is riveting.

   It is Big Daddy’s 65th birthday and the family has descended on the plantation to celebrate the event. Big Mama (enthusiastic, impressive Carole Robinson) is overjoyed because she has been told (falsely) that Big Daddy’s medical problem is nothing more than a spastic colon. The remainder of the family are, Gooper (a very capable Brandon Mears) a lawyer and the ignored oldest son, with his fecund pregnant wife Mae (pitch perfect April Green) and their five “no neck children” (pared down to one for the minuscule stage).

Big Daddy and Big Mama have not been told that Big Daddy has cancer and is truly dying.  Gooper and Mae’s devious machinations and obsequious behavior are designed to gain control of the estate. This is in direct conflict with Maggie the Cat whose was born white trash poor and is going to fight for the inheritance for Brick and herself. She is not going to be poor again. This can be assured if she can conceive a son which is Big Daddy’s greatest wish. The conflict between Mae and Maggie is like two cats in a territorial struggle with no holds barred.

The first act is an extended 45 minutes of Maggie’s pleadings with Brick constantly drinking and not listening. Oddly, Brick’s presence and his perfunctory remarks seem as afterthoughts.

In the second act Joe Kearns’ Big Daddy explodes on the scene with his physical stature and booming voice without nuance. Where the confrontation between father and son should be engrossing as the long simmering secrets come to the surface, the scene, although violently physically staged, fails to capture the depth of the despair in Brick’s head. The revelations should be devastating ending with Big Daddies assertion that the difference between man and pigs, is that pigs cannot contemplate their mortality.

There is an acceptable denouement in Act III. Rounding out the cast, in small roles, are Randy Hurst as the Doctor Baugh, Francis Serpa as Reverend Tooker, Tassiana Willis  Sookie a servant and young Miles Berson as Buster. Williams is a master at creating women characters and this show shines with Jennifer Welch, Carole Robinson and April Green in pivotal roles.

Running time three hours with two intermissions.

Cast: Margaret, Jennifer Welch; Brick, Peter Townley; Mae, April Green; Big Mama, Carole Robinson; Big Daddy, Joe Kearns; Reverend Tooker, Francis Serpa; Cooper, Brandon Mears; Doctor Baugh, Randy Hurst; Sookie, Tassiana Willis; Buster, Miles Bernson.

PRODUCTION TEAM:

Co-Directors, Christian Haines & James Baldock: Sound Designer, Jon Bernson; Casting Director, Sally Dana; Scenic Design, Alicia Griffiths; Lighting Design, Andrea Schwartz; Production Manager, Deborah Cichocki; Stage Manager, Tassiana Willis; Costume Designer, James Baldock; Poster Design, Liz Pavlovic; Photographer, Greg LeBlanc; Fight Direction, Will Springhorn; Artistic & Technical Interns, Jeff Graham.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.