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Feb 02 2025
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Groundhog Day: The Musical

By Joseph Cillo

 

A Time Loop You’ll Actually Enjoy

There are two kinds of time loops. The kind where you wake up, brush your teeth, drink coffee, and do the same old thing until the sun explodes. And then there’s Groundhog Day: The Musical, where waking up to the same day over and over turns out to be a wildly entertaining, knee-slapping, show-stopping event.

Phil Connors, a weatherman with the charm of a wet sock and the patience of a raccoon in a garbage can, gets sent to Punxsutawney to cover the annual Groundhog Day festivities. He’s smug. He’s rude. He’s got the enthusiasm of a DMV clerk on hour six of their shift. And then—just his luck—he gets stuck in a cosmic do-over, reliving February 2nd again and again and again. What follows is a masterclass in poor decision-making, minor crimes, existential dread, and—eventually—personal growth.

Now, turning repetition into great entertainment takes skill, and this cast has it in spades. Garet Waterhouse, who took on the role of Phil Connors the night I attended, was worth the price of admission alone. His performance was sharp, witty, and full of the kind of energy needed to make Phil’s transformation believable. From his deadpan sarcasm in the opening scenes to his full-throttle commitment in the tap-dancing showstopper “Philanthropy,” Waterhouse commanded the stage with precision and charisma. Michelle Pagano played the steadfast and sharp producer Rita Hanson, keeping Phil on his toes.

This is a BIG production with a BIG cast, so you get a lot of bang for your buck! The ensemble was outstanding, filling the stage with vibrant energy and making every moment feel larger than life. Even as the same day repeated over and over, their dynamic performances ensured that no scene ever felt stale.

And just when things seem like they can’t get any better, along comes a tap-dancing number so synchronized, so electrifying, that audience members have been known to spontaneously combust with delight. (Well, not known known, but it could happen.)

ACT I: A Day That Won’t End

From the start, Groundhog Day hooks the audience with an energetic overture, setting the scene for the endlessly looping chaos to follow. The show launches into “There Will Be Sun”, a cheerful ensemble number that captures the Punxsutawney locals’ excitement about their favorite holiday. Phil, of course, is less enthused, and his sarcastic outlook is laid bare in “Day One”, a duet with Rita and the company, which humorously introduces his disdain for everything around him.

But then the time loop begins. The audience is pulled into the absurdity of Phil’s predicament as he cycles through “Day Two” and “Day Three”, each iteration growing more frantic. His frustration explodes in “Stuck”, where he desperately tries to escape the loop to no avail. His attempts to find meaning—or at least amusement—lead to “Nobody Cares”, a raucous drinking song featuring Gus, Ralph, and a very intoxicated Phil embracing the pointlessness of it all.

As Phil realizes he can act without consequence, the show shifts into the mischievous “Philandering”, where he indulges in every possible vice. But then, a glimmer of hope emerges in “One Day”, where Rita and Phil share a moment that suggests there might be a way out of this mess—if only Phil can figure out how.

ACT II: Finding a Way Forward

The second act kicks off with an Entr’acte, bringing the audience back into the swirling madness of Phil’s endless February 2nd. His shallow lifestyle starts to wear thin in “Playing Nancy”, where Nancy, one of the townspeople, reflects on the role she plays in Phil’s repeating story.

Phil’s journey toward self-discovery gains momentum in “Hope”, where he begins experimenting with different ways to live each day. His emotional shift is marked by “Everything About You”, where he starts seeing Rita—and life itself—through a new lens. The heartfelt “If I Had My Time Again”, a duet between Phil and Rita, captures the idea that perhaps a do-over isn’t such a bad thing if it’s done for the right reasons.

Then comes the tap-dancing spectacle of the night: “Philanthropy.” This number is the turning point in Phil’s transformation. Having embraced his endless February 2nd as an opportunity to help others, Phil dashes around town performing good deeds—rescuing townspeople, preventing accidents, and generally being the Punxsutawney superhero no one asked for but everyone needs. The stage explodes into a high-energy tap dance routine, featuring Phil and the ensemble, in a synchronized, electrifying sequence that showcases both the sheer talent of the cast and the show’s Broadway-level spectacle. Waterhouse threw himself into the number with the kind of commitment that makes an audience sit up and say, Now, that’s impressive.

Just when it seems like Phil might be getting it right, the mood darkens in “Night Will Come”, a haunting solo by Ned Ryerson that underscores the weight of time slipping away. But Phil pushes forward, using his knowledge to help others in “Philanthropy”, and by the time “Punxsutawney Rock” rolls around, he’s leading the town with newfound purpose.

The final emotional punch lands in “Seeing You”, as Phil at last learns the lesson the universe has been trying to teach him. And as the curtain closes with “Dawn”, the audience is left with a sense of triumph—because this time, Phil really has made it to February 3rd.

Show Details & How to Get Tickets:

Venue: 6th Street Playhouse, GK Hardt Theatre, Santa Rosa
Dates: Through February 23, 2025

Get Tickets: Visit 6thstreetplayhouse.com or call (707) 523-4185 for tickets and pricing details.

Run Time: Approx. 2 hours, 30 minutes (including intermission)
Content Warning: Some mature language, action, and themes. Parental discretion advised for patrons under 13.

The role of Phil Connors is played on alternating nights by:

  • Garet Waterhouse: 1/30, 2/1, 2/7, 2/8, 2/13, 2/15, 2/20, 2/22 (matinee), 2/23
  • Nelson Brown: 1/31, 2/2 (matinee), 2/6, 2/8 (evening), 2/14, 2/15 (matinee), 2/16 (matinee), 2/21, 2/22 (evening)

Final Thought:

Some shows entertain. Some shows dazzle. And then there are the rare ones that do both while making you rethink how you spend your own days. Groundhog Day: The Musical isn’t just a comedy—it’s a cleverly crafted spectacle packed with humor, heart, and high-energy performances.

With a stellar cast, sharp direction, and musical numbers that stay with you long after the curtain falls, this production proves that sometimes, getting stuck in the same day over and over might not be so bad—especially if it means seeing a show this good more than once.

 

P.S. Having just re-seen the original Groundhog Day movie, I’m struck by how well the musical captures its charm while adding fresh theatrical energy. Bill Murray’s iconic Phil Connors set the bar high, but the stage adaptation brings its own magic, especially with the added musical numbers and ensemble-driven storytelling. Fans of the movie will appreciate the clever nods while enjoying new layers of depth in this live performance
Jan 31 2025
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Six Degrees of Separation

By Joseph Cillo

A Con, a Couple, and a Whole Lot of Trouble

Sonoma Arts Live puts on a well-acted, professionally mounted production of Six Degrees of Separation, a play that’s as slick as its con-man protagonist—and just as unsettling. Directed by Libby Oberlin, this one isn’t your standard night of lighthearted theater. No, sir. This is a sharp-edged, fast-talking, morally murky piece of work that’ll have you laughing one minute and shifting uncomfortably in your seat the next.

At the center of the chaos is Paul, played with a whole lot of charm (and just enough menace) by Jonathen Blue. He’s a smooth operator who shows up battered and broke on the doorstep of a wealthy Manhattan couple, claiming to be Sidney Poitier’s long-lost son. He dazzles them, he wins them over, and then—well, things go sideways fast.

Flan and Ouisa Kittredge, the couple Paul manipulates, are played by Larry Williams and Mary Samson, respectively. Williams gives Flan the perfect mix of status-seeking vanity and barely concealed desperation, while Samson’s Ouisa evolves from amused hostess to a woman haunted by what Paul’s deception reveals about her own life. Together, this trio commands the stage, driving home the play’s biting commentary on privilege, trust, and self-delusion.

The supporting cast delivers strong performances, with Lukas Raphael as both Geoffrey and Dr. Fine, Felizia Rubio as Elizabeth and Ben, and Jake Druzgala taking on Woody and Rick. Tim Setzer adds depth as the Detective and Doorman, while Pilar Gonzales brings sharp energy to Tess Kittredge. Rounding out the ensemble, Beth Ellen Ethridge and Sean O’Brien portray Kitty and Larkin, further enriching the play’s web of intrigue and deception.

Oberlin’s direction keeps it moving at a crisp clip, with dialogue that pops and a pace that never lags. The humor is sharp, the tension real, and the whole thing wraps up leaving you wondering: Who’s really fooling who?

Now, fair warning—this play might not be your cup of tea. If you like your theater with clear-cut heroes and tidy moral lessons, this one may leave you squirming. But if you appreciate a play that’s as thought-provoking as it is unsettling, you’ll find plenty to chew on here.

Performances Through February 16, 2025

Andrews Hall, Sonoma Community Center (276 East Napa Street, Sonoma, CA 95476)

Show Days & Times

  • Thursdays & Fridays – 7:30 PM
  • Saturdays – 7:30 PM
  • Sundays – 2:00 PM

How to Get Tickets

Ticket Prices

  • Riser Seats – $42 | Floor Seats – $37
  • Balcony (General Admission) – $25
  • Thrifty Thursdays & Special First Saturdays (All Seats) – $25

More Info: Sonoma Arts Live Website | Facebook

Go see it. But don’t say you weren’t warned.
Jan 26 2025
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The Spitfire Grill

By Joseph Cillo

A Musical Tale of Renewal and Hope

Ross Valley Players’ The Spitfire Grill is the kind of show that sneaks up on you. At first glance, it seems simple enough: a small-town diner, a troubled parolee looking for a fresh start, and a bunch of townsfolk with their quirks and grudges. But like a good pie cooling on the windowsill, it draws you in, layer by layer, until you’re hooked on its warmth and richness. Directed by Jay Manley, who has a knack for pulling the best out of both his actors and his audience, this production is a real treat.

The story centers on Percy Talbott (played with a compelling mix of grit and grace by Kyra Lynn Kozlenko), fresh out of prison and looking to start over in the tiny town of Gilead, Wisconsin. Armed with nothing but a page torn from a travel book, she lands a job at the Spitfire Grill, a run-down diner owned by the cranky but endearing Hannah (Kelly Ground, bringing just the right amount of vinegar to the role). The town, full of secrets and simmering tensions, seems as stuck as the grill itself. But as Percy settles in, she shakes things up, inspiring everyone to open their hearts a little wider.

Manley knows how to tug at your heartstrings without being obvious about it, and his cast delivers performances that feel real and lived-in. Kozlenko’s Percy is rough around the edges, but her vulnerability shines through. Ground gives Hannah the kind of weary strength that makes you want to root for her, even when she’s being ornery. And Julianne Bretan’s Shelby, the town’s quiet voice of reason, adds a lovely softness that balances the rougher edges of the story.

Additionally, Brad Parks as Caleb Thorpe, Kyle Stoner as Sheriff Joe Sutter, and Jane Harrington as Effy Krayneck round out the town’s dynamic. Bradley Markwick is effective as the mute, mysterious recluse.

The music, with its blend of folk and Americana, is like a favorite old record—soulful, heartfelt, and just a little bittersweet. Musical director Nick Brown and his small band give the score a warm, homespun feel that fits the story perfectly. Songs like “Shine” and “Forest for the Trees” linger long after the final note, thanks to the cast’s emotive delivery.

And let’s not forget the details: Ron Krempetz’s set design feels like it’s been plucked straight from a postcard of small-town America, complete with weathered wood and that unmistakable diner charm. Michele Samuels’ lighting design subtly shifts to mirror the characters’ emotional journeys, and Valera Coble’s costumes are perfectly small-town chic, if such a thing exists.

The Barn Theatre, nestled in the Marin Art and Garden Center, is the perfect setting for this intimate production. You feel like you’re right there in the diner, sharing a cup of coffee with Percy and the gang. And while the themes of redemption and community are timeless, there’s something about seeing this story now—at the start of a new year—that feels particularly fitting.

Don’t Miss This Community Gem

The Spitfire Grill isn’t flashy or over-the-top, and that’s its magic. It’s a show that feels like a warm hug, a good meal, or a deep conversation with an old friend. If you’re looking for theater that’s honest, moving, and just plain good for the soul, this one’s for you.

Tickets

The Spitfire Grill runs through February 23, at the Barn Theatre in the Marin Art and Garden Center campus in Ross.
Tickets $40 ($43.80 with booking fee) $25 for preview and ages 18 and under ($27 with booking fee)
Box Office boxoffice@rossvalleyplayers.com
Visit Ross Valley Players Online for showtimes and ticket availability
Jan 26 2025
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Mary Shelley’s Body

By Joseph Cillo

 

A Mesmerizing Theatrical Journey into the Gothic

Sheri Lee Miller delivers a masterful performance in this haunting and deeply moving one-woman production. Written by David Templeton, this play is steeped in historical authenticity, capturing the life and legacy of Mary Shelley with extraordinary depth and humanity. The minimalist yet atmospheric staging enhances the storytelling, drawing the audience into a world where love, loss, and creativity collide.

Miller’s portrayal of Mary Shelley is both captivating and intimate. Dressed in a ghostly white gown, she moves fluidly across the stage, using the stark gray stone crypt as both a resting place and a platform for her storytelling. The sepulchral setting is complemented by dim, shadowy lighting that creates a haunting atmosphere, making the audience feel as though they are witnesses to a ghost’s final confession.

David Templeton’s script, based on Mary Shelley’s letters, journals, and archival documents, breathes life into her remarkable story. The narrative explores the genesis of Frankenstein during the famed “Year Without a Summer” and delves into Mary’s relationships with figures like Percy Bysshe Shelley and Lord Byron. Templeton’s concept of “flesh stories” makes Mary Shelley feel real and relatable, connecting the audience to her joys, sorrows, and creative triumphs.

This production is not a fast-paced thriller but rather a reflective, intimate ghost story. It may not be to everyone’s taste, but for those who appreciate character-driven theater, it is a mesmerizing experience. The themes of death, legacy, and resilience resonate deeply, making Mary Shelley’s Body a production that lingers long after the curtain falls.

Photo Credit: Eric Chazankin

Don’t Miss This Extraordinary Journey
Mary Shelley’s Body is a haunting exploration of one woman’s life and legacy, brought to life through Sheri Lee Miller’s unforgettable performance and David Templeton’s poetic script. Whether you’re a fan of Gothic literature, history, or masterful storytelling, this production is a must-see.

Tickets

Mary Shelley’s Body runs through February 2, in the Bette Condiotti Experimental Theatre at the Spreckels Performing Arts Center.
Tickets $14 to $32
Box Office 707-588-3400
Visit Spreckels Online for showtimes and ticket availability.

Jan 25 2025
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Present Laughter

By Joseph Cillo

 

Sparkling, Door-Slamming, Over-the-Top Hilarity

Present Laughter at Novato Theater Company is like a perfectly shaken martini—crisp, a little extravagant, and guaranteed to make you smile. Directed by Carl Jordan, this Noël Coward classic starts out fairly tame, with Garry Essendine (David Abrams) in a romantic entanglement with the starry-eyed Daphne Stillington (Tina Traboulsi). But don’t let the slow burn fool you. Before long, people are popping out of doors like toast from a five-slot toaster, each bringing more absurdity and hilarity than the last. You don’t just watch the comedy build—you feel it, like waiting for the next slam or quirky entrance, and boy, do they deliver.

David Abrams is pitch-perfect as Garry, a vain matinee idol whose life is more dramatic than anything onstage. He pouts, he preens, he charms—and he somehow manages to keep his composure as the chaos around him spirals. Tina Traboulsi plays Daphne with bubbly, wide-eyed mischief, and Thomas Peterson’s Roland Maule is a delightfully oddball wildcard, the kind of guy who makes you laugh just by standing there looking like he’s thinking too hard. Heather Shepardson’s Monica Reed slices through the madness with razor-sharp wit, Kevin Allen’s Morris Dixon rolls his eyes in all the right places, and Shirley Nilsen Hall brings just the right dose of deadpan as Miss Erikson. Honestly, though, the whole cast shines. There’s not a weak link in the bunch—they’re like a comedic relay team, and nobody drops the baton.

Photo Credit: Jere Torkelsen

Carl Jordan keeps the action moving at a brisk clip, orchestrating Coward’s rapid-fire dialogue and physical comedy with precision. The set—five doors that see more traffic than a 24-hour diner—is practically a character in itself, and the costumes add a dash of glamour to the chaos. As the action crescendos, the audience can’t help but revel in the brilliance of every slam, twist, and turn.

Present Laughter isn’t just a comedy—it’s a full-blown riot of laughter, charm, and theatrical magic. Grab a seat, hold on tight, and prepare for a night you’ll be grinning about long after the doors finally stop slamming.

Tickets

Present Laughter runs through February 16, at Novato Theater Company.
Tickets range from $30 to $40, depending on seating and performance date.
Performances include evening and matinee options, with accessible seating available.

For full schedule and to purchase tickets, visit Novato Theater Company or call (415) 883-4498

Jan 14 2025
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“Farce of Habit” presented by Avon Players, Rochester Hills 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)

Pamela Plewa, Chris Stepnitz, Andrea Crowe, Peter Buccilli

Good for a Giggle

 

Written by the acclaimed comedy writing trio Jessie Jones, Nicholas Hope and Jamie Wooten (known collectively as Jones Hope Wooten), “Farce of Habit” at Avon Players is a fluffy, cheesy souffle of a show. Jones Hope Wooten are among the most widely produced playwrights in the United States. While the trio is known for many a lightweight romp (“Red Velvet Cake Wars”, “Dearly Departed”), Wooten was also a writer and producer on the popular TV series “The Golden Girls”.

The lights go down and we find ourselves in a bucolic fishing lodge in the Ozarks. There are oars mounted on the knotty pine walls and a cute sign proclaiming the lodge’s name: Reel ‘Em Inn. Despite its charms, proud owners Wanelle and D Gene Wilburn realize they need more business. They pin their hopes on an obnoxious celebrity guest, radio show host Jock McNair, who with but a word can give them a national endorsement. As it turns out, Jock is hiding out from a stalker…or is she really his soon-to-be ex-wife Barb?

The other characters have their own special appeal: D Gene’s sister Jenna is an over-eager member of the local police force. The Wilburn’s son Ty is with the local community theater and keeps popping in wearing outlandish outfits. His new bride Maxie is upset that he may be cheating, or they may not really be married – she can’t decide which is worse. A workaholic guest from Ohio, Huddle Fisk, has never had a vacation and is ready to pull out all the stops at the Reel ‘Em Inn. The icing on the cake is the arrival of the grim Sister Myrtle Agnes, who passes smug judgement on one and all, ruler in hand. Since D Gene has an absolute terror of nuns (bad childhood experience with “Sound of Music”), the stage is set for all kinds of frenzied mayhem. Especially when the dreaded fun-size Baby Ruth wrappers make an appearance – this means a murderer is on the prowl!

Chris Stepnitz, Caroline Dargay

Raunchy humor and sight gags abound. Notable are: loveable Peter Buccilli as the recreation-starved Huddle Fisk, whose giddy excitement over being anywhere is contagious; Film and TV veteran Michael Zois, who manages to make the egomaniacal Jock McNair (almost) relatable; Chris Stepnitz (“A Few Good Men”) shows his versatility in his goofy and likeable D Gene Wilburn. Other notable performances include theater veteran Andrea Crowe as Wanelle Wilburn, Caroline Dargay as her lady cop sister-in-law Jenna and Corene Grillo as Jock’s wronged wife Barb. Matt Druminski as Ty, Patty Hagel as Maxie, and Pamela Plewa as Sister Myrtle Agnes round out the talented cast.

Director Jeff Stillman has acted in many farces at Avon Players in recent years (“Noises Off”, “Run for Your Wife”), but this is the first time he has directed one. His love of the genre has given him a keen understanding of how to maintain tightly paced craziness onstage and build the momentum over two acts. In the beginning of the first act, and at other times throughout the show, the cast could use some bigger energy to launch it beyond mere comedy, into the “farce” zone.

A farce calls for physical skill and impeccable comic timing from the entire cast. The relentless visual gags, slamming doors, pants around the ankles and absurd situations combined with a flamboyant acting style is a challenge for even the most experienced and professional theater company. Avon Players cheerfully meets the challenge and delivers a show that is really fun to watch and is sure to please.

 

Now through January 25, 2025

Tickets $28.00

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

 

Jan 13 2025
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Rachmaninoff and the Tsar

By Joseph Cillo

 

 

A Remarkable Theatrical Experience

Hershey Felder delivers a captivating performance in Rachmaninoff and the Tsar, blending history, music, and theater into a unique experience that’s both moving and thought-provoking. As someone who’s followed Felder’s career from afar, I was excited to finally see him live—and he did not disappoint.

This production, which marks the final installment in Felder’s composer series, takes us on a journey through the life and music of Sergei Rachmaninoff, intertwining his most beloved compositions with an imagined encounter between the composer and Tsar Nicholas II. British-Italian actor Jonathan Silvestri plays the Tsar, adding a compelling dynamic to the performance. The interaction between Felder and Silvestri creates a powerful emotional core that holds the audience spellbound.

Felder’s piano playing is, as advertised, extraordinary. He doesn’t just play the piano—he brings the music to life. His performance of Prelude in C-Sharp Minor and Rhapsody on a Theme of Paganini resonates deeply, capturing the longing and melancholy that are central to Rachmaninoff’s story. Watching Felder, you’re reminded of the power of music to express what words often cannot.

The production values are top-notch. Erik S. Barry’s lighting design and Stefano Decarli’s projections transport the audience from modern-day Silicon Valley to the grandeur of Imperial Russia. The costumes and wigs by Marysol Gabriel and Judi Lewin add authenticity to the period setting. Every detail has been thoughtfully executed to enhance the storytelling.

One of the things I always notice in a great production is the sound of the audience—or the lack of it. In this case, there was none. No rustling, no coughing, no shifting in seats. The audience was rapt, fully immersed in the story unfolding on stage. That’s the mark of a performance that truly connects.

After the curtain call, Felder stayed for a Q&A session with the audience. It’s a rare opportunity to hear directly from a performer about their creative process, and Felder’s warmth and openness made it feel personal and engaging. It added another layer to an already memorable evening.

Photo Credit: Stefano DeCarli

Don’t Miss This Extraordinary Journey

Hershey Felder’s live performances are unforgettable. His masterful storytelling and musical brilliance create a powerful blend of history, theater, and music that resonates deeply. The magic of seeing his artistry live is unparalleled — an experience that stays with you long after the final note.

If you haven’t seen Hershey Felder live, don’t miss the chance. Few performances capture the enduring power of music and storytelling like his.

Tickets

Rachmaninoff and the Tsar runs through February 9, at TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts.
Tickets: $34 to $115, depending on seating and performance date.
Performances includes evening and matinee performances, with ASL-interpreted, open-captioned, and audio-described options available.

For full schedule and to purchase tickets, visit theatreworks or call 650-463-1960

Dec 21 2024
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Winter Wonderettes

By Joseph Cillo

 


Winter Wonderettes — A Holiday Delight !!

Step into a world of glittering tinsel, joyful harmonies, and retro holiday charm with Bay Area Music Theatre’s Winter Wonderettes!

At Marin Shakespeare Company’s new indoor theatre in downtown San Rafael, this sparkling production is like a warm mug of cocoa for the soul—festive, sweet, and impossible not to love. Packed with toe-tapping tunes, dazzling costumes, and plenty of laughs, it’s the perfect way to kick off or keep celebrating the holiday season.

The cast—Gillian Eichenberger, HariettePearl Fugitt, Anna Vorperian, and Heather Mae Steffen—delivers a lively and engaging performance. Each performer brings a unique energy and charisma to their role, making every moment on stage memorable. Their chemistry and comedic timing keep the audience entertained, while their vocals shine across a fantastic selection of beloved holiday songs.

The musical numbers are a festive delight:

Act I

  • “Mister Santa” – Ensemble
  • “Christmas Medley: Rockin’ Around the Christmas Tree”
  • “Jingle Bell Rock” – Ensemble
  • “A Marshmallow World”
  • “Snowfall with the Bag” – Ensemble
  • “It’s Christmas All Over the World”
  • “O Tannenbaum” – Ensemble
  • “We Wanna See Santa Do the Mambo”
  • “Santa Claus is Comin’ to Town”
  • “Christmas Will Be Just Another Lonely Day”

Act II

  • “Rudolph, Run” – Ensemble
  • “Suzy Snowflake”
  • “All Those Christmas Clichés”
  • “Jingle Bell Rock: Doing New Year’s Eve” – Audience and Ensemble
  • “Santa Baby”
  • “Winter Wonderland” – Ensemble

Gillian Eichenberger, HariettePearl Fugitt, Anna Vorperian, Heather Mae Steffen

photo credit: Marin Shakespeare Company

A particular highlight was HariettePearl Fugitt’s performance of “Suzy Snowflake.” This number, complete with synchronized tap dancing by the cast, added a delightful layer of visual excitement to the already joyful atmosphere. (And does anything say holiday celebration more than synchronized tapping!) The precision, energy, and fun of the choreography had the audience clapping along with big smiles.

The creative team, led by Director Robert Currier, Musical Director Paul Smith, and Choreographer Rick Wallace, has crafted a production that feels both intimate and festive. The retro-inspired costumes add layers of charm, making this a show that feels as warm and inviting as a holiday gathering with friends.

Bay Area Music Theatre’s Winter Wonderettes is an uplifting, joyous production that’s a treat for the whole family. With its engaging performances, delightful songs, and festive ambiance, it’s the perfect show to add to your holiday plans.

 

Make Your Holidays Sparkle
Bring some holiday magic into your life with tickets to Winter Wonderettes! Whether planning a festive night out with friends or a family treat to kickstart the season, getting your tickets is as easy as decking the halls.

Visit WinterWonderettes to reserve your seats today, or call the cheerful box office team at (415) 499-4488 for all the details. Don’t wait—performances run through the holiday season, and this sparkling show is sure to fill your heart with joy and your season with cheer. Let the Winter Wonderettes help make your holidays celebratory and fun!
Dec 13 2024
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Christmas Card 2024

By Joseph Cillo


✨ When Did Christmas Become Xmas?

As the twinkling lights of the h0liday season wrap us in their warmth, have you ever wondered why we sometimes call it Xmas?

The story goes way back to the 4th century ! Early Greek Christians used the letter Chi (Χ), the first letter of Christos (Χριστός), meaning Christ, to symbolize their faith. It was later paired with Rho (Ρ), creating the Chi-Rho (☧) symbol, seen in ancient manuscripts, coins, and art.

Fast forward to the 15th century, English scribes began using Xmas as shorthand for Christmas, carrying on this old tradition. By the 19th century, Xmas was fully embraced, appearing on cards, signs, and holiday decorations.

Xmas has deep roots in faith and history — it’s not about leaving Christ out but keeping Him at the center. ❤️

Whether we say Christmas or Xmas, what really matters is the love, joy, and togetherness this season brings.

A Festive Celebration !!

 

Wishing you a Merry Xmas full of twinkling lights, warm hugs, and maybe just one more cookie!

 

Dec 12 2024
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Transcendence Broadway Holiday

By Joseph Cillo

 


A Festive Celebration !!

Broadway Holiday is a sparkling gift of music and joy, wrapped up in the magic of the season. Featuring a delightful blend of holiday classics, Broadway flair, and clever surprises, this show is a must-see for anyone looking to revel in the spirit of the holidays. It’s the perfect way to light up your December with warmth, laughter, and heart.

A Cozy, Nostalgic Beginning
The show opens with Believe from The Polar Express, immediately evoking the wonder of the season. Cool Yule, channeling the charm of Louis Armstrong, adds a jazzy sparkle, while Sleigh Ride and Jing-a-Ling, Jing-a-Ling (reminiscent of The Andrews Sisters) bring a classic holiday vibe that feels like a cozy trip down memory lane.

Holiday traditions shine in unexpected ways, with 8 Days of Hanukkah bringing soulful energy courtesy of Sharon Jones and The Dap Kings. Zac Brown Band’s Colder Weather offers a reflective and tender moment, while 12 Days of Christmas takes the spotlight as a show-stopper, hilariously mismatching references and keeping the audience roaring with laughter. This creative twist on a classic is one of the night’s most delightful surprises.

The act wraps up with inventive highlights like Latke Recipe and the powerful If I Can Dream by Elvis, leaving the audience eager for Act 2.

Where the Holidays Rock and Roll
The second act bursts to life with We Need a Little Christmas from Mame, setting the tone for a joyful and energetic celebration. Steam Heat from The Pajama Game adds a playful Broadway twist, while Winter on the Rockz Medley cranks up the seasonal cheer with a modern, rocking edge.

Traditional holiday moments like Silent Night/A Dream is a Wish Your Heart Makes are tender and touching, offering a pause for reflection amid the fun. Playful numbers like Man with the Bag and Me & Mrs. Claus keep the mood lighthearted and fun, while the grand finale—White Christmas/Happy Holiday—is a timeless Irving Berlin classic that sends audiences home humming with holiday cheer.

Holiday Performance Highlights


photo credit: Rob Martel

Perfect for the Holidays 
Broadway Holiday is a jubilant celebration of the season, brimming with joy, nostalgia, and creative energy. It’s a show for everyone—whether you’re bringing the family, enjoying a festive night with friends, or simply indulging in the magic of the holidays. This production will fill your heart with warmth and your soul with the sparkle of the season.

How to See the Show
After its limited run at Marin Theatre, Broadway Holiday continues its holiday magic at the historic Sebastiani Theatre in Sonoma on December 18 and 19, with additional performances to delight more audiences. Don’t miss this chance to experience the show in one of the region’s most charming venues.

 

Tickets are selling fast — act quickly! Reserve your seats now at Marin Theatre’s website or call their box office at (415) 388-5200 for Marin performances. For Sebastiani Theatre performances, visit Sebastiani Theatre’s website or call (707) 996-9756. This is the holiday treat be sure to see and enjoy!