Theater review: An overly complicated JERSEY BOYS at Palo Alto Players offers danceable music, too many scene changes but a fine quartet of singers

By JOANNE ENGELHARDT on March 10, 2025

 The opening night audience for the Palo Alto Players’ production of “Jersey Boys” had to try hard not to get up and start dancing in the aisles as the very likeable foursome that eventually became known as Frankie Valli and the Four Seasons went through a lot of iterations before becoming the quartet that was inducted into the Rock and Roll Hall of Fame in 1990.

Director Doug Santana found the right combination of singers when he selected James M. Jones to play Frankie Valli, Justin Kerekes to be Nick Massi, Andrew Cope as Bob Gaudio and Tyler Savin as Tommy DeVito.  They split up many times, tried out other singers, but never found the sound they had together.

But sometimes all the quick scene changes and constant movement of props and people (17 actors, many of whom play multiple roles) gets in the way of the storyline and the songs.

Choreographer Witney Janssen kept busy with so many musical numbers, yet both the full production numbers and the small snippets of numbers are done well.  Nick Kenbrandt keeps busy leading his large orchestra from the back of the stage – the better to enjoy all of “Jersey Boys’” wonderful musical numbers.

Costume designer Jenny Garcia also had her hands full creating costumes for the large cast.  The costumes, especially for the dancers, are flashy, colorful and fun. One example: Danny Martin as Bob Crewe, a big-time music producer. (Martin’s outfit was made out of shinny satin bright yellow pants and a white satin shirt.)

John Mannion makes a commanding presence as a judge in a black robe as well as Gyp DeCarlo, a gangster, who makes life tough for several of the singers who owe the mob big time.  (Every time DeCarlo shows up, several of the Jersey Boys owe him more money than they did in the previous scene!)

Melissa Momboisse also impresses in several roles, most especially as Lorraine (Frankie’s second wife).  Skylar Riordan also plays a number of roles – including Joe Pesci!  And he always seems to get on people’s nerves.  The T also shows up in several roles – and each is memorable.

Finally, Samantha Kenbrandt is memorable in her role as Mary Delgado, although she also has several other roles as well.

At times there seems to be too many walks up one stairway to the catwalk by several actors, only to walk to the other side of the stage and down the other stairway.  It just seems like filler.

Despite these shortcomings, the PAP production of “Jersey Boys” is definitely worth seeing.  Especially if you’re of an age to remember all that wonderful “juke box music”  like “Silhouettes,” “I Can’t Give You Anything But Love,”  “Earth Angel,” “Short Shorts,” “Big Girls Don’t Cry,” “Walk Like a Man,” “My Boyfriend’s Back, “Bye Bye Baby” and so many more!

”Runtime for “Jersey Boys” is approximately two hours with one intermission.

Palo Alto Players at Lucie Stern Theater, 1305 Middlefield Road, Palo Alto 94301. Shows: Fridays and Saturdays: 2 p.m. and 8 p.m. Sundays: 2 p.m. and 7 p.m. Closes: Sunday, May 4. For tickets, call 650.329.0891 or visit www.paplayers.org

Theater review: Los Altos Stage Company’s CYRANO offers a different, somewhat odd and slow-moving take on Edmond Rostand’s play

By JOANNE ENGELHARDT on March 10, 2025

 Why anyone involved in the current production of “Cyrano” at Los Altos Stage Company thought it would be a good idea to make Cyrano a woman (without a large proboscis) is somewhat puzzling.  This version of “Cyrano,” called a new adaption by Jeffrey Lo and Max Tachis, has some things to recommend it – including several excellent performances.

Yet it drags at times, and the constant “ins and outs” of set changes, curtains and people become confusing to an audience who is likely there to better understand a new version of Rostand’s play.

Director Tachis found several excellent actors to cast for this production. Vivienne Truong stands out as the fair Roxane. When she’s on stage, the play moves along at a fast clip.  Equally adept at commanding the stage (although rarely using his own words) is Jonathan Covey as the tongue-tied young man anxious to impress Roxane.  As Cyrano, Maria Giere Marquis as Cyrano provides the glue that weaves the story together, though why the director had her walk off the stage and stand in the dark for a long scene is puzzling.

Edmond Rostand’s “Cyrano de Bergerac” to this day remains a wildly popular and much beloved play based loosely on the life of the title character who in fact famously sported in the early 17th century a large nose and a swift sword. To the long list of both rhymed and blank verse translated adaptations of the original work in French now comes a new, gender-bending version by Jeffrey Lo and Max Tachis staged with a number of character changes and updates to give an old tale still set in 1640 France a modern-day feel.

Humor and heart continue to reign in this story of a strange but deeply loyal love triangle, yet some of the twists and turns inserted sometimes pull this “Cyrano” in directions that are a bit plot puzzling and pace slowing.

There are a number of new characters including a four-person ensemble that acts somewhat like a Greek Chorus, often making sardonic or witty comments. Brittney Mignano stands out as a “reporter-type” who is usually angry about something or someone.  Jeremy Ryan as Montfleury/Ragueneau is sweet and charming as the poet-chef who loves to cook up new things and share his edible goodies with whoever is around to try them. (The actors get to eat the food he brings out on trays – a nice touch of reality.)

At the beginning of the play, Gabriella Goldstein as the Countess de Guiche kowtows to her husband, Count de Guiche (Emery Mullligan), but she eventually breaks free from his overbearing personality and provides a sympathetic courageous counterpoint in Act 2.

Zachary Vaughn-Munck offers up many humorous asides, though he is just listed as a member of the Ensemble in the program. He plays the role of a town crier, loyal to the corrupt count who frequently provides fake news that the count loves to hear.   As Diana, Lisa Burton Guevara usually has a look of dislike and distrust whenever Cyrano and Roxane are around, but she suddenly gets all aflutter whenever Ragueneau is around.

There are a number of big battles with various enemy armies, but none of them are shown here.  Instead, Cyrano and many of the other characters dart behind the back curtain, but do not return.  Cyrano does, of course, so that she dies onstage with Roxane holding her.

Costume designer Lisa Claybaugh has created some extraordinarily beautiful gowns for the women in the cast to wear – most notably the gorgeous one worn by Roxane. But some of the ones worn by men such as Covey as Christian are equally as lovely.

Interesting lighting designs frequently appear during the play, including a giant “C” as the audience enters.  Later, large lights play across the stage and float into the nether, thanks to the efforts of lighting designer Carol Fischer.  Most of the words were easy to hear thanks to sound designer Connor Diaz.

Due to many sexual innuendos and some swear words, this production is best seen only by older teenagers and adults.

Runtime for “Cyrano” is approximately 2 ½ hours with one intermission.

Los Altos Stage Company, 97 Hillview Ave., Los Altos. Shows: Fridays and Saturdays: 2 p.m. and 8 p.m. Sundays: 2 p.m. and 7 p.m. Closes: Sunday, May 4. For tickets, call 650.941.0551 or visit www.losaltosstage.org