Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

 

Photos by Eric Chazankin

 

“Fiddler”  is a Toast to Life

Here’s an interesting factoid about the original 1964 Broadway production of the highly acclaimed musical “Fiddler on the Roof”: The title, poster art and set design were all inspired by the celebrated Russian-Jewish artist Marc Chagall. Two of his paintings, “The Fiddler” from 1912, and “The Green Fiddler” from 1924, both show, in vivid colors, a fiddler cavorting on the rooftops of tiny homes. The dreamscape imagery represents music and dance as integral to life and a way to achieve communion with God, but the musical suggests even more. Based upon a series of stories published in the 1890s by Yiddish author and playwright Sholem Aleichem, the “Fiddler on the Roof” in the musical also represents the tenuousness of life as we joyfully struggle each day to do, and be, the best we can. The music and lyrics by Jerry Bock and Sheldon Harnick, and book by Joseph Stein, produced one of the most powerful  and cherished works in the history of theatre. It was the first musical ever to exceed 3000 performances, and for almost ten years held the record for the longest-running show. It won nine Tony awards.

The story has been an enduring classic for 50 years because of it tremendous scope and beauty. It takes place in a small Jewish village in 1905 Russia just as the Revolution is fermenting and the Jews are coming under siege. A dairyman named Tevye and his family are facing political and social turmoil as they’ve never seen before. The 20^th century is moving in fast, and the old traditions they used to hold dear are no longer holding up. They must shift, like the fiddler on the roof, to keep their balance as they and their village celebrate life’s events with humor and hope.

The richly textured production at Cinnabar has a cast of superb vocal talent. Leading the way is Stephen Walsh as Tevye, devoted to his family and his God. Walsh delivers a warm, sensitive and deeply satisfying rendition of this beloved character. He brings down the house with ”If I Were a Rich Man”, one of many one-sided conversations he has with God.  Elly Lichenstein plays Golde, Tevye’s wife and mother of their five daughters, as a sturdy, Jewish earth-mother with a soaring, lovely soprano voice that’s showcased in numbers like “Do You Love Me?” and “Sabbath Prayer”.  Madeleine Ashe in a key role as the village matchmaker Yenta is a champion scene-stealer.

This show is all about the music and features pretty ambitious Russian-Jewish dancing which sets the audience to clapping in time. The show takes off in the thrilling opening number “Tradition” performed with great animation and confidence. “To Life” (“L’Chaim”) was energetic and got the audience going, but the choreography was a bit awkward. Nonetheless, there are some impressive attempts at acrobatics and Russian dancing, and the gorgeous harmony produced by the ensemble chorus can give you goosebumps. The wedding scene brings us “Sunrise, Sunset”, a wistful, beautiful and touching ballad, and features inspired Hebrew frolics. “Matchmaker”, performed by the three oldest daughters – Tzeitel (Jennifer Mitchell), Hodel  (Molly Mahoney) and Chava (Erin Ashe) is full of charm and beautifully sung by all three. Their romantic counterparts Motel (Michael Desnoyers), Perchick (Anthony Guzman) and Fyedka (Samuel Rabinowitz) all deliver solid performances, although the ladies have the vocal edge.

John Shillington’s simple, efficient direction includes creative touches like frequent use of frozen tableaus, very effective and well done. There’s lots of movement on the small stage, but during some of the large ensemble numbers when the entire cast of 38 is on board, it seems a bit over-crowded and clumsy. The small orchestra at times was off-key, an unfortunate but frequent occurrence at North Bay shows.

Cinnabar’s engaging production to kick off its 42^nd season resonates with universal truth, reminding us that we are all fiddlers, trying our best to prevail through jubilation and heartbreak.  “Fiddler on the Roof” is entertaining theatre for the whole family and is worth checking out. Shows are selling out each weekend, and even though they have added performances, it must close on September 28^th. If you want to go, you should get your tickets without delay.

 

When: Now through September 28, 2014

8 p.m. Fridays and Saturdays

2 p.m. Saturdays and Sundays

2p.m. Thursday, September 25

Tickets: $25 to $35

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

 

Photos by Eric Chazankin

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 20^th 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.

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, 6^th 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.

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.

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 6^th 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 6^th Street Playhouse

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

Website: www.6thstreetplayhouse.com

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Photos by Eric Chazankin

 

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.

“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.

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.

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.

 

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

Run Extended Through July 13

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Photos by Eric Chazankin

 Love That Greasy Kid Stuff

Comparing 1950s street gangs with the gangs onstage in “Grease” is like comparing a Siberian tiger with Tigger in Winnie the Pooh. One could cause you trouble, the other is harmless and adorable. And like Tigger, “Grease” at 6^th Street Playhouse is cheerful and full of delightful bounce.

Chicago composers Jim Jacobs and Warren Casey created “Grease” based on high school life and love in the age of rock ‘n’ roll. It was first produced in Chicago in 1971 as a play with threatening characters and little music, but found new life on Broadway in 1972 when it was re-written as a full-bore musical. The tiger was tamed; the sharp edges were shaved off and the characters made into a bunch of raunchy, loveable kids. It was a smash hit, with over 3380 performances, garnering several Tony nominations.

“Grease” tells the story of the budding romance between Danny, the leader of the Burger Palace Boys gang, and “good girl” Sandy, who’s the new kid in town. Peer pressure exerts itself when they go back to school at the end of summer, especially when Sandy joins the girl-gang Pink Ladies. Sandy’s true love Danny is performed by Anthony Guzman. He takes command of the stage and is at the top of his game. Though he holds back in front of his buddies to maintain his tough-guy image, Guzman ably presents Danny’s softer side.

 

Kayla Kearney is Rizzo, the smokin’ leader of the Pink Ladies. Rizzo is street-wise and cracks wise, but Kearney lets her girlish vulnerability show in her relationship with Danny’s buddy Kenickie. Kearney is outstanding in every number, especially two solos, “Look at Me, I’m Sandra Dee” and “There are Worse Things I Could Do”. Played with nonstop energy by Trevor Hoffmann, Kenickie is all rough edges but very protective of Rizzo. Hoffmann skillfully walks the high-wire between comic and romantic in a superb feature performance.Amanda Pedersen is notable as the wholesome and awkward Sandy. A show-stopping singer, Pedersen really shines and displays her character’s emotions best in the musical numbers, like “Hopelessly Devoted to You”. But when Sandy finally decides to let it all hang out and goes from flats to stilettos, she needs to change more than her shoes. Raw, uninhibited energy is needed to take it to the next level, and generate that new blast of explosive chemistry between her and Danny. Boy-crazy Marty, one of the Pink Ladies, is played by the consistently remarkable April Krautner. Marty is the kind of girl who keeps a cache of photos and love letters in shoeboxes under her bed, carefully organized and labeled with the names of her many romantic conquests. While performing her pajama party song “Freddy My Love”, Krautner manages to sing and chew gum at the same time, a remarkable feat and one of the best numbers in the show.

The frisky ensemble players provide excellent support in song and dance, keeping the energy high and the fun non-stop. Staci Arriaga as director/choreographer does a commendable job staging  the large cast. The strong opening sequence as groups come onstage one by one to establish their characters, and the little bits of business throughout lend very nice touches. She may have borrowed too much from the film in some places and it would have been nice to see a little more originality, like in the final scene that includes the dazzling number “You’re the One That I Want”. The choreography worked here but it was safe and could use a little innovation. Fabulous period costumes are by Barb Beatie. Somewhere she found a trunkful of poodle skirts, saddle shoes and Sir Guy shirts and made the show look late-1950s authentic. If you want a sure thing, this is it. You can’t go wrong with this lively, sweet and funny show.

When: Now through July 13, 2014

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

2:00 p.m. Saturday and Sunday

Tickets: $15 to $35

Location: GK Hardt Theater at 6^th Street Playhouse

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

Website: www.6thstreetplayhouse.com

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Photos by Ilana Niernberger

Wicked, Mesmerizing Fun in a “Trenchcoat”

Somehow it’s fitting that Main Stage West’s production of T.I.C. (Trenchcoat In Common) opened on Friday the 13^th.  This latest work by popular San Francisco playwright Peter Sinn Nachtrieb is a scary-funny crazy-quilt of carefully crafted misfits and oddballs, Nachtrieb’s stock in trade. They’re all suffering, to one degree or another, from the disconnected interconnectedness that has come to define modern life. T.I.C.premiered in San Francisco in 2009, commissioned and produced by the Encore Theatre Company. It starts off as an abstract dark comedy about isolation and secrecy, and evolves into an elaborate, captivating whodunit.

After her mother’s sudden death, a cynical and disaffected teenaged girl called the Kid (a superbly hyperkinetic Ivy Rose Miller) arrives on the doorstep of the father she never knew (a sensitive and funny Rick Hill, also MSW’s new Managing Director). He shares a big, lovely old Victorian house in San Francisco with four eccentric “tenants in common”. Each has their own private flat, and each inhabits their own private universe.

We’ve got the trenchcoat-clad undercover flasher Terence (an amazingly versatile Gary Grossman). Smoking endless bowls of weed is the sinister aging hippie Claudia (delivered with savage intensity by Jacquelyn Wells). There’s the obnoxiously cheerful Sabra (a manic, brilliant comic turn by Dana Scott), not to be outdone by the obnoxiously morose musician wanna-be Shye (a convincing Trevor Phillips).

And the Dad? He’s a very likeable, sincere guy, maybe just a little bit too hooked on internet gay porn. He really wants to be a good father, but how can he befriend this young stranger when she pushes him away, scornfully calling him “the seed source” and finally just “the source”?

Rejecting all emotional and physical contacts, the Kid’s laptop is her window on the
world. She lives life through her blog, Facebook and Google,  an outsider still curious about others. The loss of her mother, the one person she had connected with, is like a fresh wound that must be shielded. She observes from a safe distance,  an emotional girl who avoids emotional contact.

The neighbors have windows, and she becomes obsessed with their secrets. “All adults hide things”, she insists. But with growing alarm she discovers that sometimes it’s best to leave rocks where they are; or sometimes not. If you look under them, you may not like what crawls out. Or you may just save lives.

Sheri Lee Miller is at the helm and draws wonderful performances from the talented cast. She effectively highlights the isolation of the four T.I.C. characters  (and also the Kid and her Dad) with their placement on stage; together but separate, each emerging in turn to proclaim their own manifesto. But while the story onstage is fascinating and funny, it lacks a clear focus and doesn’t seem to know what it wants to be. Is it a freak show, a mystery, a dark comedy, or a mashup of all of the above? The audience is free to decide. One thing is clear: T.I.C. is a provocative, original and very entertaining show.

When: Now through June 29, 2014

8:00 p.m Thursdays, Fridays & Saturdays

5:00 p.m. Sundays

Tickets $15 to $25 (Thursdays are “pay what you will” at the door only)

 

Main Stage West

104 North Main Street

Sebastopol, CA 95472

(707) 823-0177

www.mainstagewest.com

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

 

Photos by Eric Chazankin

 

“Figaro” Sparkles With Joy and Jubilation

For openers, Cinnabar Theater’s staging of Wolfgang Amadeus Mozart’s iconic comic opera is a pretty show, from the costumes to the set pieces to the performers, and above all, the music. The award-winning Cinnabar is the perfect venue for this production. The theater space is intimate, so you are close enough to the singers, and the orchestra, to really see their faces and know that this is the real deal. No digital effects, no lip-syncing. This is breathing, moving, living talent. The voices and orchestra are superb. But the icing on the cake is that it’s in English, using the 1991 translation by Jeremy Sams, from the original 18^th-Century libretto by Mozart’s frequent collaborator Lorenzo Da Ponte. You can fully understand and enjoy all the romantic escapades and sly saucy wit. Mozart’s ecstatic music gives the story wings.

If Figaro had been a movie in the 1930s, it never would have made it past the Production Code. It nearly didn’t get presented in 1786 due to all the salacious goings-on, but thankfully it did, and this “opera buffa” was immediately declared a masterpiece. The story takes place near Seville, in the palace of a beautiful young couple, the Count and Countess Almaviva. They appear to be having servant trouble, due in no small part to the Count’s roving eye.  The Count’s faithful valet, Figaro, and the Countess’ winsome maid, Susanna, are madly in love and are to marry this very day. There are many spicy twists and turns in the romantic plot that conspire to put a halt to their plans for wedded bliss.

In the Cinnabar production, the setting is advanced to the 1920s, in that lull between the World Wars that saw the decline of the era of aristocracy and servitude, and the rise of the commoner.  During scene changes, recorded jazz-age music underscores the period. (The Metropolitan Opera in New York will open its 2014-2015 season this September with their own staging of Figaro, also set in the 1920s.) The period costumes are correct right down to the undergarments, and the gowns are downright breathtaking. Earlier, costume designer Lisa Eldredge explained the great care taken in her adventure in designing and creating a wardrobe for the entire cast, in many cases from scratch.

There is a vast difference between musical theatre and opera, which requires absolute perfection in technique from the singers and musicians. Cinnabar’s Figaro hits the mark with great beauty and honesty. Innovative staging is by Elly Lichenstein , whose own operatic background as a singer-actor gives her special insight into the unique challenges of such a demanding production.  Her direction and attention to detail is artful and inspired.

It’s not often these days that you can watch a North Bay musical performance and find the orchestra completely in tune. Even with the most beautiful musical score, if one musician or singer is off-key, it’s like having a pebble in your shoe when you’re hiking Yosemite. The scenery’s still nice, but it’s spoiled by that little distraction. Cinnabar is the one North Bay theatre company that has the chops to take on music’s greatest challenge – opera. Recent successes include Tobias Picker’s Emmaline from a few seasons back, and last season’s Carmen, both impeccably directed by Lichenstein. Figaro is destined to join her list of remarkable achievements.

Baritone Eugene Walden is extraordinary as Figaro. He’s the quintessential everyman who longs for happiness and justice, and he’s willing to challenge those in power to get it. The captivating soprano Kelly Britt plays the role of his intended Susanna, who apparently has bewitched her boss as well. Mezzo-soprano Cary Ann Rosko plays it for slapstick laughs in the traditional “trouser” role as the goofy, girl-crazy Cherubino, the Count’s page boy. Bharati Soman in the soprano role of the Countess is a tiny wonder, commanding the stage with grace despite her small stature. Christiaan Smith-Kotlarek as the scheming Count Almaviva has a sophisticated baritone and a polished, effective stage presence. Each singer, in turn, performs an aria during the course of the show that would be wonderful even if heard on its own. An example that showcases the ensemble talent is a sextet performed in Act III.  “Darling Boy, Let Me Embrace You” weaves a tapestry of notes that mesmerizes the audience. From the lead role to the smallest, the entire cast, including the chorus, is outstanding. The small orchestra is first-class, energetically and flawlessly conducted by Cinnabar Music Director Mary Chun.

His work may have been commissioned by royalty, but in his heart Mozart composed music to delight the common people. This Marriage is loaded with giddy charm and magic, and is a wonderful way to spend a very special evening.

 

When: Now through June 15, 2014

8 p.m. Fridays and Saturdays

2 p.m. Sundays

Added performance Wednesday, June 11 at 7:30 p.m.

Tickets: $25 to $40

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

EXTENDED THROUGH MAY 18TH – SHOWS ARE SELLING OUT FAST

RESERVE YOUR TICKETS TODAY

Photos by Eric Chazankin

A Triumphant, Dazzling “Mother”

There have been some really remarkable shows presented in Sonoma County these last few seasons; one might almost call it a Renaissance, a Golden Age of local theatre. Surely leading the pack is the powerful and eloquent one-woman musical event, Mother Jones in Heaven. In its California premiere at Main Stage West, it’s the newest work of American folk artist, composer and activist Si Kahn. As Artist in Residence, he has had three other musicals produced at MSW and promises more to come. Like Woody Guthrie and Pete Seeger, he crafts rousing populist anthems to bring attention to the social injustices of our time. Kahn’s songs have been recorded by more than 100 artists and translated into half dozen languages. He’s also a composer, lyricist and book writer for musical theater, with productions staged all over the country including Berkeley Rep and Heritage Music Theatre in Petaluma.

He has struck pure gold with Mother Jones in Heaven. It’s a look back on the life of Mary Harris Jones,  a ferocious Irish-American labor leader and community organizer that workers affectionately called “Mother Jones”. In the early 1870s, after her four little children and her foundry-worker husband all died in a yellow fever epidemic, she lost a family but gained a cause – fighting for workers’ rights – and became an iconic figure in the social justice movement. Over many decades she gave wisdom and encouragement to hundreds of thousands of workers nationwide, and helped form a number of labor unions. Looking more like an innocent grandmotherly type, in 1902 at age 65 she became known as “the most dangerous woman in America”. In Heaven, Mother reveals the moving story of her life to a quartet of musicians, a “Heavenly Band of Angels”, as they all linger together in a celestial Irish pub. Songs like fiery gems are strung together on a powerful storyline. The effect of the lyrics, melodies and performances by Graham and the band transcend mere words and music. Full of humor, sorrow and rage, the show possesses a fierce beauty, stirring the heart and mind.Hearing Mother’s tale unfold in songs like “Houses on the Hill” and “Tarpaper Shacks”, we realize that times haven’t changed all that much. It’s the same old story of class warfare, as one song explains:

“IF LIVING WAS A THING THAT MONEY COULD BUY

THE RICH WOULD LIVE AND THE POOR WOULD DIE”

— From “The Whisky Ring and the Railroad Trust”, Mother Jones in Heaven

Mary Gannon Graham’s courageous return to the stage as Mother Jones after the devastating loss of her husband and mentor, Thomas, marks a high point not only in her career, but in local live theatre. She reached out “across the river”, found Thomas there still beside her, and with this inspiration was guided to lofty new heights of achievement. Graham possesses an irresistible stage presence in full command of her character, her gorgeous voice soaring above the clouds in jubilation, sliding down to the depths in dark despair. Each song, each stage of Mother’s life, is expressed with a full rainbow of emotion that makes the experience intensely personal and real. After recent knockout performances in Souvenir at 6^th Street Playhouse and Shirley Valentine and Always, Patsy Kline at Cinnabar Theater, she is widely considered to be one of the most outstanding talents in the Bay Area. Her tour-de-force turn as Mother Jones is another brilliant feather in her cap.  The thunderous, five-minute standing ovation at the end of a recent show is testament to this.

Director Elizabeth Craven brings her sensitive imagination and warmth to this remarkable show, drawing life and movement from a script that has very little stage direction on its pages. Equal credit must be given to musical director Jim Peterson, who took Kahn’s original score, written for a solo piano, and collaborated with the other three members of the Heavenly Band folk ensemble in arranging their own parts: guitar and drum (Peterson); bass (Tim Sarter); fiddle (Rebecca Richman); harp, penny whistle and accordion (Roxanne Oliva). The cozy set by resident scenic designer David Lear, perfectly angelic lighting by John Connole and a blue firmament backdrop by Millie Boice give the finishing touches that make this production beyond special.

Somewhere up in heaven, Mother Jones is smiling.

When: Now through May 11, 2014

8:00 p.m Thursdays, Fridays & Saturdays

5:00 p.m. Sundays

Tickets $15 to $25 (Thursdays are pay what you will)

 

Main Stage West

104 North Main Street

Sebastopol, CA 95472

(707) 823-0177

www.mainstagewest.com

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Shoppin’ and Boppin’ – This Horror Rocks

Andrews Hall is located inside the Sonoma Community Center, a beautiful, century-old Greek Revival building in downtown Sonoma. It’s a lovely drive from Santa Rosa down picturesque Highway 12, through bucolic scenes of vineyard and farmland. This serene landscape does little to prepare you for what’s in store, however, if you’re planning to see Little Shop of Horrors, presented at Andrews Hall by the Narrow Way Stage Company in its second season with the Sonoma Theatre Alliance.

This perky yet darkly comic rock-and-roll musical is based on Roger Corman’s 1960 film of the same name. It was adapted for the stage and first opened off-Broadway in 1982 and ultimately ran for five years. It garnered numerous awards, due in large part to the catchy songs by Howard Ashman and Alan Menken, who drew heavily from early Motown and other pop music from the early 60s. This ambitious production by Narrow Way is a fun and lively show, a pleasant way to spend an afternoon or evening. The best efforts of cast and crew are only partly hampered by the lack of space, which presents a challenge in shows of this kind. Especially if there’s a large, funky flesh-eating plant that takes up most of the stage.

The setting is a failing Skid Row flower shop.  Harry Duke as the schlumpy shopkeeper Mr Mushnik displays good instincts in presenting his character, who’s fallen on hard times. Duke seems to be channeling Tevye in Fiddler on the Roof. His perfect Russian Jewish accent pays off handsomely and his soft baritone lends a nice quality to the show.

Mushnik’s sad sack shop assistant Seymour (Matlock Zumsteg) finds an odd little plant one day during an eclipse, and brings it back to the shop. He soon discovers it needs more than just water and sunshine…it needs human blood in order to thrive. Seymour does his best to oblige, and the plant not only grows large and menacing, but develops a bellowing voice, demanding (in raucous song) even more from its hapless caretaker. Seymour makes a Faustian bargain with the beastly plant – success in return for human sacrifice. A perfect setup for laughs and rollicking rock and roll music, right?

Zumsteg gives Seymour a shy, nerdy likeability that goes beyond his comic strip confines.  His voice is well suited for the score, strong and steady. Seymour has an unrequited crush on shop girl Audrey (Nora Summers) who in turn has a weakness for no-goodnicks. Case in point: her current boyfriend, the sadistic biker-dentist Orin (Dallas Munger) who keeps her in black eyes and ace bandages. Summers plays Audrey as sort of a trashy-sweet innocent kid, not easy to pull off, but she does it and she’s the heart of the show. Munger, as Orin, comes off like a crazed hipster in black leather who just happens to carry a small can of nitrous oxide for a quick blast wherever he goes. Munger hams it up with mad abandon, but not-so-divine justice is waiting just around the corner for Orin.

The events in the story give theatre companies ample opportunity to explore their creativity in crafting puppets to represent the ever-growing ghoulish vampire plant, and Narrow Way gets to show their stuff in this regard. Music and voiceover artist Butch Engle gives the ferocious fern plenty of Wolfman Jack soul and campy attitude. He’s quite simply the best thing in the show and worth the price of admission. Engle is discreetly tucked away upstage on scaffolding above the action, along with the Skid Row Band, which is equally fabulous under the able direction of Justin Pyne. The score is simply infectious, and it’s almost impossible to resist the urge to jump up and dance on your chair. Songs like the rockin’ “Skid Row” performed by the company, Munger’s anthem “Dentist!” and the lovely, wistful “Somewhere That’s Green” sung by Audrey. Even perched on high way back upstage, you can still see the band, and at times Engle is more fun to watch than the plant.

Regie Padua, Alexis Long and Laura Levin as Ronette, Crystal and Chiffon – three street urchins that form a sort of doo-wop girl group Greek chorus – interpret the action onstage for the audience throughout the show. As characters, they provide a great bridge between scenes. As singers, they are only adequate; pitchiness and lack of sustained vocal quality create an uneven feel to the show.

Choreographer Alise Girard, so splendid in shows with large casts and elaborate dance numbers, isn’t as challenged with the small cast and stage this time, but does a commendable job nonetheless. Director Christopher Ginesi makes good choices and takes some creative risks that work most of the time. It takes ingenuity to fit a big show into a small space and have it work this well. With all its imperfections, this Little Shop is really entertaining and well worth a visit.

When: Now through May 4, 2014

8:00 p.m. Thursdays, Fridays & Saturdays

2:00 p.m. Sundays

Tickets $20 to $30

 

Andrews Hall at Sonoma Community Center

276 East Napa Street

Sonoma, CA 95476

(707) 938-4626

www.sonomatheatrealliance.org

 

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Photo by Eric Chazankin

Dirty Rotten Good Time

By definition, art and magic both involve use of the imagination to create something real that can be seen and felt. Director Craig Miller and the cast of Dirty Rotten Scoundrels are artists with the kind of imagination that makes musical comedy magic happen onstage at 6^th Street Playhouse. It’s a  jolly, rollicking show that will lift your spirits and stay with you long after you walk out of the theater. That’s about as real, and as magical, as you can get these days.

Dirty Rotten Scoundrels is based on the 1988 film of the same name, which was itself a remake of Bedtime Story, a film from 1964 about a pair of enterprising gigolos on the French Riviera. It was adapted for the stage by Jeffrey Lane and David Yazbeck, and opened on Broadway in early 2005, receiving an impressive ten Tony nominations. Since then, it has been performed all over the world from Tokyo to Reykjavik, and finally arrived at London’s West End – and 6^th Street Playhouse – just this year.

The story is about master trickster Lawrence Jameson (Barry Martin), who has been using his charms for years to gain the trust (and money) of lonely, wealthy ladies who wander onto his turf – a ritzy casino-hotel on the French Riviera. Martin displays a genius for silly sophistication, especially in his masquerade as Dr Shuffhausen, where he really gets to chew some scenery, and with a German accent to boot.  At the same time he gives authentic depth to the character Jameson in what may be his best performance. In his role as Jameson’s right-hand man Andre, the always-excellent Larry Williams plays his character like the love child of Edward Everett Horton and Peter Sellers. One of Jameson’s many admirers is the long-suffering Muriel, played by the gifted Kim Williams, who later finds true love in an unexpected place.

Jameson pretty much rules the roost until young hustler Freddy Benson (Rob Broadhurst) shows up one day and rocks everybody’s world. Broadhurst as the uncouth but clever Freddy  brings fabulous vocals, charisma and comic timing to his role. His performance of “Great Big Stuff” is one of the best in the show. Freddy has the aspirations, but not the experience, to operate at Jameson’s level. Out of dire necessity Jameson finally agrees to take Freddy under his wing. He soon comes to regret this decision which is hilariously evident in Martin’s performance with Broadhurst in “Ruff Housin’ Mit Shuffhausen”.

Amy Webber  as Jameson’s would-be bride Jolene Oakes, the rowdy big-oil heiress from Oklahoma, is a real showstopper doing cartwheels and drawing cheers from the audience during her number “Oklahoma” (no, not the song from that other musical). Taylor Bartolucci DeGuilio makes a grand entrance upon her arrival at the casino hotel as “The American Soap Queen” Christine Colgate. She immediately proves to be irresistible to both Jameson and Freddy as she sings “Here I Am”. Christine has everyone convinced that she’s a grown-up Shirley Temple (complete with the curls), but there’s something wild lurking underneath that soft, lovable exterior.

It’s obvious that the exuberant cast is having as good a time as the audience. Director Craig Miller fills the stage with brilliant comic touches and bits of business; an accordion player strolls onstage from time to time, a flower girl scampers by with her basket. There are wordless vignettes with sweetly subtle visual humor, in vivid contrast to the raunchy insanity of musical numbers like “All About Ruprecht”.  It’s true that in one of the show’s early performances, the orchestra was a bit off-key during the overture and opening numbers which in turn seemed to throw the singers off at first, but everyone soon recovered. Kudos for great choreography by Alise Gerard, visiting back home again from New York. Sets feature glitter-sprayed cutouts which lend a cartoonish air to the stage. An ensemble cast and director performing at the top of their game, combined with catchy musical numbers, make this one heckuva sexy, fun show.

 

When: Now through April 13, 2014

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

2:00 p.m. Saturday and Sunday

Tickets: $23 to $35

Location: GK Hardt Theater at 6^th Street Playhouse

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

Website: www.6thstreetplayhouse.com

Of Mice and Matthew  – a Pair of Must-See Dazzlers

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle (SFBATCC)

Photos by Eric Chazankin

It’s been said that man can’t live by bread alone. Faith, love, flights of fancy and friendship all make life worth living. If you’re still not convinced, there are two important plays being presented at North Bay theaters that address these themes with great power, beauty and even humor, and they should not be missed.

Nobel Prize winner John Steinbeck wrote gritty and poetic stories about simple people facing common struggles in Depression-era America. Perhaps his most heart-wrenching and tender work, Of Mice and Men, is being presented at Cinnabar Theater. First published as a novella in 1937, it centers on the relationship between two drifters and has been called “an American masterpiece”. It was adapted for the stage by Steinbeck later that same year and had its world premiere in San Francisco.

The title was taken from a line in a poem by Robert Burns, “The best-laid plans of mice and men often go awry…”. They do, indeed. Brilliantly crafted characterizations are offered by Keith Baker and Samson Hood in the lead roles. Hood was born to play the simple-minded Lennie with his endearing, childlike innocence and large frame. Baker completely transforms himself yet again as George, a rough-hewn yet caring vagabond who dreams of a better life for himself and his vulnerable friend. Especially compelling performances as ranch hands by Tim Kniffin (Slim) and Dorian Lockett (Crooks) bring great depth to the story. If you have never seen Of Mice and Men in either its stage or film versions, be prepared – the story has some racially-charged moments and a shockingly tragic ending that’s impossible to forget.

Sharp yet sensitive direction is by the wondrous Sheri Lee Miller, who had great success with her recent works: Cinnabar’s productions of Arthur Miller’s “The Price” and the smash hit“ La Cage aux Folles”, and “Annie Get Your Gun” at Spreckels Theatre Company. She employs a sense of urgency and naturalistic, overlapping dialogue which draws you into the action onstage. The shows have been selling out and the run was just extended, so be sure you make it down to Cinnabar.

Returning to the stage at Spreckels Theatre Company is  a brilliant comic drama, The Book of Matthew (Liebowitz), where we meet another type of dreamer – the snarky writer Matthew. First produced in 2009, this newest incarnation at Spreckels may be playwright/director Gene Abravaya’s best work yet and draws on his many years as a stage manager of hit TV sitcoms.

Featuring an outstanding ensemble cast, the exuberant storytelling plays it mostly for laughs with vivid, well-drawn characters. in the title role, Jeff Cote rages against the disappointments of his life armed with a quiver full of wisecracks that he slings at anyone within range. Tim Setzer as his gaily flamboyant upstairs neighbor Vincent lights up the stage in one of his finest performances. An electrifying scene where he recalls the painful memory of a boyhood relationship holds the audience spellbound. Norman A Hall as Matthew’s father Howard, coping with the ravages of old age, has some of the most powerful, funny and tragic moments in the show.

The Book of Matthew is uproariously funny, heartwarming and moving by turns, with well-placed bits of magic. It’s fast-paced except for possibly one or two monologues that may drag on a bit. Every scene is thoughtful, centered and strongly defined right to the bittersweet ending. Direction by Abravaya is clear and sure – he knows these people well.

After all is said and done, Matthew makes a life-changing, joyful discovery. Like in that old Nat King Cole song, he finds “The greatest thing you’ll ever learn, is just to love and be loved in return.”

Of Mice and Men at Cinnabar Theater

When: Now through April 13, 2014

8 p.m. Fridays and Saturdays

2 p.m. Sundays

Tickets: $15 to $25

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

 

The Book of Matthew (Liebowitz) at Spreckels Theater Company

When: Now through April 13, 2013

7:30 p.m. Thursdays April 3 and April 10

8:00 p.m. Fridays and Saturdays

2:00 p.m. Sundays

Tickets: $22 to $26

Location: Bette Condiotti Theater at Spreckels Performing Arts Center

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

Website: www.spreckelsonline.com