Cast of Stage Right’s ANYTHING GOES
Photo: Dave Clements
DWC Photography

There is an explosion of local talent in town, and it is taking place at the beautifully restored, and very historic, Crighton Theatre in Conroe, Texas.

Historic Crighton Theatre

Architectural Splendor:
Crighton Theatre

No wonder it has been called the Crown Jewel of the County. I suggest you put on your tap shoes and head on over to enjoy the fun before the word gets around and all performances are sold out. The pièce de résistance is the current dazzling Stage Right production of Cole Porter’s classic musical, Anything Goes. What a way to celebrate this 80th year for one of the few surviving Vaudeville theatres still in operation. And what a celebration it is!

The zany plot of this cruise ship adventure in the 1930’s has too many twists and turns to summarize here, but believe me this show is not about plot. It is about the fabulous and enduring music and lyrics of Mr. Porter. But beyond that, this show is anchored by the wonderful dancing that is served up in this edition by Director/Choreographer, Randy Bianchi, Musical Director, Penny Andros and their brilliant cast. Amy Barnes designs the ballroom Choreography. The action all plays out on the terrific two-tiered cruise ship set from designers John Barton & Denise DeBold, along with their fine scenic design and construction team. Minor set pieces move in and out freely.

James Hunter McMahon & Christina J. Taylor
PHOTO:DaveClements
DWC Photography

The delightful characters in this first-rate musical comedy include Billy (smooth-voiced James Hunter McMahon), a young stockbroker who should not even be on the ship, and Billy’s beautiful love interest, the lovely Hope Hardcastle (Christina J. Taylor with the voice of an angel). Hope is traveling with her wealthy English fiancé, Lord Oakleigh (a campy and amusing performance from Jonathan Rozas) and her social-climbing mother (comic fun from Carolyn Wong as Evangeline Harcourt). Billy’s stock market boss, Mr. Whitney (Phil Clarke) is sailing on the ship, but he thinks Billy is back at the office taking care of business. Adding to the onboard mayhem is nightclub singer, Reno Sweeney, played by talented Meaghan Schulz who could fill that bill quite nicely in a real nightclub. Reno has eyes for Billy herself. Then there is a riotous performance by Michael Raabe as two-bit gangster, Moonface Martin. Raabe really has the comic flair to keep the audience in stitches.

That is but a glimpse of this enormous cast of some forty performers that are now thrilling audiences at the Crighton. But let us return to that bedrock of music and dancing I mentioned earlier. I had some minor misgivings at the outset because I am never a fan of recorded soundtracks supporting performers, but I must say in this case both orchestrations and synchronization worked out well and complemented the fine voices of this cast. Take for example Reno’s opener, “I Get A Kick Out Of You.” Miss Schulz looks sleek and sassy in one of the countless colorful and glamorous costumes (from designers Deborah Blake & Elaine Steinbach) that make the show so gorgeous from beginning to end. Billy joins Reno for a sparkling, “You’re the Top,” and then Billy and Hope do a memorable, “Easy to Love,” featuring some lovely dancing. Mr. Clarke delivers a rousing, “Crew Song,” and a Sailor’s Quartet has slapstick fun with, “There’ll Always Be a Lady Fair.” Schulz and Raabe offer a cute version of the tune, “Friendship.” Things move to an even higher level of excellence when we finally hear an exceptional “It’s De-Lovely” duet from Miss Taylor and Mr. McMahon. While the two danced divinely the audience couldn’t resist interrupting with spontaneous applause. Act One would close with that “explosion” I promised you as the full cast joined in the tap dancing frenzy of the title tune, “Anything Goes.” The thrilling polish on that number has to mean this cast spent many winter nights at hardworking rehearsals. The result proved that the real star of this show was the full ensemble company itself, and sent the smiling audience off to Intermission in a state of amazement at the excellence of what had just been witnessed.

Meaghan Schulz headlines with her Angels & Sailors
PHOTO: Dave Clements
DWC Photography

A touch of irony opens Act Two as the performance in the ship’s showroom is celebrating the presence onboard of a “celebrity,” none other than notorious gangster, Moonface Martin. Mr. Raabe hams it up beautifully as the Captain (Dan Tippen), joins the Purser (Nathan Owen) and the cast to pay Moonface homage with the amusing, “Public Enemy #1.” Miss Schulz follows with another knockout punch leading her backup Angels in a terrific, “Blow, Gabriel, Blow,” that features wonderful singing from the ensemble and more stunning cast choreography. The excellence continues with the thrilling voice of Miss Taylor for “Goodbye, Little Dream, Goodbye.” Her lovely voice is here reminiscent of such musical stars as Kathryn Grayson and Jane Powell. The glorious gowns in these scenes are yet another reason this is a must-see show.

(L-R) Jonathan Rozas as Lord Oakleigh & Michael Raabe as Moonface Martin
PHOTO: Dave Clements
DWC Photography

Raabe continues to amuse with his timing skill at delivering the one-liners from Moonface, and his rendition of “Be Like a Bluebird,” is adorable. Real musical elegance follows in the exquisite “All Through the Night” duet from McMahon and Taylor. They really know how to vocally embrace the warmth and tenderness of this charming Porter lyric. Mr. Rozas shifts us nicely back to outlandish comedy as Lord Oakleigh, dressed in bronze silk pajamas, joins Schulz for the hilariously tipsy, “The Gypsy in Me.” Then we work our way back to great tap dancing as the sailors join Erma (Amy Barnes) for a cute “Buddie Beware.”

(L-R) Phil Clarke as Elisha Whitney & Carolyn Corsano Wong as Mrs. Harcourt
PHOTO: Dave Clements
DWC Photography

With the approach of a great finale there was a nice taste of the familiar comic flair of Carolyn Wong as the prim and haughty Mrs. Harcourt. Then it was on to another full cast explosion with the sensational, “I Get a Kick Out of You.” It was a final delight for an audience that clearly got a big kick out of this very wonderful show. Go see for yourself, and have your smile muscles ready.
The Stage Right Players production of Anything Goes continues through March 2, 2014 at the Crighton Theatre in Conroe, Texas. Performances are Fridays and Saturdays at 8pm and Sunday matinees at 2pm. For tickets and information call 936-441-7469 or visit the website at http://www.stage-right.org

Katie Postonik & Steven Grant Douglas
PHOTO : ©Joan Marcus 2013

On rare occasions I have the inclination to paraphrase President Richard Nixon who once infamously declared: “I am not a crook.” In my own case, as I reflect on my work as a critic, allow me to simply say, “I am not a crank.” With that as a warning shot across the theatrical bow, let me first give you the good news about the most recent offering in the GEXA Energy Broadway Series at Houston’s Hobby Center. The musical GHOST is one with which I am quite familiar having had the pleasure in 2011 of reviewing the original fascinating production in London. That first edition, while not without its minor flaws, was nevertheless most enjoyable, but more about that later.

This current national tour has many of the elements that made the first production successful, but unfortunately it has one thing more. Before getting into that, let me first share the good news. The familiar plot is adapted from the award-winning 1990 film of the same name and starring Patrick Swayze, Demi Moore& Whoopi Goldberg. The enduring popularity of that film assures substantial interest at the box office for this musical version featuring music & lyrics by the team of Dave Stewart & Glen Ballard, book & additional lyrics by Bruce Joel Rubin, and direction by Matthew Warchus. The story line remains much the same, with contemporary young lovers, Sam (Steven Grant Douglas), and Molly (Katie Postonik) setting up their new apartment in Brooklyn. She works as a sculptress, and he commutes into Manhattan where he and his pal Carl (Robby Haltiwanger) are colleagues working in the banking industry.

Cast of Ghost The Musical Tour. © Joan Marcus 2013

Carl turns out to be not such a good friend, and therein lie the plot twists that result in someone’s death and resurrection as a ghost.

Carla R. Stewart and cast of Ghost The Musical Tour. © Joan Marcus 2013

To say more would give away some surprises for future audiences, but it must be added that Carla R. Stewart is a standout in the hilarious role of Oda Mae Brown, the reluctant psychic who is able to communicate with the ghost. Readers may recall this as the role that won Whoopi Goldberg an Academy Award for her performance in the film.

Now before I start complaining, let me be clear that there are lots of reasons why many theatergoers will enjoy this show. It is visually extraordinary with all kinds of exciting illusions and lighting pyrotechnics. (Lighting by Joel Shier)

Robby Haltiwanger & Cast of Ghost The Musical Tour. © Joan Marcus 2013

There is a large and energetic dance ensemble that does some fine numbers, many of which have no apparent connection to the plot, though the “More” number that establishes the frantic pace of Wall Street was very creative and particularly well done. (Choreographer, Ashley Wallen). Postonik, Douglas, and Haltiwanger are all attractive players and passable in their roles, but there is not a Broadway-worthy voice among them. That is regrettable because there are some lovely songs in this show that were never properly showcased in this production. Miss Postonik’s voice seemed to exaggerate her character’s justifiable desperation with singing that was too often strident. But there is a larger problem here that quite frankly made me angry. The outrageous, annoying and excessive sound volumes allowed by the audio engineers were simply beyond belief. Lyrics and dialogue were constantly inaudible because of this fatal flaw. This would have been bad news in any event, but it was particularly irritating because these sound problems are becoming more and more commonplace with touring productions at the Hobby Center. It is my belief that these touring sound engineers have already blown out their own eardrums and can no longer hear the distortions they are creating for the audience. When the show ended we found ourselves in a very crowded parking lot elevator with perhaps twenty people. I felt vindicated in my views as I quietly listened to unsuspecting fellow audience members who were unhappily ranting and complaining about how “terribly loud” the production had been. I hope the Hobby Center powers-that-be will look into the problem and do whatever is needed to discourage these tour sound engineers from assaulting our audience sensibilities in the future.

GHOST continues through February 23^rd at Houston’s Hobby Center with performances at 8pm Friday & Saturday, 7:30pm Sunday, and with matinees at 2:30pm Saturday & 2:00pm on Sunday. For tickets & information call 800.982.ARTS (2787) or visit the website: www.broadwayacrossamerica.com. Those wishing to read The People’s Critic review of the original London production of  GHOST may do so at the link below:

http://thepeoplescritic.com/2011/10/28/electrifying-ghost-captivates-london-and-heads-to-broadway/

Sarah Rentcome as Princess Fiona with the “Rat Tappers” Ensemble
PHOTO: Len Bates

Some may recall the Sesame Street song of Kermit the frog, “It’s Not Easy Being Green,” and the recent Class Act Production of Disney’s musical, SHREK, is a case in point. It tells the sweet tale of a lime-green ogre by that name. Shrek (Jack Wheeler) is content to live a lonely and isolated life in a swamp until a local nobleman, Lord Farquaad (Brad Brickhouse), begins exiling assorted children’s storybook characters to Shrek’s hitherto private domain.

Jack Wheeler as SHREK & Aidan Stock as DONKEY
PHOTO: Len Bates

Shrek sets out to put a stop to this invasion by visiting Farquaad himself. Joining him on this journey is the sassy Donkey, a character that, in the comical hands of actor, Aidan Stock, is nothing short of hilarious. The hilarity reaches still higher levels when the two reach the castle and we finally meet the uproarious Farquaad, played with comic mastery by Mr. Brickhouse. His costume alone was an absolute riot. It allowed the tall young actor to perform his entire role on his knees while appearing to be a pompous midget and total fop.

Brad Brickhouse as Lord Farquaad & the cast of SHREK
PHOTO: Len Bates

The midgetizing effect of the costume called to mind the comical “Triplets” number featuring Fred Astaire, Jack Buchanan and Nanette Fabray in MGM’s classic film musical, The Bandwagon. Meanwhile Mr. Wheeler was clearly the right choice for the title role. In addition to singing so well, he brought countless sweet dimensions and wonderful sensitivity to the character of Shrek, and by show’s end we all feel a special fondness for this odd creature that could have been perceived as merely grotesque.

Farquaad agrees to resolve Shrek’s dilemma if he and Donkey will first go on yet another quest to locate the lovely Princess Fiona and bring her back to the castle so Farquaad can marry her and thereby become king.

(L-R) 3 FIONAS: Lena Torluemke, Sarah Rentcome & Stephanie Ma
PHOTO: Len Bates

Fiona has waited for years to be rescued from a tower prison by her “one true love.” A clever theatrical trick allows us to see her long wait as a girl (Stephanie Ma), as a teen (Lena Torluemke), and finally as our lovely grown Princess Fiona (Sarah Rentcome). Always anticipating an imminent rescue, the three perform a lovely counterpoint trio of  “I Know It’s Today.” Miss Rentcome’s fine voice adds joy to “This is How a Dream Comes True,” “Morning Person,” the cute, “I Think I Got You Beat,” (with Wheeler), and the charming, “Who I’d Be,” (with both Wheeler and Stock). Needless to say, in this delightful fairy tale world everything turns out well, and in the process we all relearn the lesson that beauty is only skin deep.

Of course as is so often the case with Class Act Productions, the show began with the solid musical accompaniment from Music Director, Rae Moses and his 9-piece orchestra with the opening Overture. The company’s Producer/Artistic Director/Founder, Keith Brumfield was busy covering last minute details on a day when numerous events at the McCullough Junior High School had packed all the parking lots in the area of the Nancy Bock Center for the Performing Arts. As usual, Brumfield was fully prepared to pull off another miracle, especially with the help of the show’s fine Director, Tina Kraft Riddle, Set Designer, Kent Hale, Costume Designer, Laurie Lewis, Make Up Designer, Kirsten Berger and Choreographer, Jody Schrier. Along with a huge production staff and countless C.A. volunteers, only such a team could dare to undertake the management of the some 200 youngsters that make up the enormous and talented cast. It seemed as though every nursery rhyme and fairy tale character was adorably represented in this fun-filled adventure.

Vocally talented Jenny Gee nicely overcame a microphone failure in her role as the Dragon.
PHOTO: Len Bates

Delightful songs abound, and in featured roles the fine voices of Wheeler, Rentcome, Stock, and Brickhouse do justice to each tune along with marvelous support from the singing/dancing Ensemble that enriches numerous joyful and uplifting numbers. (Dig those dancing Rat Tappers!) The bad news is this show ran for last weekend alone. The good news is this 17^th season of Class Act Productions will end with a summer production of “South Pacific” that will run for two weekends, July 11^th –13^th and July 18^th –20^th. Mark your calendars!

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com

E-mail may be directed to ThePeoplesCritic@earthlink.net

Photo by Cylla Von Tiedemann

What a magical wonderland of joy awaits those lucky Theater Under the Stars patrons who have the good fortune to scoop up the remaining tickets for the current run of the new musical stage adaptation of The Wizard of Oz from Andrew Lloyd Webber and the show’s brilliant director, Jeremy Sams. (Musical Director is David Andrews Rogers). We find ourselves in a dream-like world of fantasy that captures the imagination of both children and adults with equal success, and I must confess that success came as a surprise to me. You see, I am of the old-school mentality that says, “If it works don’t fix it.” I had thought that tinkering around with the structure of the 1939 MGM film would only be a disservice to the original while attempting to capitalize on the true masterpiece now celebrating its 75^th year as a Hollywood film classic. WRONG! Perhaps I should have known better with Broadway veterans like Mr. Webber, supplying additional fine music, and Tim Rice, providing some clever new lyrics, while at the same time retaining the wonderful original score with the beloved music of Harold Arlen and lyrics of E.Y. Harburg. The end result is a really memorable trip down that Yellow Brick Road.

The opening scene looks almost like a sepia-colored antique postcard of the Kansas farm that young Dorothy calls home. Now who would dare to follow in the ruby slippers of Judy Garland in this role of a lifetime? How about beautiful young Danielle Wade, who not only does an absolutely marvelous job of capturing the sweet innocence of Dorothy, but also brings a lovely voice to both classic songs like “Over the Rainbow,” and the newer ones like, “Nobody Understands Me.” Of course the real magic begins shortly after Dorothy runs away from home and meets the mysterious Professor Marvel (a jovial performance from Jay Brazeau, who later doubles in the role of The Wizard). When Dorothy is swept away in a tornado and suddenly transported to the “merry old land of Oz,” the lighting designs of Hugh Vanstone, and video projection designs of Jon Driscoll & Daniel Brodie sustain the magic that continues throughout this dazzling production with its whirlwinds, snowstorms, flying monkeys, lightning and mysterious 3-D images of everything from wizards to witches. Adding to the success (and delighting this critic) were the beautifully managed sound designs of Mick Potter, who kept volumes at enjoyable levels that always enhanced the action and should become the gold standard for this cavernous 2650-seat Sarofim Hall in Houston’s Hobby Center, where annoying sound distortions have not been uncommon in the past. Bravo!

Photo by Cylla Von Tiedemann

But of course first Dorothy must meet the Scarecrow (Jamie McKnight), the Tin Man (Mike Jackson), and the Cowardly Lion (Lee MacDougall). One might think these three lads were entering a danger zone in trying to follow in the renowned footsteps of Ray Bolger, Jack Haley and Bert Lahr, but not to worry! Their costumes are a pure delight, they each capture an adorable new persona of their own, and all three sing beautifully. As they travel along with Dorothy through lush fields of multi-colored flowers or mysterious and frightening forests, the magical Yellow Brick Road continues to unwind before them as each new scene reveals more visual splendor.

Photo by Cylla Von Tiedemann

Adding to the fun is Dorothy’s sweet little dog, Toto, played here by the amazingly well trained, Nigel, who never missed a cue. Many children in the audience were happily hugging their own little stuffed Totos, available in the theater gift shop.

Photo by Tom Donoghue/Donoghue Photography

The Land of Oz in this production is a wondrous place, sometimes spooky, sometimes splendid, but always full of artistic and eye-popping scenic and costume designs from Robert Jones, who was clearly not afraid to make maximum use of glittering Swarovski Crystal elements as in the case of the stunning dress for Glinda, the Good Witch (Robin Evan Willis). Miss Willis’ voice is stunning as well, as she proves convincingly in singing the lovely and touching new song, “Already Home,” toward the end of the show. But she is not the only witch with a wonderful voice. Jacquelyn Piro Donovan has devilish fun with her role as the Wicked Witch, and her show stopping “Red Shoes Blues” number with the Winkies is a knockout.

It must also be mentioned that complementing the gorgeous scenic designs and costumes are the glorious dance designs from choreographer, Arlene Philips. Whether the little residents of Munchkin Land, the townsfolk of Oz, or the ominous army of Winkies (don’t miss the stick dance), the singing and dancing of this talented ensemble is uniformly wonderful to behold. It is just one more of the countless reasons that this show is an absolute must. Don’t miss it!

(L-R) Steven Fenley & Lisa Thomas Morrison PHOTO by Larry Lipton

For theatergoers looking for relief from the stresses of everyday life and the troubling reports on the evening news, relief was just a theatre ticket away. In a recent production presented by the Texas Repertory Theatre they were able to transfer their stress to the characters in Neil Simon’s often-hilarious play, Prisoner of Second Avenue. These characters have plenty of stress, beginning with the likeable, but very stressed-out, Mel Edison (Steve Fenley). Mel is an advertising account executive who has just lost his job. He’s not sure how to break the news to his sweet wife, Edna (a perky portrayal by Lisa Thomas Morrison), but his moody and erratic behavior has tipped her off that something is very wrong. The scene is the couple’s modest Upper East Side apartment in 1970’s New York. I’ve maintained a residence in New York City since the late 1960’s and I can tell you the period depicted in this play was a time when the economy of the Big Apple was in such a nosedive that bankruptcy was imminent, and even my own job as a teacher was threatened. In 1975 President Ford announced he would not support any legislation to bail the city out, and the New York Daily News rewarded him with the next day’s notorious front page headline declaring, “FORD TO CITY: DROP DEAD.” Many have argued that move cost Ford the election when Jimmy Carter followed by winning the Presidency. [Note: It is a little known fact that it was the UFT, the city’s teacher’s union, that bravely saved the city from bankruptcy by buying up the needed bonds with its pension funds.]

PHOTO by Larry Lipton and Douglas Kreitz

With that economic backdrop, the resulting plot is propelled by both Mel’s raging rants against life’s misfortunes, and Edna’s desperate efforts to understand what is troubling him. But for the crackling wit of Neil Simon, this could have been a tragic drama. But in the clever hands of this playwright, comic dialogue flies at us so rapidly it is sometimes hard to hear the next amusing line while howling with laughter at the previous one. The Thursday night audience of which I was a part was not nearly a full house, but the roar of audience hysterics would suggest otherwise. Much credit must go to director, Rachel Mattox, for guiding the very successful comic timing of her cast. That cast is rounded out in Act II when Mel’s siblings arrive to help their troubled brother. (Alan Hall as Harry, Marcy Bannor as Pearl, Martha Doolittle as Jessie, and Ellen Perez as Pauline.) The conflicting family dynamics about how much monetary help should be offered add to the fun, with Mr. Hall giving us a warm and caring brother Harry who desperately wants to help, and the three sisters each bringing her own brand of clumsy assistance to the equation. But the centerpiece of the humor is the evolving relationship between Mel and Edna as they deal with his mid-life crisis and anger at the world. Mel hates the bosses who fired him, his noisy apartment neighbors, the polluted air of the city, the smell of garbage, the noise in the street below, the leaky toilet, — he could go on and on, and frequently does. But all the tense moments (beautifully acted by both Fenley and Morrison) are soon relieved by the ever-present wit of Simon’s script. It made for an enjoyable night of theatre, and those who like a good laugh were not disappointed. The laughs will now continue with TEXAS REP’s next offering of Marc Camoletti’s hysterical farce, BOEING BOEING. It will preview on March 20^th, and a have its Gala Opening on March 21^st at Texas Repertory Theatre in the Northwoods Plaza at 14243 Stuebner Airline Rd., Houston, Texas.  Performances continue through April 13^th on Thursdays at 7:30 pm, Fridays & Saturdays at 8 pm, and Sundays at 3 pm. For tickets and information call 281-583-7573 or visit the website at www.TexasRepTheatre.org.

INHERIT THE WIND Courtroom
PHOTO: Don Hampton

Many readers will recall tales of the sensational Scopes “Monkey” Trial of 1925, which became a notorious clash between science and religion. Schoolteacher, John Scopes, was charged with teaching the evolutionary theories of Charles Darwin in spite of Tennessee law to the contrary. Legendary lawyers, Clarence Darrow (defense) and William Jennings Bryan (prosecution) entered the fray, and the rest, as they say, is history. It was that history that inspired Jerome Lawrence and Robert E. Lee to write their fictionalized account of similar events in the sizzling courtroom drama, “Inherit the Wind,” now being presented by The Players Theatre Company at Conroe’s Owen Theatre. Director, Don Hampton, and his fine cast of thirty actors have brought this fascinating story to very exciting life on the Owen stage.

The looming excitement was not immediately apparent during the somewhat sleepy first act. It is a necessary first act as it sets the stage for the thrilling trial to come in Act Two. (Don’t even think about leaving during Intermission). We meet Bert Cates (Clinton Jeter), the high school teacher now in jail and awaiting trial for daring to teach evolution in this small Bible Belt town of Hillsboro. Rachel Brown (Jessica Honsinger) is Bert’s sweet friend and colleague. She is much conflicted by her affection for Bert and her fear of defending him in the face of her father, the fiery fundamentalist preacher, Rev. Jeremiah Brown (Rick Sellers).

Pre-Trial Picnic
INHERIT THE WIND
Photo: Don Hampton

Pre-trial excitement is building in the town as mobs parade singing songs like “Marching to Zion” and “Old Time Religion,” while carrying signs that read, “Darwin is Wrong,” “My Ancestors Ain’t Apes,” and “Save Our Schools From Sin.” Out of town reporters like the cynical and sarcastic E.K. Hornbeck (Joey Lamont) are arriving to get maximum press coverage of the carnival-like atmosphere that is building with hot dog vendors and lemonade stands catering to the growing crowds.

Then the play really begins to take off with the arrival of nationally known defense attorney, Henry Drummond, superbly played by area newspaper journalist, Mark Hayter, known for his amusing, somewhat tongue-in-cheek columns reflecting on everyday life as seen from Up On the Roof.

Mark Hayter (left) with Quint Bishop
PHOTO: Brad Meyer

His feisty flair for looking at things from a humorous angle may have served him well in his creation of this even-handed, thoughtful and very likable character of Drummond, a man who dispenses bits of wisdom like, “The person who thinks he’s got everything figured out is probably a fool.” And what a perfect legal pairing we have with the arrival of renowned prosecuting attorney (and three-time Presidential candidate) Matthew Harrison Brady, with an explosive and brilliant performance from Quint Bishop. Mr. Bishop’s commanding stage presence gives us a Brady so full of bluster that he seems to even dwarf the presence of the prosecuting District Attorney, Tom Davenport (Mike Ragan). Cindy Siple does nicely as Brady’s sweetly attentive wife, Sarah.

(L-R) Quint Bishop, Rick Sellers, Joey Lamont & Mark Hayter
PHOTO: Brad Meyer

Another fiery performance came from Mr. Sellers as the Rev. Brown lashes out at his congregation in a ferocious, wild-eyed, Elmer Gantry-style sermon full of hellfire and damnation for evolutionists and their sympathizers, even his own daughter. That rant prompts the horrified Brady to warn the reverend of Proverbs 11:29, “He that troubleth his own house . . . shall inherit the wind.”

The sparks really begin to fly in Act Two on the panoramic set design of Mr. Hampton. It encompasses the entire courtroom with a scowling Judge (gavel slamming David Herman), jury (audience members like Jim Pokorski recruited during Intermission), reporters, witnesses and gossiping onlookers crowding the well-lit stage (lighting designer Scotti Smith). The simple costume designs of Marieda Kilgore work very well and the sound designs of Mike Ragan combined with recent acoustic improvements to the theater to make everything clearly audible. Projection Visuals from designer, Roger Ormiston, created instant background scenery as pleasant bluegrass music accompanied scene changes.

During the trial Brady continues raging about “godless science” and what he calls “Evilutionists.” Drummond counters reminding the court that “The right to think is on trial.” He goes further to say, “Right has no meaning. Truth has meaning,” and warns the court that, “An idea is more of a monument than a cathedral.” There is another moment of high drama when Miss Honsinger gives a convincingly emotional performance as Rachel breaks down on the stand while testifying. But nothing beats the fireworks that take place when Drummond calls Brady to the witness box. This is local theatre at its best with two talented actors in top form and a fine supporting cast backing them up all the way. As for the thrilling conclusion, to learn the verdict you must buy a ticket. You won’t be sorry.

INHERIT THE WIND continues through April 6^th at The Owen Theatre, 225 Metcalf Street in Conroe. Performances are Fridays and Saturdays at 8pm with 2pm Sunday matiness on March 30^th and April 6^th. Tickets are $10, $18, and $20. For information visit the website at www.owentheatre.com or call 936-539-4090.

For you followers of farce it may be time to head over to Texas Repertory Theatre to take in the latest offering, the Marc Camoletti / Beverly Cross comedy, BOEING BOEING.If the recent audience of which I was a part was any indication, you may be in for plenty of laughs. Now I should offer one caution at the outset. I do not object to farce. As a student of theater at the University of Texas many years ago, I recall my delight on first reading Moliere’s The Miser. At one time I was also a member in good standing of The Sons of the Desert, the international comedy fraternity honoring the collected works of Laurel & Hardy. Having said that, I do have some difficulty when comedy plots such as this one seem so far-fetched that I cannot believe what I am seeing. That may just be a personal shortcoming, as part of enjoying farce requires surrendering to the nonsense. With able direction from Steven Fenley, rest assured there is plenty of nonsense in BOEING BOEING.

For those unfamiliar with the play’s plot (or that of the film starring Tony Curtis and Jerry Lewis), the action takes place in the modest Paris flat (scenic design, Trey Otis) of a playboy named Bernard (Tom Long). Bernard has established intimate relationships with three different airline stewardesses, each of whom thinks she is his fiancée. As each of these gals visits the apartment, it falls to Bernard’s feisty and grumbling housekeeper, Bertha (Marcy Bannor), to try and juggle the meal menus and framed photographs on display to fit the current overnight guest. Meanwhile, it is Bernard’s task to maintain a careful timetable detailing the travel schedules for each flight attendant in order to avoid any embarrassing conflicts. Therein lies the lunacy that propels this show’s hilarity. In the process we meet TWA stewardess, Janet, (Christina Stroup), Air France stewardess, Jacqueline (Robin Van Zant), and Lufthansa stewardess, Judith (Lauren Dolk). Adding to the comic confusion is the unexpected arrival of Bernard’s old friend, Robert (David Walker). Robert is justifiably mystified by Bernard’s uncanny skill for carefully scheduling the visits of his assorted fiancées so that they never run into one another, —or do they?

(L-R) Lauren Dolk, Tom Long, Robin Van Zandt, and Christina Stroup in The Texas Repertory production of Boeing Boeing. Photo by Douglas Kreitz and Larry Lipton.

The schemes of this scoundrel begin to unravel as people come and go through the seven slamming doors in this apartment, and the timing of these unmanageable entrances and exits is quite a test of Bernard’s ability to maintain the charade. When we first meet Janet she is relaxing in black lace loungewear while devouring extra helpings of Bertha’s pancakes. Bernard has to hurry her off to her flight lest she encounter the expected arrival of Jacqueline, fiancée #2. She bounces in with devilish glee sporting black patent leather platform boots. It isn’t long before fiancée #3, the German Judith, arrives wearing a crisp, gold colored airline suit that is almost as severe as the militaristic atmosphere that surrounds her. When the men excite her, she affects a laser-like gaze and a set of quasi-orgasmic and undulating gyrations. The robotic angularity of her body language brings many a laugh from the audience, although Miss Dolk’s wild-eyed intensity sometimes resulted in lines of dialogue being lost as she spoke too rapidly to be understood. It was, nevertheless, a uniquely nutty characterization for this uniquely nutty play.

If this all sounds a bit predictable, well yes, it is. But each of our costars brings a special brand of zaniness that helps sustain this comic romp until it comes in for a safe landing with some final relationships that may surprise you.

\BOEING BOEING continues thru April 13th at Texas Repertory Theatre in the Northwoods Plaza, 14243 Stuebner Airline Rd., Houston, Texas. Performances are  Thursdays at 7:30 pm, Fridays & Saturdays at 8 pm, and Sundays at 3 pm. For tickets ($35) and information on Senior and Student discounts, call 281-583-7573 or visit the website at www.TexasRepTheatre.org.

Cast of Rockaway Theatre Co. GODSPELL
Photo: Norm Scott

In the last dozen years I have had the opportunity to review several productions of the ever-popular musical, Godspell, conceived by John-Michael Tebelak with music & lyrics by Stephen Schwartz. Last Friday night I had the chance to sample a wealth of talent probably too little known here in Rockaway as I attended the Rockaway Theatre Company’s current fine production of that show at the Post Theatre. Presented in partnership with the Gateway National Recreation Area, the production validated a theory presented by the show’s director, Frank Caiati, when he wrote in his program notes: “…Godspell has never been done the same way twice.” I suspect that may even be true from performance to performance during the current run, which continues through this weekend. The director has entrusted his talented cast with an element of freewheeling creativity that is quite evident as the show unfolds in unexpected, yet delightful ways. Everything plays out on Caiati’s austere and rugged set design, looking much like an abandoned warehouse, and beautifully realized by Master Builder, Anthony Homsey and his talented crew of volunteers.

As readers may be aware, the musical is structured around the life and teachings of Jesus with a lighthearted, yet thought-provoking journey through the wisdom of many familiar parables from the New Testament. But fear not! It is not a proselytizing vehicle, but more a fun-filled reminder of values central to our common humanity without regard to any specific religion. If it does preach a bit, it is in a fashion that could probably fill our churches up in a way that some less interesting contemporary sermons are failing to do. Nevertheless, Godspell recognizes that religion is serious business, and that essentially divides the musical into the two very different parts of Act I and Act II. Let’s begin at the beginning.

Director, Frank Caiati
PHOTO: Courtesy of Rockaway Theatre Co.

Act One is light, gay and endearingly nutty with the funky-clad cast (costume designs by Matthew Smilardi) looking a bit like the Woodstock generation. Audience smiles come in rapid succession and laughter is abundant. This seemed a reflection of creative director, Caiati, whose own youthful smile and radiant energy seemed to light up the room as he mingled cheerfully with audience members during the intermission. That first act was also a total delight thanks to the universally excellent singing voices of the fine cast. While the beautifully performed role of Jesus (Mr. Smilardi) is clearly central to the work, the piece is very much an ensemble effort owing its success to fine performers including, Karen Mascolo, Chazmond “Chaz” Peacock, Renee Steadman, Michelle Ricciardi, Matt Leonen, Nicole Mangano, Jackie Samaha and Stephen Ryan. Rounding out the cast is John Panepinto in the challenging dual role as both Judas & John the Baptist.

All things considered, I would rate the fine ensemble, with its joyous esprit de corps, as the real star of the show in crowning the success of the numerous show stopping numbers nicely complemented by Musical Director, Jeffrey Arzberger, leading the fine 6-member band. Examples of those songs would include the full company’s opener, “Tower of Babel,” and then with the dramatic sounding of the shofar horn, the beautifully staged “Prepare Ye” scene for John the Baptist and the baptism of Jesus amid dramatically flowing water. Smilardi follows with tenderness as Jesus sings the warm and embracing, “Save the People,” while this joyous cast of flower children merrily surrounds him. Miss Samaha’s pure voice anchors the show’s biggest hit, “Day by Day,” as it explodes with whirling joy and gentle but effective choreography. (Choreographer, Gabrielle Mangano)

Cast of Rockaway Theatre Company’s GODSPELL
Photo: Norman Scott

Musical numbers are interspersed with humorous sketches (some drawing in unsuspecting audience members) that are delightful reminders of such parable lessons as, “Love thy neighbor,” & “Give charity to those who ask of you,” and there is a clever spoof of “The Good Samaritan,” story that plays out like the winner of a beauty pageant with Miss Steadman showing riotous comic flair in accepting her award. A later Prodigal Son sketch was hilariously staged in mock slow motion to the theme from “Chariots of Fire.”

Amid soft pastel lighting and candle glow, (Lighting Designs, Andrew Woodbridge) Miss Mascolo leads the cast in a thrilling, “Learn Your Lessons Well,” that looked like a finale. Miss Mangano followed with a bright and perky, “Bless the Lord,” wrapped in more rich choral splendor from the ribbon dance whirling of the cast. Raising the bar of excellence even higher was the pairing of Panepinto and Smilardi for the brilliant counterpoints and snappy percussion of a glowing “All For the Best,” that looked like it had been staged by Bob Fosse. The rich voice of Mr. Peacock would soar for, “All Good Gifts,” and be enriched by the intimacy and gentle sweetness of the same ensemble that, moments later, would join Smilardi for the radiant, “Light of the World,” that brilliantly closes Act One.

Act Two would feature such highlights as the sensuous, “Turn Back Oh Man,” from Miss Steadman, the more somber and reflective, “By My Side,” from Miss Ricciardi, and a high energy, “We Beseech Thee,” from Mr. Ryan & company with dancing that seemed right out of ancient Egypt. It is worth noting however, that Act Two is overshadowed by the more serious approach of the crucifixion of Christ, with a corresponding drop-off of the merriment that pervades Act One. With that in mind, readers may want to try and obtain one of the few remaining tickets for the final performances listed below.

Rockaway Theatre Company’s GODSPELL continues through Sunday September 28^th at The Post Theatre, Building T4, Fort Tilden, Rockaway, NY. Tickets are $20 for adults and $15 for Students & Seniors. Performances will be at 8 pm this Friday & Saturday with the final performance of a 2 pm matinee this Sunday. The Friday Performance will benefit the Alzheimers Association.

The Cast of KINKY BOOTS
Photo: Matthew Murphy

It is a bit of a fairy tale in its own right, and that may be the source of the joy that now spreads across the theatrical world leaving smiles on the faces of everyone it touches. I refer, of course, to KINKY BOOTS, the Tony Award-winning Broadway musical now delighting audiences via the national tour currently playing at Houston’s Hobby Center through February 22^nd. With the very likable music & lyrics of Cyndi Lauper, the cleverly witty book by Harvey Fierstein, and the shimmering direction & choreography of Jerry Mitchell, we have a real winner on our hands. Better still, the theater’s sound engineers seem to have begun mastering, for the most part, the art of creating comfortably audible sound levels for music and dialogue that can be clearly heard without assaulting the audience with excess volume and distortion. Bravo!

The pleasant story is based on some real events and revolves around the struggling Price & Son shoe factory in Northampton, England. Kenny Morris plays the elder Mr. Price with such powerful vocal projection, that like several other strong cast members, one suspects he could play the part without microphones or amplification. With bright enthusiasm and a solid singing voice, Steven Booth plays his son, Charlie, an eager young fellow all set to leave this small town with his self-centered fiancée, Nicola (Grace Stockdale), and head for new adventures in London. That dream is short-lived when the elder Mr. Price suddenly passes away and Charlie inherits the factory he had planned to escape. (Fine workplace scenic design from David Rockwell, complete with moving conveyor belt.)  

Darius Harper as Lola
PHOTO: Matthew Murphy

With business dwindling at the factory, Charlie has an unexpected encounter with the hilarious drag queen, Lola (Darius Harper). That’s where the real fun begins. Lola needs a nice outlandish pair of custom made boots to wear in her performances at the clubs. One of Charlie’s factory workers, Lauren (Lindsay Nicole Chambers), gives Charlie an idea that perhaps this could open an equally outlandish product line for his failing factory. Thereby hangs the plot of this fun-filled production, but it is the singing, dancing, and above all, the music that give the show its winning personality. (Musical Director, Adam Souza, with arrangements and orchestrations by Stephen Oremus).

The vocal power of the full cast ensemble was immediately apparent in the opening numbers of “Price& Son Theme,” and “The Most Beautiful Thing in the World.” Charlie has his work cut out for him in running the factory, but he learns he must play the hand life has dealt him as he joins his friend Harry (Mike Longo) and the full ensemble for the encouraging song, “Take What You Got.” The song features great guitar work and hints of bluegrass. Then the show rockets to a whole new level when we first see Lola in performance for the dazzling fun of “Land of Lola.” Surrounded by gleaming tinsel and decked out in a glittering outfit of sexy red (Costume designer, Gregg Barnes), Mr. Harper is bold and sassy as he leads this sensational number. It is further enhanced by the fine backup singing of the half dozen “Angels” who beautifully support several of the show’s numbers. With campy flair, Lola is deliciously bawdy as she takes pride in performing for “a room full of people waiting to feel normal by comparison.” Many in the audience would no doubt qualify.

Cast of Kinky Boots
PHOTO: Matthew Murphy

The excitement continues as Charlie brings his boyish enthusiasm and sense of discovery to the new boot designs during the explosive energy of, “Step One.” Not to be outdone, Lola returns with a brief lecture on her favorite color, red, and follows with the thunderous and rockin’ rhythms of “Sex is in the Heel.” The number is a knockout celebration of ultra-stiletto heels on boots, and if the singing here was a touch strident at times, Mitchell’s eye-popping choreography and the waves of pastel lighting (designer, Kenneth Posner) kept the focus on the visual.

Lauren soon finds she is falling for Charlie as Miss Chambers delivers a soaring, “The History of Wrong Guys.” Meanwhile, Lola senses some disdain for drag queens among the factory workers, especially rugged Don (Joe Coots). Before long the two will come to blows during the cleverly staged boxing match of Act II that is performed in convincing, but harmless, slow motion. I won’t reveal the tender outcome. And speaking of tender, there are sweet reflections when Lola reveals her name was Simon as a child. She and Charlie join in thoughtful self-examination for the touching and poignant song, “Not My Father’s Son.” Act I then closes with the frenzied excitement of another show-stopper as the workers celebrate the first finished pair of new boots, and Charlie becomes the head cheerleader for the sensational, “Everybody Say Yeah.”

Cast of Kinky boots
PHOTO: Matthew Murphy

Act II’s thoughtful examination of “What a Woman Wants” gives Don a chance to think about what virtues women seek in a “real man.” The number is a pip and features some buxom fun from a gyrating factory worker named Pat (Bonnie Milligan). Complications ensue as Charlie insists the new boot collection must be taken to Milan for the fashion show. In a power-packed scene he alienates Lola by refusing to have her backup Angels as the boot models on the Milan fashion runway. As Lola departs in anger, Charlie becomes so tyrannical and demanding as the boss that the workers all walk off the job. His self-examination in the song, “Soul of a Man,” was an exception to the fine sound engineering mentioned earlier. The lyrics were inaudible amid the over-amplification on that one. That sin would quickly be forgotten in the following stunning scene as Lola, sparkling in a soft and flowing chiffon gown, is found giving a concert in the nursing home where her long-estranged father is a wheelchair-bound patient. This number, “Hold Me in Your Heart,” tops the list of great moments in the show. Harper gives a memorable performance that seemed like some sensational Las Vegas showroom finale from Whitney Houston at her peak. But of course there is much more as things finally work out for the boot show in Milan. We all remember the Ruby Slippers. Now we have the Ruby Boots and a whole lot more. Talk about a finale! This one has to be seen to be believed.

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KINKY BOOTS continues through February 22nd at Houston’s Hobby Center main stage with performances on Fridays and Saturday evenings at 8pm, Tuesday thru Thursday & Sunday evenings at 7:30 pm (dark on Monday), Saturday and Sunday matinees at 2pm. For tickets ($24-$100) visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

Cast of Singin’ in the Rain
Photo: Michael Pittman
*CLICK any photo to enlarge*

Director, Manny Cafeo
PHOTO: Dave Clements

For lovers of musical theatre there is something incredibly important and very wonderful going on at Conroe’s Crighton Theater. Brilliantly directed by Manny Cafeo, the current production of Singin’ in the Rain from the Stage Right Players is an absolute wonder to behold. In fact, let me take that a step further. It is miraculous! Fondly remembered and revisited by most of us, the 1952 MGM film version starring Gene Kelly, Debbie Reynolds and Donald O’Connor is a classic cinema masterpiece by any standard. Attempting to duplicate its joys on the stage would be a daunting task in any event, but to accomplish it with the artistic perfection found in this production must certainly be a crowning achievement for Stage Right producers, Steve & Carolyn Wong.

The realization of this miracle has countless ingredients which must begin with the unmistakable love, energy and joy this universally excellent cast has brought to the performance. Common sense tells us how much hard work made this all possible. But somehow it comes across the footlights that everyone on that stage is having as much fun as the audience. At the same time virtually every detail of the film is brought magically to life on the Crighton stage. Of course that magic includes the witty original screenplay of Betty Comden & Adolph Green, and the memorable music of Arthur Freed (who also wrote the lyrics) & Nacio Herb Brown. In this production the score is in the very capable hands of Musical Director, Ana Guirola Ladd, and the superb dancing is a much deserved jewel in the crown of both choreographer, Dinah Mahlman, and her astonishing cast that repeatedly sets the house on fire with sensational tap dancing.

Let’s get more specific about the stellar cast that brings to life this amusing tale about the silent film star pairing of Lina Lamont (Alexandra Casey), and Don Lockwood (Victor Suarez) at the time in the 1920’s when the “talkies” were about to replace silent films. Self-centered Lina is a perfect example of the silent film stars who had no suitable voice for sound. Don’t miss the fun of the vocal coaches played by Lindsay Freireich & Adam Isbell, and Todd Brady as the amusingly desperate director trying to make sense of cinema’s transition to sound.

Alexandra Casey & Will
Alexandra Casey & Will Radcliffe
PHOTO: Dave Clements

Lina’s persistent whining and poor diction are totally annoying, and all the while she is oblivious to the fact that Don is only her lover on screen and has no interest in her otherwise. Pretty Miss Casey carries off the part with consistently hilarious comic flair, even as vain Lina does some serious soul searching during her deliberately annoying Act II song, “What’s Wrong With me?” The head of Monumental Pictures, R.F. Simpson (Willard Radcliffe) has his hands full trying to deal with his spoiled brat starlet during filming of “The Dueling Cavalier,” and that problem is central to the fun that follows.

The Dueling Cavalier
PHOTO: Dave Clements

Amazingly, video engineer, Steven Wong, assisted by his son, Michael Wong as fencing choreographer, has created superb silent film segments for “The Dueling Cavalier” that are incorporated into the plot using the actual members of the cast. The professional high definition clarity of the result adds endless fun to the action, and it is worth mentioning that even before the show began, Mr. Wong created an amusing silent comedy take-off of Laurel & Hardy designed to gently remind the audience about cell phone shutdowns. On the other hand, Mrs. Wong, always a comedic winner in Crighton productions, is no less in her deliciously outlandish role of film columnist and radio personality, Dora Bailey, who hosts the red carpet arrivals of the stars for the Hollywood movie premiere that opens Act One.

R. Isaiah Owens sings
“Beautiful Girls”
Photo:Dave Clements

Ryan Rodriquez- “Make ‘Em Laugh”
Photo: Dave Clements

Oh, those glamorous costumes that would lavishly continue to be a feature throughout the show (Designer, Marieda Kilgore). It would also quickly become clear that a central core of this show’s success is the splendid singing of the leads. In the song, “Make ‘Em Laugh,” Ryan Rodriquez is terrific capturing the comic deviltry as Don’s pal, Cosmo Brown, the role originally played by Donald O’Connor in the film. Ryan is a perfect pairing with Suarez in the role of Don. The two gents are as handsome as matinee idols with vocal chords to match.

“Fit as a Fiddle”
PHOTO: Dave Clements

Their singing and athletic tap dancing will dazzle you with numbers like “Moses Supposes,” the show-stopping “Broadway Melody,” and the very cute and acrobatic “Fit as a Fiddle.” That latter number is cleverly staged as a memory flashback and might be clarified as such if the surrounding stage lighting briefly dimmed to set the focus on the boys during the song, but the overall lighting designs of Roger Ormiston and Lighting Engineer, Peter Kelly really make this show shine.

Victor Suarez & Sara Priesler-Kent
Photo: Dave Clements

Another technical triumph came in the area of sound. (Designer, Ms. Wong, and Engineer, Nick Marshall). I point this out because there is always danger when coordinating performances with a recorded musical soundtrack. With one or two minor glitches it is splendidly carried off here. I first realized that when Suarez began singing the lushly romantic, “You Stepped Out of a Dream,” to beautiful Sara Preisler Kent. Kent portrays Don’s love interest, the lovely ingénue and would-be star, Kathy Selden. It’s the role that helped make Debbie Reynolds a Hollywood legend. As Suarez’ velvet smooth voice embraced the audience, I thought at first he must be lip-syncing to some professional voice recorded on the soundtrack. What a pleasure to discover this talented young man’s voice was the real deal. And what a match to have him in duet with the sweetly elegant voice of Miss Kent. Wow!

“Good Morning” (L-R Suarez,Kent,Rodriquez) PHOTO: Dave Clements

The duo would team beautifully for the songs, “You Are My Lucky Star,” and “Would You,” and the pair would join Rodriquez for the playful delights of “Good Morning.” As for outstanding solo moments, Kent delivers a wonderful “All I Do is Dream of You,” with great back-up from the Chorus Girls.

Suarez: “Singin’ in the Rain”
PHOTO: Dave Clements

Suarez shines for, “You Were Meant for Me,” and of course for the title tune. Thanks to the creativity of Master Carpenter, Dennis O’Connor and Scenic Designer, Denise DeBold, “Singin’ in the Rain” was able to actually happen right there in front of our eyes as Mr. Suarez joyfully danced and sang through showers and puddles, umbrella in hand. It was a delight.

Mahlman as seductress in “Broadway Melody”
PHOTO: Dave Clements

Other sensational production numbers include the classy “Beautiful Girls” led by talented, R. Isaiah Owens, and a jazzy “Broadway Melody” that featured the seductive dance talents of choreographer, Mahlman.

(L-R) Victor Suarez, Sara Priesler-Kent, & Ryan Rodriquez
PHOTO: Michael Pittman

Throughout this epic masterpiece of musical theatre, the Dancers and Chorus of the cast really deserve top billing. They are amazing, so readers beware. If you miss this sweetheart of a show you will miss something so special that my eyes were moist with tears of joy at the conclusion. I will never forget Valentine’s Day 2015.

SINGIN’ IN THE RAIN continues through March 1, 2015 with Friday & Saturday performances at 8 p.m. and Sunday matinees at 2 p.m., all at the beautiful Crighton Theatre, 234 N. Main St. in Conroe. (Prices are $20 adults, $18 for seniors and groups of 15 or more, $15 for youngsters 16 and under, and senior groups of 15 or more persons). For tickets and information call 936-441-7469 or visit the website at www.stage-right.org

Andersen McDaniel as PINOCCHIO and Jordan Rubio as GEPPETTO
Photo: K. Navarra

***Click Any Photo to Enlarge***

Before curtain time at the Nancy Bock Center for the Performing Arts, the room was filled with the familiar buzz of audience excitement that one has come to expect when Class Act Productions is presenting a show from Founder/Producer, Keith Brumfield. In this case, the offering was the Disney musical, MY SON PINOCCHIO Geppetto’s Musical Tale. With book by David I. Stern and Music & Lyrics by Stephen Schwartz, this edition was delightfully directed by Tina Kraft. Adding to that delight was the enormous cast of talented local youngsters that brought this new and amusing take on the familiar story to joyous life for last weekend’s three sellout performances.

This charming journey, based on both the original 1883 Carlo Collodi tale, The Adventures of Pinocchio, and the later 1940 Disney film, Pinocchio, begins as we meet the hilariously egotistical Blue Fairy (Isabelle Yost) who thinks she is the living embodiment of perfection and can do no wrong.

Isabelle Yost as THE BLUE FAIRY
Photo: Paul Wickboldt

Enter Geppetto the woodcarver and toymaker (Jordan Rubio), who approaches the Blue Fairy to complain he would like to return the wooden boy, Pinocchio, that she had once brought to life through her magic. Mr. Rubio displays his fine singing voice as Geppetto claims the fairy has created an imperfect boy because Pinocchio (Andersen McDaniel) is a problem child. She is incensed at the suggestion her handiwork was not perfect, and her blatant narcissism is so innocently and genuinely over-the-top it adds to the fun throughout the show. Miss Yost plays it to the hilt with a terrific flair for comedy, but better still she has a very wonderful voice for songs like “Just Because It’s Magic,” and of course the classic, “When You Wish Upon a Star.”

The Blue Fairy & her Fairies-in-Training
PHOTO: K. Navarra

She is merrily assisted by her four Fairies-in-Training (Marina Garcia de Quevedo, Katarina Brosvik, Madisen Campbell, and Riley Mitchell). They sing beautifully as well, and add to the hilarity, but conflict arises when we meet the conniving puppeteer, Stromboli, wickedly played by Jessica Helgerud.

Jessica Helgerud as STROMBOLI
Photo: Paul Wickboldt

Stromboli has two very animated marionettes (Emily Freeman & Greta Faith Lamb), and meanwhile conspires to capture the amazing live wooden boy, Pinocchio, to be the star of her own puppet show. For his part, Mr. McDaniel brings both deviltry and tenderness to his performance in the title role, and does nicely performing the charming, “I  Got No Strings.”

Anchoring all this action is the beautiful singing (Music Director, Laurelyn Korfhage) and dancing (Choreographer, Jodi Schrier) from this huge ensemble of very talented young people. The beaming joy they project for the many songs in this labor of love would clearly warm the hearts of all those present in the audience. The music in this edition is pleasant enough and appropriate to the light-weight plot, but the new songs are probably not destined for the classic status awarded to “When You Wish Upon a Star,” and “I Got No Strings,” both included here from the earlier Disney film with the music by Leigh Harline & lyrics by Ned Washington.

Sromboli’s Puppet Show
PHOTO: K. Navarra

Never-the-less, there was fun on every hand in various brilliant scenes that take place in Geppetto’s toyshop, at Stromboli’s puppet show, along a forest road, or in the laboratory of zany, Professor Buonragazzo (Maeve Jensen), who has invented a machine that can manufacture perfect little boys and girls.

PLEASURE ISLAND
Photo: K. Navarra

Another dazzling scene was the world of “Pleasure Island,” where bad boys soon make jackasses of themselves, and the joyous “Mardi Gras Dance” there was a knock-out that wove its way right through the audience! All these scenes featured the beautiful set designs of Kent Hale, the scenic artistry of Katie Arceneaux & Sally Menes, and fine lighting from designer Blake Minor. The countless and glorious costumes were designed by Kristi Tabor. Score this another victory for Class Act Productions and the countless community volunteers that make the magic happen. Area resident, Mattie Tabor, seemed to agree as she was leaving the theater. She was overheard to say, “I’ve never seen one of these shows that wasn’t wonderful!”

Cast of MY SON PINOCCHIO
Photo: K. Navarra

CLASS ACT plans performances of MARY POPPINS on July 10, 11, 12, 17, 18, & 19 in 2015. Auditions are scheduled for May 2, 2015. For further updates visit http://www.ClassActProductions.org .

Stuart Ward and Dani de Waal from the
ONCE Tour Company © Joan Marcus

It is a story of love, and it is most certainly a story of music, and when the two come together they weave a tale as sweet as the melodies that bind together all the charms of the musical, ONCE, now playing at Houston’s Hobby Center for the Performing Arts. Right from the beginning, this production (book by Enda Walsh, music and lyrics by Glen Hansard & Marketa Irglova) is a very unusual piece. For starters, before show time the opening set depicts a long and cozy Irish bar adorned with assorted glistening mirrors as it embraces the entire back of the stage. The arriving audience is welcome to amble on stage, buy drinks from the bartender, and sip those cocktails while enjoying an unusual view of the theater from the actors’ perspective. (That novelty would be repeated during Intermission).

As the show proper gets underway, we find ourselves in Dublin and begin to meet the assorted working class town characters who frequent this pub, and happily, pass a good deal of time indulging the Irish love of making music.

ONCE Tour Company © Joan Marcus

Skillfully directed by John Tiffany, our talented cast of twelve, (plus a darling little girl named Ivanka, sweetly played by Sarah McKinley Austin) has an assortment of musical gifts for piano, guitar, mandolin, banjo, drums, harmonica, ukulele, cello, accordion, violin, concertina, melodica and percussion that sometimes consists of pounding bongo-style rhythms on empty boxes.

ONCE Tour Company © Joan Marcus

The curtain is never drawn on this open set (designer, Bob Crowley) and very soon, as infectious Irish music explodes across the stage, it can seem at one moment like a country hoedown, and in the next resemble a rousing Jewish wedding. Irish wit peppers the script with humor, while the audience has the feeling of having crashed some joyful party, and indeed, it has.

ONCE Tour Company © Joan Marcus

The story that follows is the simple tale of a young would-be songwriter, a Dubliner named Guy (Stuart Ward) who repairs Hoover vacuum cleaners when not strumming his guitar. While singing at the pub, he meets a pretty young Czech woman that the authors have curiously named, Girl. (Dani de Waal). So we have a Guy and a Girl to propel the plot. Better still, the Girl has a Hoover vacuum in need of repair. What could be better than that? Guy is a bit rough around the edges and his music lashes about with an edge of its own that may reflect his longing for the girlfriend he has recently lost to New York across the sea. But meanwhile, Girl sees something special in his musical talent and urges him to pursue those gifts and seek a recording contract. Girl, by the way, has a musical gift of her own on the piano, as audiences will readily note when Miss de Waal displays considerable skill for playing Mendelsohn. Waal has the voice of an angel as well, and that would be apparent in the lyrical delicacy of her stunning and elegant solo for “The Hill” in Act Two. The only disappointment was the lack of an appropriate momentary pause following that song so the audience could erupt in deserved and appreciative applause before the action continued.

ONCE Tour Company © Joan Marcus

As the plot moves along there are numerous gay and lively numbers that would have many a foot in the audience tapping, and mine was no exception. (Music supervisor, Martin Lowe). There is sometimes gentle, sometimes foot-stomping and whirling choreography from the energetic cast of players (Movement direction from Steven Hoggett). True to Irish sentiment, there is a poetic and story-telling aspect of these songs that is often wistful and reflective. This is perhaps most apparent in the gentle sweetness of the show’s most familiar tune, “Falling Slowly,” a lush duet for the complementary voices of Girl and Guy as they beautifully deliver the heavenly elevation of the uniquely high notes that close each phrase in the song. The haunting “If You Want Me” is another vocal winner for the duo.

ONCE Tour Company © Joan Marcus

There is wonderful support here from the ever-present ensemble, and that same vocal power enriches Guy’s soaring solo of the beautiful song, “Gold,” that closes Act One amid the gently choreographed movement of the cast. The same tune would be a full company highlight in the mystical a Capella reprise during Act Two that would again conclude by sadly depriving the audience of that moment needed to cheer an exceptional performance.

Clearly, Guy and Girl are falling in love, though we learn that her estranged husband is expected to return to Dublin soon to reconcile with his wife and reunite with their young daughter, Ivanka. Ultimately, Girl succeeds in having Guy join forces with their musical friends to cut a studio demo recording of his original songs, but along the way she realizes she belongs with her husband, while Guy and his talent belong across the sea with his lost love in New York and all the music world opportunities that can be found there. How fortunate that we could enjoy this joyous musical journey before that poignant separation.

ONCE  continues through March 15th at Houston’s Hobby Center for the Performing Arts, 800 Bagby St. with performances Thursday at 7:30pm, Friday at 8pm, Saturday at 2 & 8pm, and Sunday at 2 & 7:30pm. For tickets & information call 800-982-2787 or visit the website at http://www.broadwayatthehobbycenter.com

Next up in the BROADWAY at the Hobby Center series: MAMA MIA ! April 14^th-19th

Cast of MAMMA MIA!
Photo: Joan Marcus

It seemed more like attending some grand and joyous party than it did attending a run-of-the-mill musical. The fun began right in the elevator that took my guest and me up to the orchestra level of the Sarofim Theatre in Houston’s Hobby Center for the Performing Arts. We were joined in that elevator by about a half-dozen chattering young women who were giddy with delight as they prepared to attend the current Broadway tour of the perennial favorite, MAMMA MIA. They were undoubtedly as guilty as I of having seen the show before, and probably more than once. It’s that kind of show, and people keep coming back for more. Not because it is a great theatre piece, but just because it is so doggone much fun. I knew before that short elevator ride ended, that these women would all be on their feet as Dancing Queens before the final curtain.

Written by British playwright Catherine Johnson, the plot is cleverly constructed around the popular songs of the band, ABBA, and composed by two former members of that band, Benny Andersson and Björn Ulvaeus. (Stig Anderson collaborated in composing some of the show’s songs, and Catherine Johnson wrote the book). The original London production opened in April of 1999, and the Broadway production opened just weeks after the terror of 9/11 in 2001. The show became such a Broadway staple that the marquee even found its way onto the Broadway masthead photo atop this critic’s website at ThePeoplesCritic.com.

Phyllida Lloyd brightly directs this current and very successful national tour of a show familiar to many from the popular screen version starring Meryl Streep and Pierce Brosnon. But the high-energy excitement Mamma Mia brings to the live stage could never be fully captured on film. The forgivably far-fetched plot surrounds a single mother named Donna (Georgia Kate Haege), and her daughter, Sophie (Chelsea Williams), who live on the lovely Greek Island of Calicos where Donna operates a taverna guest house. Twenty year-old Sophie is about to be married to her beloved Sky (Eric Presnall) and longs to know which of the three men her mother had flings with years before could be her real father. In hopes of solving that mystery she has secretly invited the three to her forthcoming wedding. When the gents arrive (Andrew Tebo as Harry, Michael Colavolpe as Bill, and Jeff Drushal as Sam) the real fun gets underway. Adding to the fun is the arrival of Donna’s feisty old girlfriends, Tanya (Bailey Purvis), and Rosie (Sarah Smith). Years before the three gals had their own singing group known as, “Donna & the Dynamos.” Before show’s end they unite for some spectacular numbers.

Cast of MAMMA MIA!
Photo: Joan Marcus

As in previous touring productions that I have reviewed, the action plays out on what I found to be a simple, yet very appealing set, depicting the tavern’s Mediterranean-style stucco buildings, capped by the lacy silhouette of a tree and an occasional rising moon. The secret of this successful simplicity rests with the ever-changing and brilliant pastel lighting designs of Howard Harrison, which give an airy and romantic look to many scenes, and electrifying excitement to others like the explosive song, “Money, Money, Money.” With such popular hits as, “Dancing Queen”, “Chiquitita, ” “Super Trouper,” “Take A Chance On Me,” “Voulez-Vous,” “SOS,” “Thank You for the Music,” “The Winner Takes It All”, and the tender, “Knowing Me, Knowing You,” the fun-filled and lovely tunes overshadow the twists and turns of the convoluted plot. But as Sophie’s wedding day approaches, there are enough mysteries and surprises to keep it all interesting while the dynamic voices in the cast add to the magic. Miss Haege brings fierce vocal power to her numbers and Miss William’s voice is pure perfection. While there are many fine voices in this exuberant cast, these two women stand out as they anchor the production with exceptional vocal brilliance that contrasts considerably with the low-key male leads playing Sophie’s possible fathers. With consistently sweet harmonies, the Ensemble cast support is strong throughout. I was briefly concerned during an embarrassingly over-amplified Overture that was annoyingly loud, but happily that Opening Night problem was quickly corrected as the rest of the show proceeded smoothly with not only good sound levels for music, but also for dialogue that could be clearly heard.

The flashy choreography of Anthony Van Laast is ever-present as a highlight of the production, and don’t miss the hilarious flipper-footed dance of the scuba divers. And speaking of “don’t miss,” word must have gotten around town about the wonderful encore numbers this show offers following the bows and curtain calls. The usual rude race to the exits and parking lots did not occur, and the happy audience seemed delighted to remain standing and dancing during the dazzling final bonus numbers that made one wonder just where these young performers seem to find such boundless energy.

Cast of MAMMA MIA!
Photo: Joan Marcus

The full cast again explodes on stage, (with the lead performers now suddenly dressed in the glitz of ABBA-style costumes), and there follows another twenty minutes of joyful encores that included, “Dancing Queen,” and, of course, “Mamma Mia.” I’m sure that somewhere in that room my friends from the elevator were having a ball.

MAMMA MIA continues at the Hobby Center with performances tonight & Saturday at 8pm, matinees both Saturday & Sunday at 2pm, and a final performance at 7:30 this coming Sunday night, April 19^th. To capture any of the few remaining tickets 800-952-6560 or visit the website at www.BroadwayAtTheHobbyCenter.com. Those who miss out may want to have a peek at the tour video available at:

http://www.mammamianorthamerica.com/land/tour/?gclid=CO62uufX4qgCFUHr7QodtjZGCw

The Kinkaid School’s A CHORUS LINE cast performance (Best Musical)

Whenever he was distressed about disturbing current events in the news, it was not uncommon for my late father to announce, “The world is going to hell in a handbasket!” If he could have been with me for the recent Tommy Tune Awards program in Houston’s Hobby Center for the Performing Arts, I’m sure he would have found cause for much greater enthusiasm about where this world is headed. That optimistic enthusiasm was immediately evident as one entered the buzzing excitement of the Sarofim Theatre and its soaring lobby for this much-anticipated annual event produced by Theatre Under the Stars. Celebrating the year’s finest high school musical productions from Houston and the surrounding area, the event showcased some 45 school’s that participated in this year’s competition. The many hundreds of multi-talented and beautifully dressed young people filling that theater looked like a pretty good future to me.

Tommy Tune

As tall, lanky and graceful as ever, the seemingly ageless Mr. Tune bounced on stage in a sensational crimson suit as he opened the proceedings with an elegant tap dance sampler of tunes like “Fascinating Rhythm,” “ ’S Wonderful,” and “I Got Rhythm.” (Boy, does he ever!) A Houston boy himself, he greeted the audience with, “Hi Y’all. I’m Home!” and then declared the evening’s event, “The biggest celebration of live theater on this planet.”

Next it was on to a night of explosive youthful energy and exceptional talent as the eight schools nominated for Best Musical each had an opportunity to do a show-stopping number from their nominated productions. The many other individual awards (detailed here) were presented in between each of these astonishing production numbers. First up, from Houston Christian High School, was an opulent scene from PIPPIN with its mystical circus, dramatic tableaus, flying hoops, fluttering feather boas, and Broadway-worthy Big-Top staging.

Alec Michael Ryan (Best Leading Actor) as Lawrence in Klein Oak High School’s Dirty Rotten Scoundrels performance with cast.

Next came the whirling grace of fine choreography in Klein Oak High School’s selection from DIRTY ROTTEN SCOUNDRELS. A very rockin’, “Sit Down, You’re Rockin’ the Boat,” from Pearland High School’s GUYS & DOLLS had a few moments of microphone failure, but featured a nice finish with the title tune from that show. From Second Baptist High School the audience was treated to a magical transformation with the ballroom scene from its lush CINDERELLA production, and there was more magic when

Audrey McKee (Best Leading Actress) as Mary Poppins in Friendswood High School’s Mary Poppins performance with cast.

Friendswood High School took the stage with the dazzling tap dance glory of its “Step in Time,” from MARY POPPINS. Those dancers looked like they could substitute for Radio City’s Rockettes!

Following the intermission, the eager young audience heard some kind words of encouragement from the 2010 Tommy Tune Award winner for Best Actress in a Leading Role, Stephanie Styles. Miss Styles is currently playing the lead role of Katherine in Disney’s first North American Tour of the Tony Award winning musical, NEWSIES. That show will arrive for Houston performances beginning on May 19^th. Other special appearances included Stanton Welch, Artistic director of the Houston Ballet (to present the Best Choreography Award), Tommy Tune Orchestra Conductor & Musical Director, Michael Moricz (to present the Best Musical Direction Award), and renowned actor and Houston native, Jim Parsons, (Big Bang Theory etc.) who addressed the crowd by video expressing great appreciation for the theatrical training he received here, and recalling the advice of one teacher who taught him that, “Someone else’s success is not your failure.”

As Act II got underway, Klein High School offered a “One Day More,” from LES MISERABLES School Edition that was full of gleaming power and thrilling vocal counterpoints. Next, Stratford High School presented the charming number, “Put on a Happy Face,” from its BYE BYE BIRDIE production. It produced happy faces throughout the theater. The final Best Musical nominee was The Kinkaid School with its performance of a golden and glowing, “One” from A CHORUS LINE. There could not have been a more thrilling and spectacular conclusion to the competition, and the school would be rewarded with the evening’s top prize of Best Musical. Speaking of spectacular, there were two heart-stopping moments. As young Harrison Poe scurried onto the stage to receive his award as Best Supporting Actor, he briefly tumbled into the orchestra pit, but was cheerfully unhurt during his smiling acceptance. Winner of the Best Leading Actor Award, Alec Michael Ryan, was so excited on receiving his crystal trophy that if slipped from his grasp and shattered on the floor. Here’s hoping the generous Mr. Tune will quickly arrange for a replacement.

Tommy Tune Scholarship Recipients with Bruce Lumpkin (TUTS Artistic Director), Tommy Tune and John Breckenridge (TUTS President and CEO).

Numerous scholarships were awarded and there was much more entertainment thanks to the creative brilliance of the aforementioned Mr. Moricz. In his role as Musical Director he composed both music and lyrics for three stunning and original musical highlights of the night. First there was a Best Leading Actor Medley featuring each of the nominees in that category. Next came the Best Leading Actress Medley, again featuring each of the ladies nominated. Finally, the show closed with the thrilling, Eyes on the Goal that brought all the evening’s nominees on stage for a grand finale. It was grand indeed! What the logistics must have been for hundreds of students from different schools all over the area to learn and rehearse these three complex production numbers can only be imagined. Bravo!

A nine-time Tony winner himself, Tommy Tune with be honored with a Lifetime Achievement Award this June at the Tony Awards in New York. Also in June, on Sunday the 21^st, Houston’s ABC-TV channel 13 (KTRK) will televise the Tommy Tune Awards with a 2-hour special at 12 noon.

CHICAGO lights up stage at Lone Star College-Montgomery
*Courtesy Photo*

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Tony Bennett & Lady Gaga
PHOTO: Courtesy of The Cynthia Woods Mitchell Pavilion

Last weekend approached with ominous Houston-area Friday morning thunderstorms that seemed a bad omen for the much-anticipated Friday night concert of Tony Bennett & Lady Gaga at the Cynthia Woods Mitchell Pavilion. Who could have guessed that by that evening the sky would clear while pleasant breezes and a crescent moon would greet the huge crowd looking forward to the pair’s now famous interpretations of the American Songbook? Yet another weekend surprise awaited me as I would discover a miraculous production of the classic musical, CHICAGO, presented by Lone Star College-Montgomery in The Woodlands. Both events were on such a high plane of excellence they have earned the right to be spoken of in the same breath with this critique.

Lady Gaga & Tony Bennett “Cheek to Cheek”
Photo: Courtesy of PBS

At the Pavilion I had wisely chosen a comfortable grass location at the front of the Great Lawn. It could not have been a more beautiful night to listen to beautiful music under the stars, and both Mr. Bennett and Miss Gaga were in fine voice for the occasion. It was hard to believe that 14 years had passed since I first reviewed Tony Bennett at the Pavilion in concert with k. d. lang during August of 2001, just one month before the tragic events of 9/11. That concert took place on Mr. Bennett’s 75^th birthday, which suggests the great star’s 89^th birthday will arrive later this year. For anyone attending this energized and sensational performance, that fact would seem all but impossible. The normal aging process seems to have mercifully passed him by, that great voice remains intact, and the pairing with youthful and talented Miss Gaga seems a perfect way to bring out the best of both performers.

The recorded voice of the late Frank Sinatra began the program describing Bennett as, “The greatest singer in the world today,” and these many years later Tony was ready to validate that claim as the night progressed. Then he introduced his co-star as, “The most popular singer in the world today: Lady Gaga.” The crowd cheered, and it wouldn’t be the last time.

Pavilion patrons arrived early to capture the few remaining seats.

The pair looked as elegant as they sounded with Tony in a crisp and cool white dinner jacket, and Gaga in an endless assortment of colorful wigs, glittering gowns, sparkling jewels, lots of feathers, and headdresses that would make Cher jealous. The pair would offer lush duets of, “Anything Goes,” “Cheek to Cheek,” “Let’s Face the Music and Dance,” “They All Laughed,” “Firefly,” “I Won’t Dance,” an enchanting, “Nature Boy,” and a delicate rendition of, “But Beautiful.” There was a cute, “The Lady is a Tramp,” with Gaga strutting about in the sexy style of Mae West.

Mr. Bennett’s winning solos included, “For Once in My Life,” “Sing You Sinners,” “The Good Life,” “When You’re Smiling,” “Stepping Out With My Baby,” “The Lady’s in Love,” “In My Solitude,” a Sinatra Centennial tribute (with “I’ve Got the World on a String,” and “In the Wee Small Hours”), and then, of course, Bennett’s signature song, “I Left My Heart in San Francisco.” The audience roared its approval.

Tony Bennett & Lady Gaga
Photo: Courtesy of PBS

For her very elegant part, Gaga’s solos included a seductive and Latin-flavored, “Bang! Bang!” a sensational, “Bewitched, Bothered and Bewildered,” “I Can’t Give You Anything But Love,” and a perhaps over-extended and exotic interpretation of, “Lush Life,” that sadly closed with the star sounding less like a Lady when she unexplainably dropped the “F-Bomb” on a night that had been otherwise free of coarse language on the Pavilion stage. Score that in the mistake column for an otherwise elegant evening.

Joey Sheaff and members of CHICAGO cast at Lone Star College-Montgomery

Meanwhile, in a mistake-free zone on the other side of The Woodlands, audiences were prepared for some saucy content as Lone Star College-Montgomery presented a thoroughly brilliant production of the John Kander/Fred Ebb musical classic, CHICAGO. The school’s Dance, Drama, and Music Departments had combined forces to produce what is arguably one of the top local productions I have ever seen during nearly twenty years as a performing arts critic in the Houston area.

CHICAGO Cast
Photo: Lone Star College-Montgomery

It was sensational on every level, and we can only hope director, Tim Campbell does not get whisked away to Broadway, because if this revival had opened there it would have been a surefire hit. My only regret is that it was performed one weekend only, but I am thankful my friend Dennis O’Connor at Stage Right Productions had alerted me that this was a “Don’t Miss” show. He was right about that.

CHICAGO Cast
Photo: Lone Star College-Montgomery

The staging was slick and classy (Scenic & Lighting designer, Rob Kreps) with a set of brightly illuminated risers across the stage that would be home for much of the action, as well as for the wonderful 13-piece onstage orchestra conducted by Cristina Mendoza. (Music Director, Dr. Mark Marotto). The jazzy and legendary choreography of the late, great, Bob Fosse is brought brilliantly to life by choreographer, Travis Prokop, and the very talented Student Dance Ensemble. I hope Mr. Fosse was smiling down from above at the creative perfection this cast brought to his marvelous dance designs.

Isabelle Yost & cast of CHICAGO
Photo: Lone Star College-Montgomery

Joey Sheaff & Christine Saenz in CHICAGO
Photo: Lone Star College-Montgomery

The delightful and satirical plot is based on the 1926 play of the same name by Maurine Dallas Watkins with its descriptions of the courtroom and prison corruption that often turned criminals of the era into tabloid celebrities. Velma Kelly (brilliantly played here by beautiful Isabelle Yost), and Roxie Hart (another brilliant portrayal by lovely Christine Saenz) are two accused murderers conniving their way to fame and fortune with the aid of shrewd and slick lawyer, Billy Flynn. (A devilishly satirical performance from handsome, Joey Sheaff).

Ana Ramirez-Morales & Isabelle Yost in CHICAGO
Photo: Lone Star College-Montgomery

Victor Suarez & Christine Saenz in CHICAGO
Photo: Lone Star College-Montgomery

Rounding out this really flawless cast we have Ana Ramirez-Morales as the deal-making prison matron, “Mama” Morton, Lauren Salazar as the always-optimistic reporter, Mary Sunshine, and Victor Suarez with a subtle and amusing performance as Roxie’s luckless and clueless husband, Amos Hart.

Lauren Salazar as Mary Sunshine in CHICAGO
Photo: Lone Star College-Montgomery

Mama Morton’s, “When You’re Good to Mama,” Mary Sunshine’s “There’s a Little Bit of Good,” and Amos’ “Mr. Cellophane,” are all stand-out numbers from these three vocally talented performers.

But let us return to our talented lead performers who never ceased to amaze. Arriving onstage looking like a young Shirley MacLaine, Miss Yost lights up the room immediately when she ignites the show while leading the cast in the exciting, “All That Jazz.” She is luminous!

Christine Saenz as Roxie in CHICAGO
Photo: Lone Star College-Montgomery

Her co-star, Miss Saenz, is every inch her equal and quickly demonstrates as much with a solid and sexy performance of the seductive, “Funny Honey.” Seductive is the operative word for the smooth, polished and super-cool look of the entire production. Adding tremendous fun to it all is the deliciously suave and cocky performance of Mr. Sheaff as the con-artist lawyer, Flynn. Rarely have I seen an actor have this much fun with a role. He was a comic delight, most especially during the spectacular, “Razzle Dazzle” number, and that was just one of the many show stoppers that included, “Cell Block Tango,” “All I Care About,” “We Both Reached for the Gun,” “Me and My Baby,” “When Thelma Takes the Stand,” and the haunting and melodic, “Nowadays.” All of this was accomplished with such a perfectly professional look and feel to the show, it was easy to forget being in a college theater. The superb performance of the orchestra, snazzy costumes of designer, Macy Perrone, perfect sound designs of Bryan Woodall, and the choreographic splendor of the dancing, all combined to seal the deal in making this production certainly one of the most memorable ever presented in the Houston area. Bravo!

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Anthony Crane as Harold Hill and Sara Jean Ford as Marian Paroo with cast. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

Like the seasons of the year, there are some things in life that just seem to keep returning with a certain regularity. Thankfully, Meredith Willson’s brilliant musical, The Music Man, is a case in point. It would be rare for a couple of years to go by without a production of the show popping up somewhere nearby, and for a current example we have the very wonderful edition now being presented at Houston’s Hobby Center. Splendidly directed by Bruce Lumpkin, it beautifully captures the small town warmth and humor of the piece, while beautifully wrapping it all in the countless delights of Willson’s rich and varied musical score. (Musical Director, Jeff Rizzo, quickly showed his skill conducting the lush and lovely Overture).

Anthony Crane as Harold Hill. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

The simple yet creative scenic designs of Martin Christoffel seem to outline this cheerful world, while the colorful costumes of Colleen Grady combine with the bright lighting designs of Richard Winkler to produce the warm and inviting hometown atmosphere of River City, Iowa in 1912. For many of us, it’s a place we would love to be, even if just for these two delightful hours.

The lighthearted plot, (familiar to many from the classic film starring Robert Preston in the title role), brings us the misadventures of traveling salesman and notorious con artist, Harold Hill, played here with high energy and comic flair, by J. Anthony Crane. Hill arrives in town by train during the highly unusual opening number, “Rock Island,” which neatly captures the locomotive tempo via a carload of singing traveling salesmen.

Anthony Crane as Harold Hill and Ensemble students from TUTS’ Humphreys School of Musical Theatre. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

One of their number, salesman Charlie Cowell, alerts the others to rumors of a notorious salesman calling himself Professor Harold Hill, and giving local salesmen a bad reputation with his unethical sales methods.

Peter Chursin as Tommy Djilas with Ensemble students from TUTS’ Humphreys School of Musical Theatre. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

Dink O’Neal brings bombastic fun to the role of Cowell. It is not long before Harold is circulating in River City to convince the townsfolk of their need for a boys marching band, with the ultimate goal of selling them band uniforms and instruments before skipping town himself without teaching anyone a single note of music. Complicating matters is Harold’s encounter with the town’s young music teacher and librarian, Marian Paroo (Played here by the lovely and silken-voiced, Sara Jane Ford). Mrs. Paroo, Marian’s feisty Irish mother, is eager to get her daughter married and is delightfully played by Mary Vanarsdel.

Sara Jean Ford as Marian Paroo, J. Anthony Crane as Harold Hill, Christopher Wolff as Winthrop Paroo and Mary VanArsdel as Mrs. Paroo. Photo by Bruce Bennett, courtesy of Theatre Under The Stars..

As Marian’s lisping little brother, Winthrop, Christopher Wolff brings a stunning, high soprano voice to the party that could etch the most delicate crystal with its powerful purity during numbers like the “Wells Fargo Wagon,” and “Gary, Indiana.”

Kristen Paulicelli as Zaneeta Shinn and Ensemble Ladies. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

The ensemble chorus that supports such showstoppers could not be better, and that was evident right from the tongue-in-cheek fun of the townspeople singing the opening song, “Iowa Stubborn.” Throughout the show the whirling and eye-popping choreography is beautifully executed in one number after another by this very talented cast. (Choreographer, Michelle Gaudette).

As he proceeds with his scam, Hill finds a compatriot in an old friend named Marcellus (Dylan Goodwin). They pair pleasantly for the reflective, “Sadder-But-Wiser Girl,” and Mr. Goodwin later lights up the stage with the lively and nutty Act II number, “Shipoopi.” Mr. Crane gives us a suitably devilish Harold Hill with the tune, “Trouble,” and explodes with energy leading the youngsters in the familiar, “Seventy-six Trombones.” But there is quite a vocal contrast when his very adequate voice is paired for duets with the soprano magnificence of Miss Ford. The bird-like purity of her voice brings dreamy excellence to, “My White Knight,” “Goodnight My Someone,” and the memorable, “’Till There Was You.” There is also a charming trio when Marian joins her young piano student, Amaryllis (Annie Shouse), and Mrs. Paroo as they sing, “The Piano Lesson.”

THE SCHOOL BOARD: Thom Culcasi as Ewart Dunlop, Charles Swan as Oliver Hix, Joseph Torello as Olin Britt and Phil Gold as Jacey Squires. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

The musical is full of delightful characters such as the four clashing gents on the local School Board. With Harold’s wily help, they find unity by forming a very mellow barber shop quartet that offers terrific renditions of “Goodnight Ladies,” and “Lida Rose.” That latter number was joined in such exquisite counterpoint with Marian’s, “Will I Ever Tell You?” that it must be considered a musical highlight of the production. And speaking of Marian, Professor Hill serenades her in the library with a somewhat whiny, “Marian the Librarian,” that is far from a musical highlight of the show, but evolves into some of the best choreography as the youngsters in the library come slowly to life from reading their books to looking like a lively dance scene from West Side Story.

Kevin Cooney as Mayor George Shinn and Chesley Ann Santoro as Eulalie Shinn with full cast. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

For comic relief we have the hilarity of the town’s blustering Mayor Shinn (Kevin Cooney), his nutty wife, Eulalie (Chesley Ann Santoro), and her band of Pickalittle Ladies preparing a very amateur theatrical for the town’s 4^th of July festivities.

Chesley Ann Santoro as Eulalie Shinn, Liz Curtin as Alma Hix, Sara Jean Ford as Marian Paroo Ensemble. Photo by Bruce Bennett, courtesy of Theatre Under The Stars.

Their gossiping song, “Pickalittle,” is a tongue twisting treasure. For youthful romance we have the Shinn’s teenage daughter, Zanetta (pretty Kristen Paulicelli) and her crush on handsome town rowdy, Tommy Djilas, played here by very talented dancer, Peter Chursin.

The fun never really stops, and Act II has been said to be even more delightful than Act I. But any way you slice it, this 1957 Tony Award winner for Best Musical, deserves its place as an American musical theatre classic. Don’t make the mistake of those who might think of it as a corny piece of Americana. It is so very much more!

THE MUSIC MAN continues through May 17^th at Houston’s Hobby Center main stage with performances on Thursday at 7:30 pm, Friday and Saturday evenings at 8pm, Saturday and Sunday matinees at 2pm, and a final performance next Sunday evening at 7:30 pm. For tickets visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

From time to time my occasional work as a performing arts critic in Texas causes me to miss some important event here  in New York. That was never truer than on last March 9^th when Marc Baron, the leader of America’ oldest theatrical club, The Lambs, hosted a memorable Shepherd’s Luncheon at the Club to honor the esteemed President of SAG-AFTRA, actor Ken Howard. But all was not lost when I learned that Mr. Howard’s important union would make available a full internet video of his fascinating remarks on that gala occasion. Thus, as a proud Lamb myself, I had the pleasure of enjoying the event from afar in The Lone Star State, and like any delighted critic, I feel I must weigh in.

KEN HOWARD (left) with MARC BARON
Photo: Jim Manley

The vast and impressive acting credentials of Mr. Howard are well known to span stage, screen and of course, television. What I, and the delighted crowd lucky enough to be present that Manhattan day at 3 West 51^st Street, were about to learn, was that Mr. Howard is one of the most delightful and articulate raconteurs imaginable. And it was all extemporaneous and sprinkled with delightful song bits associated with his long career in entertainment. Not since years ago when writer & producer, Norman Lear, addressed an American Theatre Critics Association meeting that I attended on the West Coast, have I ever heard a speaker who could so completely engage, amuse and fascinate an audience. Humor was central to his presentation, and he could probably have a great career as a stand-up comic, but as President of SAG-AFTRA, this tall, handsome and impressive man certainly “has more important fish to fry.”

He began his talk with a perfect re-telling of the popular old theatrical adage about how, “The Lambs Club is where actors try to be gentlemen, The Players Club is where gentlemen try to be actors, and the Friars Club is where neither try to be both.” Howard confessed he is at the half-century mark as “an actor trying to be a gentleman,” and the crowd roared with laughter. It wouldn’t be the last time. There was more merriment when Ken used his considerable singing voice to playfully mimic his father’s impressions of assorted singers. If you were not there that day, don’t miss Ken’s hilarious versions of Bing Crosby’s, “When the Blue of the Night,” Jimmy Durante’s “Inky Dinky Doo,” and the Ink Spots’ “We Three (My Echo, My Shadow, and Me)” complete with a falsetto that brought the house down.

Ken shared many fascinating tales of his career, even tracing high school performances in such shows as, Annie Get Your Gun, Carousel, & Oklahoma. In college he shared how he overcame his fear of doing dramatic plays when a friend explained that such productions were “just like musicals without the songs.” Armed with that knowledge, Ken would soon perform in, The Andersonville Trial, Long Day’s Journey into Night, and The Scottish Play, playing the lead in the latter. There were more great stories about working as a page at NBC, winning a fellowship to Yale, studying with such noted teachers as Stella Adler, and even amusing employment as a singing waiter. There would be more laughter for his tale of singing, “I Enjoy Being a Girl” when auditioning for How to Succeed in Business Without Really Trying. But Ken could just as quickly move past the silliness, as the audience could see when he suddenly launched into the flawless delivery of a perfectly memorized and very long passage from Shakespeare’s Julius Caesar.

Ken spoke affectionately of working on Broadway with Jill O’Hara when she was starring in Promises, Promises. Happily, Miss O’Hara was one of those present at the luncheon. Of course there were stories of Ken’s classic portrayal of Thomas Jefferson in the legendary Broadway musical (and film), 1776. Another Broadway adventure was Ken’s Tony Award-winning performance in Child’s Play, during a period that featured interesting encounters with the likes of Otto Preminger, Liza Minnelli, and of course, the notorious Broadway impresario, David Merrick.

Before the delightful afternoon ended, Shepherd Baron would present Mr. Howard with a special framed citation on behalf of The Lambs. It announced the designation of Ken Howard as an Honorary Lamb, and the guest of honor was clearly touched as he thanked The Lambs for this distinction. In closing his wonderful remarks, Howard offered tongue-in-cheek thanks for his career to the law schools that had rejected him. Reflecting on his years as an actor, and now President of SAG-AFTRA, he proudly stated, “I’m right for this job. I’m a real actor. This may be the most important thing I’ve done in my life.”

Editor’s Note: The video link mentioned can be found at:

https://www.sagaftra.org/sag-aftra-tv/14411  

The above story can also be found linked at the BroadwayStars website via:

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Cast Members of RTC’s GUYS & DOLLS
Photo: Courtesy of RTC

It doesn’t get much better than this for residents of the once Sandy-ravaged Rockaway Beach. The pleasantly warm summer weather and low humidity have the beach crowds flocking to newly restored areas of the previously destroyed beach and boardwalk; but better still, summer theatre treats await the area at the evermore popular Rockaway Theatre Company now performing Frank Loesser’s musical classic, GUYS & DOLLS, at the Post Theatre here in New York City’s Gateway National Recreation Area of the National Parks Service. With its book by Jo Swerling & Abe Burrows, this delightful production is skillfully directed by John Gilleece, and features melodic musical direction from Heather Arzberger & Richard Louis-Pierre. The bright energy of their terrific 10-piece orchestra keeps things beautifully rolling along right from the lovely Overture. After my attendance at last Friday night’s performance, I score this show as Highly Recommended.

I like to think I have a personal connection to Guys & Dolls because at the time composer, Frank Loesser, debuted the show on Broadway in 1950, his sister lived across the street from my boyhood home in the little Hudson Valley town of Peekskill, New York. Needless to say I never got any Broadway credit for that. But enough about me. This show is so much fun that through the years it has already had 5 Broadway revivals and a Carnegie Hall presentation in 2014. Let me assure you the fun continues in this RTC edition. As delightful as it is, it has one major drawback from a critic’s point of view: The cast is so enormous there is no practical way to acknowledge the countless talents on display without offending those I might miss. To compound that, the company has so many skilled performers, it was determined that many of the lead roles would have duplicate casting, thus providing a secondary cast for alternate evenings. After several successful weeks already, the word is out that both casts are splendid, so with apologies to the alternate performers I have not seen, let me give some broad outlines of the fun that awaits future audiences.

Matthew Smilardi as Nathan Detroit
Photo: Courtesy of RTC

The familiar plot centers on an amusing cast of gangsters, Bible-thumpers, gamblers and showgirls living on the fringes of the 1950’s Broadway scene. Veteran gambler, Nathan Detroit (Matthew Smilardi – alt: John Panepinto) is ignoring the wishes of his longtime fiancée, cute showgirl, Miss Adelaide (Caitlin Byrne – alt: Nicole Mangano). Nathan is angling to arrange a bigtime crap game in spite of Adelaide’s insistence that he quit gambling.

The Hot Box Girls
PHOTO: Courtesy of RTC

Miss Byrne is sensational as this adorable nightclub singer who is losing patience at being “engaged for fourteen years,” and having to make up stories in order for her mother to believe that she and Nathan are already married with children. Byrne’s terrific voice and flair for comedy would have carried this role on any stage, anywhere, and Broadway audiences wouldn’t have hesitated to declare her a star. Whether leading the talented Hot Box Girls in both “Bushel & a Peck,” and the uproarious, “Take Back Your Mink,” or joining in brilliant duet with smooth-voiced Smilardi for the savage, “Sue Me,” or better still, knocking the ball out of the park with the hilarious, “Adelaide’s Lament,” this gal has it all. Wow!

Paralleling the pairing of Nathan and Adelaide, we have romantic sparks flying between bigtime gambler, Sky Masterson (Daniel Velez – Alt. Michael Whalen), and the initially prim and sanctimonious leader of the Save-a-Soul Mission, Sr. Sarah Brown (Renee Steadman – Alt. Maria Edwards). Steadman has a glorious voice that shines in numbers like, “If I Were a Bell,” and in pleasing duets with vocally talented Mr. Velez for, “I’ll Know,” and the charming “I’ve Never Been in Love Before.” Don’t miss the pair’s whirlwind trip to Cuba where Bacardi rum and lively Latin dancing flow freely. And speaking of dancing, those showgirls in the Hot Box Nightclub scenes are sensational. I only wish I had some sharp color publicity photos to give justice to the beautiful costumes on the beautiful and talented women in this cast. (Costume designer, Kerry O’Connor with Susan Corning).

The Gamblers Roll the Dice in GUYS & DOLLS
Photo: Courtesy of RTC

And if you think gangsters can’t dance, think again before you see the talented guys in this cast do their stuff while gambling their way through numbers like, “Oldest Established,” and “Luck be a Lady.” (Choreographer, Nicola DePierro-Nellen).

The rowdy esprit de corps that permeates the wonderful ensemble efforts of this cast is highly visible in the interactions of these lovable gangsters. A standout in that regard is the

Chazmond Peacock in the role of Nicely-Nicely
Photo: Courtesy of RTC

brilliant performance of Chazmond Peacock in the role of Nicely-Nicely. His joyous delivery of the show’s Act Two blockbuster, “Sit Down, You’re Rockin’ the Boat,” was a Broadway-caliber performance. Yet another Act Two treat came from Cliff Hesse in the role of Sarah’s kindly grandfather, Arvide. His tender and sweetly sentimental delivery of the song, “More I Cannot Give You,” brought warm applause from the audience. Of course there are plenty of plot twists and turns as Sky attempts to gather a dozen sinners in an effort to help Sr. Sarah save the struggling mission. The action all plays out in beautifully staged Broadway scenes full of oddball characters drifting through Time Square. (Scenic Designers, Frank Caiati, Danielle Rose Fisher, and Mr. Hesse). The crisp sound designs of Mr. Louis-Pierre and eye-catching lighting designs of Andrew Woodbridge added to the luster of a polished performance that surely owes much of its success to the efforts of some seventy contributing individuals found in the printed program’s production credit listings. Therein lies a clue to why such a rich spirit of community pervades the atmosphere in this cozy local theater. Friends, family, and visitors blend into an audience that bubbles with enthusiasm not only during the show, but also during an intermission that allows a 50/50 Club chance to win big bucks, along with available refreshments, and even hot dogs sold on stage from the Broadway vendor featured in the show.

Complaints? Not really, but I will make a prediction. I bet before long a company with this depth of talent will soon have its own resident photographer to skillfully record the visual history of the great work they are doing on the stage. Try to capture one of the few remaining tickets. You won’t be sorry.

GUYS & DOLLS continues this week with performances on July 16, 17 & 18 at 8pm, and closes on Sunday July 19^th with a 2pm matinee. Visit the website at www.rockawaytheatrecompany.org. For information or reservations call 718-374-6400 or email: rockawaytheatre@verizon.net

Jamison Stern as Zaza in Goodspeed Musicals’ LA CAGE AUX FOLLES
PHOTO: Diane Sobolewski

[Click any photo to enlarge]

There are rare times in the world of the theatre that all the elements just seem to come together perfectly. The current Goodspeed Opera House production of La Cage Aux Folles is one of those times, and I think I have discovered that perhaps you really can, “…go home again.” Tucked away and off the beaten path in the little town of East Hadddam, Connecticut, it was in 2012 that I first had the pleasure of discovering this great theatre. Actress, Sheila Smith, and the great Broadway orchestrator, conductor (and one of my fellow members of The Lambs Club), Don Pippin, were collaborating there on a special Goodspeed event in connection with its production of MAME. [See earlier review at: http://thepeoplescritic.com/2012/06/15/i-have-a-little-secret-id-like-to-impart/ ] That was a wonderful first experience of Goodspeed for me, and this La Cage was a wonderful welcome home. Based on the play by Jean Poiret, this musical edition features the very witty book of Harvey Fierstein and the delightful music & lyrics of Jerry Herman, — clearly a winning combination.

Jamison Stern (left) and James Lloyd Reynolds
PHOTO: Diane Sobolewski

Winner of six 1984 Tony Awards (including Best Musical, Best Original Score and Best Book), the production works beautifully on many levels, but Director, Rob Ruggiero, and Musical Director, Michael O’Flaherty, never lose sight of the two primary elements that comprise a musical comedy. And I might add, that as lush and lovely as this musical score becomes in the hands of the show’s talented vocalists and musicians, the comedy is king here with the uproarious performances from this cast. In this special circumstance, perhaps I could even risk saying the comedy is queen, because the nutty plot surrounds a gay couple that runs a very gay “drag” nightclub in Saint-Tropez called La Cage Aux Folles (with the French slang roughly translating as a “cage for very effeminate gays”). With a seemingly endless supply of handsome tuxedoes, and looking as dashing as Douglas Fairbanks, Georges (James Lloyd Reynolds) is the elegant and impeccable emcee and manager of the club. His very flamboyant lover, Albin, is portrayed here by the multi-talented Jamison Stern. While there are a few touching moments when this fine actor could break your heart, the essence of his zany performance is the epitome of comic mastery.

Cedric Leiba Jr. as Jacob (right) with James Lloyd Reynolds as Georges

He has the audience howling with laughter throughout the show as Albin portrays the even more flamboyant character of Zaza in the nightclub act. But he is not alone, especially when it comes to the hilarious character of Jacob (Cedric Leiba Jr.), Albin’s ultra-gay assistant and butler, (who much prefers to be referred to as his maid). Leiba is a comedy genius in this deliciously comic role, and plays it to the hilt.

Georges and Albin live in a garish apartment above the nightclub with no shortage of bawdy statuary and gay pink accents, right down to the eye-catching and silver-trimmed divan that highlights the room.

Conor Ryan as Jean-Michel (left) with James Lloyd Reynolds
PHOTO: Diane Sobolewski

They have been lovers for years, though a one-night stand years before resulted in Georges becoming the father of his now grown son, Jean-Michel (Conor Ryan). Georges and Albin have affectionately raised the boy as their own, with Albin very much playing the maternal role. Things begin to get complicated when Jean-Michel arrives for a visit bearing the news that he is planning to marry Anne Dindon (the beautiful Kristen Martin). He wants to bring the parents of the bride-to-be, M. & Mme. Dindon, (droll performances from Mark Zimmerman & Stacey Scotte) to meet his own parents. But alas, Jean-Michel’s mother, Sybil, has been estranged for years, and Georges has no desire to reconnect with her. Worse still, it turns out that Anne’s father is the leader of the French TFM Party (Tradition, Family & Morality) which has at its core an intolerance of homosexuals. In addition to asking that Sybil be invited, Jean-Michel wants the apartment redone in more traditional style, and worst of all, does not want the very effeminate Albin to be present at all during the visit of Anne and her parents.

Les Cagelles perform “We Are What We Are”
PHOTO: Diane Sobolewski

The glue that blends all these confusions into this delicious piece of theatre is the aforementioned music and comedy.

Cast of La Cage aux Folles
PHOTO: Diane Sobolewski

Right out of the starting gate we have the joyful nightclub number, “We Are What We Are,” performed by the club’s glamorous drag queens, Les Cagelles, and they shortly evolve into a dazzling troupe of tap-dancing sailors that could have easily formed a grand finale rather than an opening number (Choreographer, Ralph Perkins). Colorful feather boas and glittering costumes abound in various show-stopping numbers (Costume Designer, Michael McDonald), while the attractive scenic designs of Michael Schweikardt nicely frame the action.

Jamison Stern as Zaza with Les Cagelles
PHOTO: Diane Sobolewski

While applying his make-up for the show, Albin’s delicious excesses highlight the way he handles life’s challenges as Mr. Stern displays his resounding voice in the song, “A Little More Mascara.” Finally onstage in a glistening white gown, sparkling jeweled necklace and ermine-white feather boa, Zaza cheerfully announces that “No ostriches were harmed during the making of this costume.”

Meanwhile, the beaming and very handsome Mr. Conor brightens the production with winning charm and personality as he brings his richly resonant voice to the melodically wonderful, “With Anne on My Arm.” That tune is sweetly reprised when Georges and Albin duet for, “With You on My Arm,” and the poignant “Song of the Sand” that follows is a touching reflection of lost youth that is tenderly performed by Mr. Reynolds.

The Cast of Goodspeed Musicals’ LA CAGE AUX FOLLES
Photo: Diane Sobolewski

Toward the end of Act One, Albin and the Cagelles offer a knockout number that even features the gymnastics of a very athletic Can-Can.

Jamison Stern with Les Cagelles
PHOTO: Diane Sobolewski

Mr. Stern rules the stage and captivates the audience with spontaneous banter, hilarious saucy wisecracks, and fine singing that might occasionally remind one of Bette Midler, Madeline Kahn, or even French chanteuse, Édith Piaf. And capping it all is the one-on-one intimacy of Albin’s heart-wrenching appeal for understanding with the electrifying, “I Am What I Am.”

The cast of Goodspeed Musicals LA CAGE AUX FOLLES
Photo: Diane Sobolewski

As plot lines converge toward the inevitable happy outcomes in Act Two, songs like the tender “Look Over There,” continue musical excellence, and the hilarity reaches epic levels surrounding the meeting of the bridal couple’s parents. I dare not give away the fun filled details, but I must tell you that the comic timing, antics and body language of both Mr. Stern and Mr. Leiba continue in classic fashion, with able support from the fine supporting cast and talented Ensemble. For lovers of musical theatre with the prospect of seeing this production, it really seems safe to cite the title of one of the show’s biggest hits, “The Best of Times is Now!”

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LA CAGE AUX FOLLES continues through September 10^th at the Goodspeed Opera House in East Haddam, Conn. Please visit www.goodspeed.org for details and availability.

[Click any photo to enlarge ]

Cast of “Bye Bye Birdie”
PHOTO: Brad Meyer

As I put pen to paper for this review, I am reminded of that wise old expression: “Better late than never.” As a critic, I have never been fond of reviewing shows on opening nights as I feel it is best to let cast and crew work out the kinks and get their feet on the ground in front of an audience before I enter the picture. Thus, I often attend productions on the second night of performances before preparing my remarks for devoted readers of The People’s Critic. My recent out-of-town travels made that option impossible for the Owen Theatre’s August opening of The Players’ Theatre Company production of a fun-filled, BYE BYE BIRDIE. While Opening Night had not been a possibility for me, I’m very glad the theatre invited me to attend the gala closing night last Saturday.

On entering the attractive lobby, there was an immediate buzz of excitement generated by a long receiving line of handsome and smartly uniformed Aggie cadets from Texas A&M University. They greeted arriving guests with wide smiles while handing out the show programs. (I never mentioned they were shaking hands with this U.T. Longhorn, Class of ’66. Why start trouble?) Before the show began, these eager lads were called to the front to be introduced by Owen president, Mark Wilson, and the show’s talented director, Mary Yost. They explained that this fine contingent is called into service for the closing night of each of the Owen’s productions, serving as volunteers to break down the set when the curtain falls. Gig’em Boys!

With its book by Michael Stewart, music by Charles Strouse and lyrics by Lee Adams, the 1961 Tony Award-winning original Broadway production of BYE BYE BIRDIE would spawn countless revivals, tours, and of course, the ever-popular 1963 film version. Most recently I had the opportunity to see the 2009 Broadway revival in New York. With its enormous and energetic cast of 44 local thespians, this current Conroe edition at the Owen was smoothly directed by Ms. Yost. Dave Englert beautifully conducted the terrific 17-piece Virtuous Pit Band from its unusual location to the rear of the audience. Credit the fine cast singing to Vocal Director, Joshua Yost, and the bright costumes to designer, Marieda Kilgore. The cheerful plot is set in the Presley rock-n-roll era of the 1950’s and gently spoofs the fan pandemonium that ensued when Presley was drafted into the army. In this story we have vocally talented Jared Barnes portraying about-to-be-drafted rock star, Conrad Birdie.

Amy Barnes as Rose and Ben Miller as Albert
PHOTO: Brad Meyer

Conrad’s agent, songwriter Albert Peterson (Ben Miller), is panicking at the thought of losing his prime client, but Albert’s secretary and amorous girlfriend, Rosie (dance sensation, Amy Barnes) suggests a publicity stunt send-off for Conrad featuring a new song by Albert titled “One Last Kiss.” The plan is to have Birdie sing the song on the Ed Sullivan show before planting a kiss on one randomly chosen Birdie Fan Club member.

Jared Barnes as Conrad with devoted fans and starry-eyed Kim (Sachi Tanaka)
PHOTO: Brad Meyer

Pretty Sachi Tanaka plays the lucky teenaged winner, Kim MacAfee, a teen who lives in Sweet Apple, Ohio. Kim is on the mature side of adolescence as Miss Tanaka sweetly sings the coming of age song, “How Lovely to be a Woman.” Kim’s parents, Doris and Harry (amusingly played here by Julia Reece and Michael Hayes) have initial misgivings about their daughter being involved in this Conrad Birdie campaign, but they change their tune when confronted with the possible celebrity of the family appearing on the Ed Sullivan Show along with Kim’s little brother, Randolph (Hayden Olds), to sing the hilariously reverent, “Hymn For a Sunday Evening.” Doris and Harry bring more fun to Act II when they sing the comical, “Kids,” reflecting on all the problems parents have in dealing with teens. Mr. Hayes gives us a Harry that is deliciously droll.

Mother Mae (Martha Davis) eyeing Rose and Albert suspiciously
PHOTO: Brad Meyer

Adding to the comedy is the character of Albert’s possessive and overbearing mother, Mae (Martha Davis), who specializes in insulting Rosie in hopes of frustrating her romantic intentions with Albert. Miss Davis gives us a Mae who is a real drama queen and wants her son all to herself. Rosie just wants to settle down with Albert and sings longingly of his becoming “An English Teacher.”

Utilizing the fine set design of Roger Ormiston, the lively and colorful cubicle staging of the Telephone Hour song has the town’s teens gossiping on the phone about the exciting news that Kim is going steady with young Hugo Peabody (Eric Phillips). The complicated number, full of challenging counterpoints, was beautifully executed by this large cast of talented young performers. I wish I could name them all. Lovely songs seem to follow one after the other. With his powerful voice and hip-swiveling gyrations, Mr. Barnes gives us fun-filled and over-the-top performances of “Honestly Sincerely,” and “One Last Kiss,” while his teen admirers squeal with delight. One of the finest voices in this cast is Mr. Miller as Albert. Performing tunes such as, “Put on a Happy Face,” and “Rosie,” his smooth, mellow vocals might call to mind the Hollywood likes of crooner, Dick Haymes.

Amy Barnes cuts loose as Rosie
PHOTO: Brad Meyer

And speaking of Rosie, Miss Barnes stands out in this cast for her exciting and seductive delivery of the athletic and acrobatic choreography of designer, Melody Johnson, during the dazzling and uproarious, “Shriner’s Ballet.” Like the show itself, it was great fun!

Up next at the Owen Theatre will be Ken Ludwig’s comedy, MOON OVER BUFFALO, playing from October 16^th through November 1^st. For tickets, show dates and information call 936-539-4090 or visit the website at www.owentheatre.com.