“CLEAR DAY” A CLEAR WINNER!

Posted on January 18, 2012 by

Harry Connick Jr. & Jessie Mueller (PHOTO: Palma Kolansky)

I came late to the party, having just seen Harry Connick Jr. in On A Clear Day You Can See Forever this past weekend. But after reading a recent rather harsh New York column regarding that show from a certain fellow critic of my previous acquaintance (met him during an American Theatre Critics convocation in Florida), I feel compelled to add my two-cents. In fairness I should mention that when a theatre critic has the pre-matinee opportunity to soak up the sunshine and special energy of the cheerful throng in New York’s Times Square on a January Saturday afternoon with the unheard of winter temperature of sixty-two degrees, it is bound to put that critic in a good mood. An hour later, when the St. James Theatre’s checkered curtain/panel rose on the oft-criticized show, my own good mood was only enhanced by this colorful and clever revival of the 1965 original from Burton Lane (music) & Alan J. Lerner (lyrics). That production, with its book also written by Mr. Lerner, lasted only 300 performances.

Harry Connick Jr. (Photo: Palma Kolansky)

But the show now sports a new Peter Parnell book that, while based on the original, brings an interesting contemporary twist to the plot. Combined with optically eye-popping staging, a fine cast headed by handsome pop crooner, Connick, and crisp direction from the show’s re-conceiver, Michael Mayer, we have a clear winner from On A Clear Day.

The solid overture (Music Director/Conductor, Lawrence Yurman) focused on the several more familiar themes in a show with many less familiar tunes.

Jessie Mueller & Harry Connick Jr. PHOTO: Paul Kolnik

The hypnotic atmosphere that is central to the plot is quickly established with the scenic designs of Christine Jones and lighting designs of Kevin Adams, that seem to combine throughout the performance to create a kind of grand and ever-changing optical illusion of whirling color. The concept seemed a bit off-beat at first, but soon became the perfect accompaniment to this tale of psychiatrist, Dr. Mark Bruckner, (Connick) and the young florist, David (David Turner), who seeks the doctor’s help (through hypnosis) in an effort to quit smoking so he can move in with his gay lover, Warren (Drew Gehling). We audience members are quickly drawn into the plot from the first moment as Dr. Bruckner steps forward to address us as the professional psychiatric convocation to which the doctor is explaining the extraordinary medical case of young David. As the doctor’s tale unfolds we learn the love of his own life has passed away some years before as Connick offers a tender rendering of the lovely, “She Isn’t You.” It was warm, embracing, Connick-at-his-best, and cast a Sinatra-like spell over the audience.

As the doctor’s lecture continues, we first meet the young florist tending his flowers in the shop and Turner opens with a vocally sweet, “Hurry! It’s Lovely Up Here.”

David Turner (PHOTO: Paul Kolnik)

Turner’s lighthearted portrayal gives us an earnest, yet innocent character to root for. When David’s friend, Muriel (cutely played by Sarah Stiles), first introduces the chain smoker to the doctor, the young man quickly proves to be a first-rate candidate for hypnosis. While under the doctor’s spell, David enters a past life regression revealing he was once a girl singer named Melinda during the big band era of the ’40’s. Perhaps it was at that point that some critics lost their way to enthusiasm for this production. The plot does require a willingness to suspend disbelief, but once that barrier is crossed, an intriguing adventure in reincarnation awaits. During each amusing hypnotic session with the doctor, David fades from view and the lovely Melinda (Jessie Mueller) emerges to take his place as the lad describes his past life as a chanteuse. Far-fetched? You bet! But it works — if you let it. The lovely Mueller is not only easy on the eyes, but sings beautifully as well. And speaking of eyes, her elegantly jazzy delivery of “Open Your Eyes,” was absolutely thrilling. The musical fun continues when we meet David’s gang of pals who, along with Muriel, make up the show’s cheerful ensemble for numbers like the merry, “Wait ’Till We’re Sixty-Five,” the rousing, “On the S.S. Bernard Cohn,” and the second act’s, “When I’m Being Born Again.” Granted, the choreography for such numbers (designer, JoAnn M. Hunter), while cute, is nothing to write home about. But lightweight choreography works quite well when Mueller’s silken-voiced, “You’re All the World to Me” evolves into an amusing trio-dance as she joins David and the doctor in a kind of ménage à trois ballet reflecting Bruckner’s growing infatuation with this singing phantom from the past. That infatuation becomes central to the plot as David begins to misinterpret the doctor’s affections for the elusive Melinda as being advances toward him.

Music continues to rule the day with Connick’s relaxed styling for, “Who Is There Among Us Who Knows?” In the role of Warren, the handsome Mr. Gehling serenades David

L-R David Turner & Drew Gehling PHOTO: Paul Kolnik

dreamily with the romantic, “Love With All the Trimmings,” a number he will give a soaring reprise in Act Two.

Kerry O'Malley as Dr. Sharone Stein (PHOTO: Paul Kolnik)

Meanwhile, Bruckner’s colleague, Dr. Sharone Stein (Kerry O’Malley) has eyes for the doctor herself, as becomes abundantly clear when O’Malley brilliantly anchors the ensemble reprise of “Open Your Eyes.” As for Miss Mueller, her warm and gentle song, “Melinda,” was the perfect accompaniment to her own glamorous and ghostly apparition at the close of Act One.

In Act Two, David’s continued hypno-therapy reveals Melinda’s big band debut as a 1940’s songbird. There is a nicely staged nightclub scene featuring fine backup singers in colorful costumes and hats of the period (Designer, Catherine Zuber).

Jessie Mueller as Melinda Wells PHOTO: Paul Kolnik

Melinda’s big number is a lively, “Every Night at Seven.” The entranced doctor then imagines stepping into her bygone world, as Connick joins her in singing the lushly romantic classic, “Too Late Now.” The song seemed to symbolize the frustrated romantic longings that are perhaps an all-too-common part of the human experience. Another dramatic highlight of the second act is the near-operatic quartet of, “(S)he Wasn’t You,” from Connick, O’Malley, Gehling and Turner. It was a showcase for four fine voices. Another vocally powerful moment comes when David discovers that Mark’s flirtations have really been with the Melinda of his subconscious and not with him. He lashes out with the stunning, “What Did I Have That I Don’t Have?” Stunning as well was the smooth, polished crooning of Mr. Connick’s, “Come Back to Me.” Gehling joins him in that song as Warren and Mark mutually pine for loves they fear they have lost.

There is a dramatic and almost Casablanca-like dimension to the final scenes and lovely finale, the details of which are best left to the discovery of future audiences. I hope there will be many. Meanwhile I am reminded of a discussion about reincarnation that I had years ago with colleagues debating its existence. “Absolutely!” declared my friend Arlene. “You have to keep coming back until you get it right!” One thing must be certain. Harry Connick Jr. will not have to come back. He really got it right this time around.

ON A CLEAR DAY YOU CAN SEE FOREVER continues through January 29th at the St. James Theatre, 246 W. 44th Street, NYC. For tickets visit Telecharge.com, call (212) 239-6200 or Outside the Tri-State area call (800) 432-7250. Discounts available for groups of 15 or more and Premium Tickets are also available.

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An Elegant Eliza Anchors Masquerade’s MY FAIR LADY

Posted on December 21, 2011 by

HERE_Houston_12-14-2011

Many decades have passed since I had the pleasure of playing Henry Higgins in our high school production of George Bernard Shaw’s classic comedy, Pygmalion. I could not have guessed then that I would one day be honored with membership in The Lambs Club. It was there, many years earlier, that two gentlemen named Alan Jay Lerner and Frederick Loewe had honed their skills as composers before producing the legendary Broadway musical, My Fair Lady, which was based on Shaw’s play. I had only once before had the opportunity to review that musical, but the Masquerade Theatre finally gave me another chance with its sparkling recent revival in the Zilkha Hall of the Houston Hobby Center theater complex.

The familiar plot centers around a poor cockney flower girl in London by the name of Eliza Doolittle. The girl is taken into the home of the pompous Professor Henry Higgins (Luther Chakurian), a phonetics scholar who believes he can pass her off as a proper lady by simply teaching her how to speak in the proper fashion of the upper class. Director, Phillip Duggins, had chosen his Eliza well with the selection of Kristina Sullivan. In many ways Sullivan was central to the success of the production, most especially by virtue of her superb voice for classic songs like the whimsical, “Wouldn’t It Be Loverly,” the proud and haughty, “Just You Wait,” the sharp-edged, “Without You,” and her memorable performance of a sublime, “I Could Have Danced All Night.”

Meanwhile, Higgins has support from his friend Colonel Pickering (Adam W. Delka) in the effort to transform Eliza into a member of the aristocracy. Much of the action takes place in Higgins’ library, and the scenic design of Amanda McBee was quite handsome. As Eliza makes a long-sought breakthrough in correct enunciation, the two gents joyfully join her in celebrating the success with a cheerful trio of, “The Rain In Spain.” Chakurian and Delka do well as these two partners trying to transform Eliza, though Mr. Delka did a bit too much unnecessary shuffling about, in an apparent effort to age his character. Chakurian does well overall as the eccentric Higgins, but he sometimes raced through Shaw’s wittiest lines too quickly to be clearly heard. Nevertheless his fine voice and pacing were clearly on display as he sang, “I’m An Ordinary Man.”

Cast of MY FAIR LADY Photo: MORRIS MALAKOFF

Adding to the best of the production were the fine support vocals of the energetic ensemble of household servants in aforementioned numbers like, “Just You Wait,” and “Wouldn’t It Be Loverly.” (The latter was beautifully reprised in Act Two with Eliza smoothly joined by the Cockney men’s chorus). The show’s choreography (designers, Laura Babbitt & Michelle Macicek) was somewhat lackluster and uneven, with a good deal of stomping around in numbers that seemed to be crowded into a strangely small area toward the front of the stage. Much more successful was the wonderful Ascot Race scene when Higgins attempts to present Eliza to polite society. With a hilarious performance from Miss Sullivan, it was beautifully staged with perfect snobbery for the aloof upper class attending the race, and deliciously extravagant black & white costumes and hats from designer, Libby Evans. That number was a knockout enhanced by bright lighting from designer, David Gipson.

While on the subject of lighting allow me to backtrack a bit and quarrel with the show’s dimly lit opening scene where the participants first meet among the crowd in front of the opera house. The scene seemed somehow unfocused as it was suddenly thrust at the audience without the anticipated delights of the show’s wonderful Overture ever being performed by the modest 6-member orchestra. (Musical Director, Michael J. Ross, Conductor, Dominique Røyem). This did not put the show on a solid footing at the outset. Other puzzles included the apparent omission of the pivotal scene in which Eliza is presented to a queen at the grand ball and scrutinized by a suspicious Hungarian phonetician. (While we never see the ball, her sparkling ball gown was a pip!) Perhaps Masquerade’s edition had been heavily edited due to the play’s considerable length, which could at times seem overlong and tedious when not rescued by the lush musical score.

In the role of Eliza’s trash-collector father, Alfred Doolittle, Dominic Abney was amusing at times, but Abney seemed too intent on manufacturing a gruff and gravely voice for Eliza’s conniving alcholic father. Some of his best lines flew by too quickly to be appreciated, but rousing songs like, “With a Little Bit of Luck,” and “I’m Getting Married in the Morning,” are always fun to hear, even if choppy choreography does not rise to the occasion. And speaking of fun, I cannot fail to mention the scene where Eliza tells the hilarious tale of her aunt who died of influenza. Sullivan’s flair for comedy is exceeded only by her silken voice.

Another silken voice was that of young newcomer to Masquerade, Cole Ryden. In the role of Eliza’s eager suitor, Freddy Eynsford Hill, his very natural and glowing delivery of the lovely song, “On the Street Where You Live,” lit up the room and was an exceptional moment in the show. If I know anything about star quality, this beaming lad and his soaring voice should be an important addition to  future productions of the Masquerade family.

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Plenty of Surprises Accompany TUTS “White Christmas”

Posted on December 12, 2011 by

White Christmas Cast (PHOTO: Bruce Bennett- Courtesy Theatre Under the Stars)

It was a Friday evening that would begin with the unexpected at Houston’s Hobby Center for the opening weekend of this season’s staged edition of Irving Berlin’s classic, White Christmas. First, arriving audience members would be pleasantly serenaded with holiday favorites from a wonderful choir in the grand lobby of the theatre. Once inside, another less pleasant surprise would present itself just as the curtain was about to go up. Somewhere in an upper balcony a loud cry of, “We need help up here!” suddenly shocked the room. Then came louder cries of, “Can someone call an ambulance?” and “Is there a doctor in the house?” There must have been several seated near us in the orchestra section as numerous individuals jumped up and quickly headed out in search of balcony access to help with the emergency. There were house apologies from the stage for the disturbing delay, but the audience remained seated and calm until about twenty minutes later when it was announced the show would begin.

What could be more calming than Berlin’s soothing Overture to this musical that is so well-known to lovers of the memorable White Christmas film on which the show is based. And calming it was, in the capable hands of Music Director/Conductor, Jeff Rizzo, and his fine orchestra. Then, just as in the film, the show opens on a World War II battlefield.

Matt Loehr (left) and John Scherer (PHOTO: Bruce Bennett)

There, two soldiers named Bob Wallace (John Scherer), and Phil Davis (Matt Loehr), had help from a hilarious one-man band on their makeshift stage as they led a bit of merry entertainment for their fellow troops of the 151st Division, with distant bombs exploding all the while on that Christmas Eve in 1944. It is only a hunch, but some of the songs and dialogue that followed seemed a bit rushed as though a directorial decision (Bruce Lumpkin) might possibly have been made in order to make up the missing twenty minutes of the earlier delay. That first seemed a possibility during the opening scene as Scherer sang the poignant title tune at a rather brisk pace considering the song was really a serious and reflective moment for the lonely and homesick soldiers in the film. But upon reflection I have decided it is unwise to compare the perfection of the film to the earnest efforts of these eager performers in their quest to capture the essence of the great music and pleasant story for the seasonal enjoyment of holiday audiences. Both concepts have their place, and I can assure readers that before this month of December ends I will be enjoying visits with my family in New York and continuing a long annual tradition of viewing the classic film version.

The plot of the show (book by David Ives & Paul Blake) has been adjusted here and there for the stage, while some Berlin tunes have been added and others omitted. But the story line still centers on the soldier’s wartime commander, General Waverly (Kevin Cooney), who has been reluctantly retired from the army and subsequently moved on to running his own Vermont country inn. That inn has a lovely cutaway scenic design from Anna Louizos, with tasteful interior and shadowy, candle lit, exterior lighting by designer, Richard Winkler. There are also sharp, split-scene sets for both backstage dressing rooms and a pairing of Ed Sullivan’s offices with the switchboard at the inn.

Carol Swarbrick (PHOTO: Christian Brown)

The general has a bit of help with his new innkeeper chores from his feisty assistant, Martha (Carol Swarbrick), and sweet granddaughter, Susan (Erin Cearlock).

Eight year-old Miss Cearlock, by the way, is another one of the surprises in the show.

Erin Cearlock (PHOTO: Christian Brown - Courtesy of TUTS)

With stage presence and perfect enunciation well beyond her years, she has vocal talent to match when she belts out a show-stopping version of, “Let Me Sing and I’m Happy.” And speaking of “belters,” Miss Swarbrick has Mermanesque power when she rockets off her own version of that same song to strong approval from the audience.

Meanwhile the post-war talents of Wallace & Davis have landed them on the Ed Sullivan show for a knock-out rendition of “Let Yourself Go,” that explodes with polka dot dresses, lime-green suits, (costumes by Carrie Robbins), and great choreography from designer, Mary Jane Houdina, who (I am proud to say), is a fellow member of The Lambs Club in New York.

The chorus line in White Christmas (PHOTO: Bruce Bennett courtesy of TUTS)

Matt Loehr & Danette Holden (PHOTO: Bruce Bennett)

Of course a dual love story emerges as Bob and Phil meet the sister act of Betty (Michelle Dejean) and Judy (Danette Holden), and they all end up in Vermont to do a big show for the old army pals in an effort to save the general’s struggling inn.

Danette Holden (Left) & Michelle DeJean (PHOTO: Bruce Bennett - Courtesy TUTS)

Of course the well-known song, “Sisters,” is performed, first by the gals (with a brassy coyness that could have been toned down), and later by the guys (in a drag-gag that lacked the clear motivation in the film).

Matt Loehr & John Scherer (PHOTO: Christian Brown - Courtesy of TUTS)

As those romances develop, there was the inclusion of a deservedly remote Berlin tune titled, “Love & the Weather,” with a duet from Betty and Bob. That song, in my opinion, could have been left on the cutting room floor. The popular song, “Snow,” seemed to lose some of its simple charms by being overproduced here with another speedy tempo and a large cast of passengers singing too loudly on a train. The touching song, “What Do You Do With a General?” appeared to miss the sweet sentimentality to which it is entitled. Much more pleasing was the tender duet of “Count Your Blessings,” from Bob and Betty. As for the lovely song, “Blue Skies,” it seemed out of place somehow being inserted here just as Bob has experienced rejection by Betty. The dancers did not even wear tap shoes, and in my opinion that number should have been cut as well.

Act Two made up for those missing taps with the dazzling and sensational, “I Love a Piano,” with the full ensemble tapping their brains out and winning cheers from the crowd.

White Christmas cast - "I Love a Piano" Photo: Bruce Bennett courtesy of TUTS

Longtime Houston theatre veteran, Jay Tribble, got into the act as well, while performing a few spry steps in his role as a cantankerous old stagehand. Another Act Two treat was the adorable trio from Martha, Betty and Judy of, “Falling Out of Love,” a song of which I was previously unaware. This very cute number seemed like a lost Berlin treasure and was very well performed. And speaking of cute, there is a running gag in the show with backstage floosies named Rita (Elise Kinnon), and Rhoda (Jessie Wildman), two party girls with extreme Brooklyn accents, and boy do they keep the laughs coming.

Michelle DeJean (PHOTO: Christian Brown)

Of course all ends well as Bob and Betty reconcile after her elegant Regency Room performance of “Love, You Didn’t Do Right By Me,” is supplemented by the longing of his vocal counterpoint with, “How Deep is the Ocean.” Back at the inn the show must go on and it does so in glamorous finalestyle. Oh, those gorgeous Christmas-red costumes and that solid ensemble reprise of “White Christmas!” But there was still more with a magical storm that filled the entire theatre with falling snow that anointed both cast and audience with the joy of the season. Why not go see for yourself?

WHITE CHRISTMAS continues through December 18th at Houston’s Hobby Center main stage with performances on Tuesday, Wednesday, Thursday and Sunday, at 7:30 p.m., on Friday & Saturday at 8 p.m., and on both Saturday & Sunday afternoons with 2p.m. matinees. For tickets (starting at just $24) visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston). For a preview peek readers may want to visit You Tube at the link below: http://www.youtube.com/watch?v=xIaRNx3U5U0

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A CHRISTMAS STORY Worth Re-Telling

Posted on December 10, 2011 by

The Gang's All Here- (L-R) Ethan Hackney, Peter Mc Poland, Josh Beck, Lauren Ferro, Megan Jones, Raleigh Erwin, Trace Blackketter and Michael Wong COURTESY PHOTO

There is Christmas joy aplenty in the current run of the Stage Right Players’ production of the Philip Grecian adaptation of Jean Shepherd’s charming, “A Christmas Story.” Many will recall that sweet film which is now an annual holiday television tradition, and deservedly so. In the very capable hands of director, Jim Bingham, this Crighton Theatre stage adaptation holds true to the original concept of the innocent, though somewhat bumbling, Parker family in 1938 Indiana. With its cutaway house interior showing upstairs bedroom, kitchen, living room and backyard, the cleverly designed set (Katt Gilcrease) allows all the action to play out in this single format without the clumsy set changes that sometimes slow the pace of other productions. This literally set the stage for much of the success that followed.

The Parker Family- Ralph (Joe Witcraft at rear), with (L-R) Patrice Kentimenos as Mom, Peter Mc Poland as Ralphie, Coulter Barzilla as Randy and Katt Gilcrease as the Old Man COURTESY PHOTO

The theater itself was in a festive mood with charming holiday garlands surrounding the auditorium, and the proceedings got briskly underway with fine narration from the adult Ralph (Joe Witcraft), who introduces the tale of his own boyhood years before that is about to unfold. That nine year-old boy is Ralphie Parker and is sweetly played here with youthful charm by Peter McPoland. At the core of the show’s plot is young Ralphie’s heart’s desire to have the gift of his very own Red Ryder BB gun when Christmas Day arrives. Set designer, Gilcrease, affectionately plays Ralphie’s father, the Old Man, with appropriately bumbling and comic skill. Ralphie’s patient and understanding mom is portrayed with gentle warmth by Patrice Kentimenos, while his quirky and adorable little brother, Randy, is amusingly played by Coulter Barzilla. Don’t miss the hilarious chance to see little Randy eat his meals!

Adding to the fun from these family members are Ralphie’s teacher at school (Carolyn Corsano Wong as the prim and dowdy Miss Shields), and his classmates

A secret for the teacher (L-R)-Peter Mc Poland, Raleigh Erwin, Josh Beck, Lauren Ferro & Carolyn Wong COURTESY PHOTO

including buddies, Flick (Trace Blackletter) and Schwartz (Ethan Hackney), along with the adorably flirtatious girls, Esther Jane (Lauren Ferro) and Helen (Megan Jones), not to mention the notorious school bully, Scut Farkas (viciously played by Michael Wong). In the cleverly staged department store scene there is even an off-stage Santa Claus that we never see (voice of Gerald Livingston), and even two of Santa’s elves appear (Rayne Brown & Jenna Witcraft). Of course the entire cast is beautifully costumed for the period by designer’s, Katie Kelly & Amy Sowers.

I don’t want to give away too much of the fun-filled plot, but trust me when I tell you the fantasy scenes that Ralphie has in his imagination while dreaming of his hoped-for Red Ryder BB gun are hilariously brought to the stage by this skillful comedy troupe.

Ralphie (Peter McPoland) admires a "Major Award" COURTESY PHOTO

Don’t be surprised if someone warns Ralphie that a gun like that might cause him to shoot his eye out! And if those scenes don’t fill your laugh quota, stick around for the “major award” that Ralphie’s dad is lucky enough to win. If you decide you would like an award like that of your very own, you might want to visit the following website right after the show: http://www.redriderleglamps.com/.

A CHRISTMAS STORY continues through December 18th 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 $17 adults, $15 seniors and groups of 10-20, $12 for youngsters and groups over 20 persons). For tickets and information call 936-441-7469 or visit the website at www.stage-right.org

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Community Spirit Shines in Players’ MIRACLE ON 34th ST.

Posted on December 9, 2011 by

Dale Trimble as Santa & Shelby Lambright as Susan PHOTO: Brad Meyer

 Conroe_Courier_12-9-2011

It was a drizzly, gray Sunday afternoon in Conroe, Texas, but the reception of guests at the Owen Theatre was a warm and royal one. A handsome prince helped arriving audience members in the front door as car after car appreciatively deposited patrons under the theatre portico to avoid the rain. Inside, an equally regal princess welcomed ticket holders to the auditorium. The show would have a familiar plot for the many who had seen the classic film, Miracle on 34th St. Adapted by Will Severin, Patricia DiBenedetto Snyder & John Vreek from the novel by Valentine Davies, this pleasant stage version would warm the afternoon further with its talented Crighton Players and enthusiastic direction from Becky Teague to spread abundant holiday cheer.

The simple plot line tells the story of pretty young Susan Walker (Shelby Lambright), whose mother Doris (Katherine Navarra), is an officious executive at Macy’s department store in New York City. Doris has no use for childish dreams of Santa Claus and such, and sadly, little Susan seems to be inheriting that same jaded and suspicious nature. Oddly, Doris is charged with making sure a fine Santa is selected to greet the children who come to visit him at the store. The many youngsters in the cast are delightfully natural as they spice various scenes with their play and laughter. Their lovely 1940’s period costumes were just some of the show’s lovely offerings from designer, Lynn Peverill.

Enter Kris Kringle (a very jolly performance from Dale Trimble who will sport a beautiful Santa suit). Kris, as it happens, is actually the real Santa, but gets into all sorts of problems trying to convince everyone of that fact. But along the way he teaches both Macy’s and Gimble’s what the true spirit of Christmas is all about. We meet a variety of great characters in this adventure. Of course there were robust performances from Will Radcliffe as Mr. Macy and Quint Bishop as Mr. Gimble. Bishop, by the way, does a wonderful turn as Judge Harper in the courtroom scene for Santa’s trial. (Yes! Santa is actually on trial to determine if he is really St. Nick). It’s a highlight of the show, and nicely sparked by the high-strung prosecutor, Mr. Mara (Brent Young), who learns an important lesson from his little son, Tommy (Ian Reina). Terry Woods adds plenty of fun to that scene as the outspoken courtroom observer, Miss Adams, and Sam Junnila adds to the laughs as Mr. Sawyer, the fidgety counselor in need of counseling himself.

A secondary subplot involves a slowly budding romance between Doris and her pleasant neighbor, attorney Fred Gailey (a cheerful performance from Gil Guillory).

(L-R) Gill Gilloury, Shelby Lambright & Katherine Navarra PHOTO: Brad Meyer

Fred does a fine job of defending Santa with some abundant and very surprising evidence. There are many other characters in an enormous cast of players that are too numerous to detail here, but I must say that Trimble’s subtly wonderful Santa and little Miss Lambright’s sensitive portrayal of both sides of Susan’s evolving personality were standouts in the acting department. Moreover, the collective spirit of the cast was evidence of a wonderful community involvement in the show. That community spirit clearly spilled over into an audience filled with family, friends & neighbors who were getting a good start on the holidays thanks to the Crighton Players.

As for complaints, who needs them at holiday time? But do let me put on my Ebenezer Scrooge hat just long enough to suggest that the countless shuffling scene changes were a distraction. That problem was made much less annoying by the wonderful cast of Carolers who sang more than 25 holiday favorites during those excessive breaks in the action. So much for, “Bah! Humbug!” Merry Christmas to all, and May God Bless Us Every One!

MIRACLE ON 34th STREET continues at Conroe’s Owen Theatre through December 17th with performances today at 2 p.m. and next Friday and Saturday at 8 p.m. For tickets and information call 936-539-4090 or visit the websites: www.owentheatre.org or www.crightonplayers.org .

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A True “BEAUTY” From John Cooper’s Performing Arts Center

Posted on December 2, 2011 by

Beauty & the Beast - cast Photo: Courtesy of the John Cooper School

For those who have not yet had the pleasure of experiencing a John Cooper School musical production in its state-of-the-art JCS Performing Arts Center, keep your eyes peeled for the next opportunity. Their recent fall production of Disney’s Beauty and the Beast, ran for just one long sold-out weekend, but was yet another in a growing line of success stories from this exceptional theatre program under the brilliant leadership of director, Joseph DeMonico, choreographer, Elizabeth DeMonico, and musical director, Rae Moses who conducted the superb 12-piece orchestra.

Jesse Bates as the Beast PHOTO: Bryn Yeager

The scene was set by a solid opening narration from rich-voiced, Jack Kite. The story is a familiar one with its tale of a selfish and arrogant prince (Jesse Bates) who is turned into a beast by an enchantress (Neha Verma) and cursed to remain so until he learns to find true love through kindness. The overall production was first-class, and its luminous young star, Caitlin Finnie, gave a performance that could have been on Broadway in her superb portrayal of Belle, the peasant girl who wins the heart of the beast, after being trapped for a time in his castle. A high school senior, Finnie’s voice is wondrous perfection in one so young. Her acting style is divinely natural, and one can only hope she is headed for a career in musical theatre. I had made note of her exceptional voice in a previous JCS production of 25th Annual Putnam County Spelling Bee, so I was delighted that the printed program for this “Beauty” production made mention of her voice teacher, Donna Hinds, who must certainly deserve special recognition.

While no set or costume designers were credited in the printed program, it must be said that the sets for this production were simply gorgeous with its storybook depiction of a charming peasant village, Belle’s lovely thatched roof cottage, a somewhat spooky forest, and the ominous, but very grand palace of the beast. Set pieces glided smoothly from scene to scene, and it was very fitting that the director called the backstage crew out for a much-deserved bow during the curtain calls.

(L-R) Caroline Davis, Lauren Spearman, Caitlin Finnie, David Taylor & Annabelle Cousins PHOTO: Bryn Yeager

As to costumes, they could not have been more delightful, especially those of the magically animated characters in the enchanted palace that included, Cogsworth, the clock (Jeremy Mani), Lumiere, the candlestick (Derek Tam), Babette, the feather-duster (Annabelle Cousins), Mrs. Potts, the teapot (Caroline Davis), her child, Chip, the teacup (Lauren Spearman), and an armoire known as Madame De La Grand Bouche (Jenny Bates). As a mysterious mist filled the forest and the ensemble sang the lovely opening song, “Belle,” the large cast of villagers was in colorful and authentic medieval attire befitting the peasant class. We meet Belle’s papa (David Taylor), an eccentric inventor with a wondrous contraption.

Caitlin Finnie & David Taylor PHOTO: Courtesy of the John Cooper School

He and Belle share a lovely duet of “No Matter What,” that is highlighted by the gentle sweetness and vocal purity of Miss Finnie’s performance. She would later shine again in the brilliant musical complexity of the song, “Is This Home?”

Enter the vain and boastful, Gaston (Alessandro Portela), who would dearly love to have the reluctant Belle for his bride as he sings his own praises with the song, “Me.”

(l to r) Meredith Bechtel, Emily Schwartz, Kelly Zupan, Alessandro Portela , Megan Doyle, Sonny Franks and Angela Lopez-Videla PHOTO: Courtesy of the John Cooper School

With his commanding voice, the tall and handsome Mr. Portela absolutely owns the stage with a bold performance reminding one of the lusty arrogance of Errol Flynn in The Adventures of Robin Hood. Gaston and his dizzy sidekick, Lefou (Alec Udell), join the fine ensemble and a group of “silly girls,” for the dazzling merriment, gay choreography, and beautiful tableaus of the spectacular production number, “Be Our Guest.” It was brilliantly carried off, and I found myself wishing there would be a DVD available of the performance so I could later share with friends that such excellence really happened in a school production. They say, “seeing is believing,” but I could barely believe my eyes.

(L-R) Annabelle Cousins, Derek Tam, Jenny Bates PHOTO: Bryn Yeager

Act Two delights included another whirling and joyful production number with, “Human Again,” featuring Lumiere, Mrs. Potts, Chip, Madame De La Grand Bouche, Cogsworth, Babette and the talented ensemble. It looked like it had popped right out of the Ziegfeld Follies. Meanwhile, Gaston and Lefou hatch an evil plan with Monsieur D’Arque (Matthew Hammarstrom), as they sing, “Maisons Des Lunes.” Miss Davis then hit another homerun for the production with an exquisite rendition of the show’s lovely title tune that was sheer perfection.

Mr. Bates anguished portrayal of the desperate and lonely Beast culminates in the heartbreak of his touching performance of, “If I Can’t Love Her.” As Belle reforms the Beast, she sees changes in herself as well. Finnie’s remarkable performance of “A Change in Me” was so exquisitely delivered it left many in the audience breathless in amazement. Who could blame the Beast for falling in love with her?

Jesse Bates (left) and Caitlin Finnie PHOTO: Courtesy of the John Cooper School

But a frantic final mob scene would first play out right through the audience, with Gaston and his cronies vanquished, and the Beast triumphantly transformed into the handsome prince Belle was always meant to marry. And speaking of triumphant, score another victory for the theatre program at the John Cooper School. Bravo!

For further information about the John Cooper School and its programs, visit the website at www.johncooper.org

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Houston Ballet’s Joyful NUTCRACKER Exceeds Expectations

Posted on November 30, 2011 by
NUTCRACKER – Rhodes Elliott and Artists of Houston Ballet PHOTO- Amitava Sarkar

HereHOUSTON.COM_11-30-2011

[ NOTE: All included Opening Night photos by Amitava Sarkar.]

From a dance company as renowned as the Houston Ballet, one could expect no less than a splendid NUTCRACKER for the Christmas season. I have seen numerous productions of this cherished holiday treat and reviewed several, but this current edition will linger in memory as the gold standard of all Nutcrackers. No wonder that choreographer Ben Stevenson’s production has been seen by over a million people since its premier 24 years ago. It is absolutely gorgeous to look at from beginning to end, the dancing is sublime, and the Tchaikovsky music has never sounded better than with the superb Houston Ballet Orchestra. A half dozen conductors will alternate in leading that orchestra, and with a full month of performances extending through December 27th, audiences will have the opportunity to see a wide variety of the ballet company’s finest dancers as they share opportunities to perform the roles of the Sugar Plum Fairy, the Nutcracker Prince, the Snow Queen, Dr. Drosselmeyer, and, of course, Clara.

NUTCRACKER - Emily Bowen PHOTO: Amitava Sarkar

The second-night performance I attended featured conductor, Ermanno Florio, with the joi de vivreand lighter-than-air grace of Elise Judson as young Clara, the classic elegance of Jessica Collado as the Snow Queen, the gliding mystery and magic of Simon Ball as Dr. Drosselmeyer, and the brilliant dance pairing of Ian Cassidy (as the Nutcracker Prince) with Melissa Hough (as the Sugar Plum Fairy).

NUTCRACKER - Connor Walsh and Karina Gonzalez PHOTO: Amitava Sarkar

That latter combination would produce a memorable grand pas de deux in Act Two, and the brilliant company of supporting dancers enhanced all the featured dancers.

Yet another star of this stunning ballet was the staging itself. Complementing the classic and dreamlike choreography of Mr. Stevenson, the scenic and costume designs of Desmond Heeley were radiantly beautiful. Lisa Pinkham nicely recreated the original lighting designs of Duane Schuler. Following the wintry and whimsical procession of arriving guests, the very first scene draws us into the warmth and joy of the Christmas party in the grand and elegant home of frisky old Herr Stahlbaum and his wife. The room seems almost to surround the audience with its three-dimensional aspect, curved staircases, wooden ceiling beams, evergreen garlands, warm earth-tone colors, and soaring Christmas tree.

NUTCRACKER - Artists of Houston Ballet PHOTO: Amitava Sarkar

The joyful atmosphere of arriving partygoers, dancing guests, robotic toys and playful children is beautifully captured. It all reminded me of the exquisite Christmas windows we saw as children when my parents walked us past department stores like Saks, Lord & Taylor, and B. Altman’s on 5th Avenue in New York.

Soon the mysterious Dr. Drosselmeyer arrives to enchant the children with his tricks and present Clara with her special gift of the toy soldier Nutcracker.

NUTCRACKER - Charles-Louis Yoshiyama PHOTO: Amitava Sarkar

In bed that night, her dream of the Nutcracker takes us to the enchanted Land of Sweets and the magical world of the Snow Queen who dances divinely with the Nutcracker Prince amid a very convincing onstage snowstorm. The exquisite music and elegant dancing then collide for such memorable segments as the delicate Waltz of the Snowflakes, the flamenco-styled Spanish Dance, the seductive Arabian Dance, the swashbuckling Chinese Dance, and the rousing acrobatics of the Russian Dance. Adding to the merriment of Clara’s dream is the Dance of the “Mirlitons,” the huge and amusing Madame Bonbonaire with her clowns, and then the very lovely Waltz of the Flowers.

NUTCRACKER - Sara Webb and Emily Bowen - PHOTO: Amitava Sarkar

The aforementioned grand pas de deux had a dreamlike beauty all its own. How wonderful to discover at ballet’s end that this world of wonder had really happened right there before our very eyes. Thank goodness it wasn’t a dream!

The Houston Ballet’s 33 performances of THE NUTCRACKER continue in the Brown Theater at the Wortham Center in downtown Houston through December 27th. For tickets and information call 713-227-2787 or visit the website at www.houstonballet.org

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Beatles Reign Continues With A Tribute Called “RAIN”

Posted on November 22, 2011 by

PHOTO: Cyllavon Tiedemann

 HereHOUSTON.COM_11-29-2011

Pinch me if I’m dreaming! It was, after all, a November night that was very much like a dream, as Houston’s Gexa Energy Broadway series presented “RAIN: A Tribute to the Beatles.” The audience atmosphere was electrically charged even before the curtain went up on the pop culture musical revue that just this summer had completed 300 performances on Broadway before setting out on the world tour with this original Broadway cast and its very successful homage to “The Fab Four.” Many of us in the audience attended in the hope of recapturing some of the youthful energy we spent a half-century before while making The Beatles a worldwide musical phenomenon. We would not be disappointed.

The staging was cleverly non-complex. Our four stars (Joey Curatolo as Paul McCartney, Steve Landes as John Lennon, Joe Bithorn as George Harrison & Ralph Castelli as Ringo Starr) were positioned for the most part at center-stage with just a sprinkling of colorful flowers and small palm tree plants. What made things much more interesting were the skillful use of dazzling psychedelic lighting, and surrounding projections (both backstage and on either side of the proscenium) of carefully selected clips from The Beatles’ fascinating rise to fame. Those clips were presented in such a way as to give the audience the sensation of being present for such pivotal Beatles events as the original Ed Sullivan Show appearance in February of 1964, and the monumental Shea Stadium concert of August 15, 1965. But more central to the show’s success is the authenticity of the musical performances that began with the infectious joy of “I Want to Hold Your Hand,” and “All My Lovin,” and moved quickly on to the lush and rich harmonies of, “That Boy.” There were the pulsating thrills of, “I Saw Her Standing There,” and the rhythmic explosion of “A Hard Days Night,” with a fine vocal from Curatolo. Amusing animated projections of frenzied fans in hot pursuit added to the fun as Mr. Bithorn delivered another excellent vocal with “I’m Happy Just to Dance With You.” A silken rendition of the classic “Yesterday,” featured brilliant work on acoustic guitar and prompted an audience sing-a-long.

The Shea Stadium segment began with the projected frenzy of the original crowd as the group delivered a super-charged “I Feel Fine,” that had the excited audience feeling the same way. As the lads beamed, the joy continued with a thrilling, “Day Tripper,” and a “Twist and Shout,” that had the audience on its feet and dancing in the aisles. As the guys took a brief break, there were amusing projections of now-corny television ads of the era featuring the hilarity of Fred and Barney Flintstone promoting Winston cigarettes, as housewives discovered the joys of free nylons in boxes of Duz Detergent while piling suds high on their heads shampooing with Prell.

(L-R) Ralph Castelli, Joey Curatolo, Joe Bithorn & Steve Landes PHOTO: Cyllavon Tiedemann

Suddenly the gents were back in Peter Max style with the dazzling colors and gleaming satins of the military uniforms in “Sgt. Pepper’s Lonely Hearts Club Band,” and a nice rendering of, “With a Little Help From My Friends.” Spooky floating images accompanied the mystery of, “Eleanor Rigby,” and misty rainbow colored lighting accented an otherworldly, “Strawberry Fields.” Then the first part of the program closed with hand clapping fun for the fully three generations that spanned the many audience age groups. Everyone seemed to join in for “When I’m 64,” as more cheerful Peter Max images flashed by.

Following the intermission, the show reflected on The Beatles’ interest in Eastern mysticism as the guys returned to the stage for “Hello Goodbye,” dressed in elegant Indian style costumes highlighted by the brilliant red-orange silk jacket worn by Mr. Curatolo. A pulsing, “I Am the Walrus,” had ever-varying pastel lighting and dancing projections that were clearly inspired by the popular “lava lamps” of the era. Next were selections from the “Rubber Soul” album that included a bright rendition of “Girl,” more perfectly blended harmonies for “In My Life,” and stunning work from all three guitarists during, “I’ve Just Seen a Face.”

(L-R) Bithorn, Landes, Castelli & Curatolo PHOTO: Cyllavon Tiedemann

The next flashing projections brought the audience into the more counter-cultural period of the Vietnam War with images of LBJ, Nixon, Woodstock hippies, and bombs dropping, while the musical quartet encouraged peace with Landes dressed in an eye-popping yellow suit as he led their stunning performance of “Come Together.” There were the lashing rhythms of, “Get Back,” and a plea to “change the world,” in “Revolution,” that seemed oddly current as protestors are on the march around the world. Of course there was a thrilling, “Give Peace a Chance,” and a tender, “Let It Be,” that seemed to wrap its arms around the appreciative audience. The requisite encore brought the escalating power of  “Hey Jude,” and seemed to cement the audience members as one while they cheerfully joined in for the countless choruses. Was it all more fun than having attended one of the original Beatles concerts? It just might have been!

Additional information about RAIN: A Tribute to the Beatles can be found at the website: www.RainTribute.com

The GEXA ENERGY BROADWAY at the Hobby Center 2012 Series continues with The Addams Family (1/10-1/15), Million Dollar Quartet (2/28-3/4), Come Fly Away (4/10-4/15), Wishful Drinking (5.15-5/20), and The Lion King (7/10-8/12). For tickets and information call (800) 982-ARTS (2787), or online at www.broadwayacrossamerica.com.

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Polished CYT Cast Lights Up the Crighton with TOM SAWYER

Posted on November 11, 2011 by

All Photos By: ALWAYS EXCEPTIONAL IMAGES – Walt Jurek Photography

Conroe_COURIER_11-11-11

For those readers who have not yet reserved tickets to the current Christian Youth Theatre production of TOM SAWYER at the Crighton Theatre, be advised that four of the twelve performances in the run have already sold out, and only four more performances remain this weekend. Trust me, this show is in the “not-to-be-missed” category, and having seen what CYT is capable of, I am already making plans to delay my spring trip to New York just long enough so I can catch one of the Seven Brides For Seven Brothers performances the group plans for Crighton Theatre next May.

Why am I so enthused? Let me tell you something. If this show were on Broadway right now it would not surprise me if it settled in for a good long run with its young star, John Bailey, becoming the toast of the town.

John Bailey (right) as TOM SAWYER

He is an absolute joy as Tom Sawyer, sings beautifully, and has naturalness on stage that money cannot buy. But he is not alone. The enormous cast of talented youngsters is delightfully choreographed and flawlessly directed by Amy Barnes (Assistant Director, Dana Crenshaw), with superb musical direction from Mandy Henson, and charming and authentic period costumes from designer, Marci Lane. Jared Barnes designed the many lovely sets with Tom’s house cleverly popping right into the audience. Lighting (John Romain) and Sound (Rick Hill) rounded out the production values that make this show a total gem.

But back to the wonderful music and lyrics of Richard M. Sherman and Robert B. Sherman that highlighted the original Reader’s Digest movie musical adaptation of Mark Twain’s The Adventures of Tom Sawyer on which this show is based. I am always struck by show tunes that are immediately catchy on first hearing. We have plenty of them here, and the superb singing of this cast does them all justice as this classic 19thcentury tale of a hooky-playing young rascal living on the Mississippi River comes to life on the stage.

Here Comes the Riverboat !

The excitement of an arriving riverboat during the lively opening number, “Here She Comes,” is led by young Jonathan Seberino and the enormous 49-member cast. (I wish I could name them all!) The song is a knockout full of the kind of vibrant energy and utter joy that would prevail throughout the show.

When he is not getting into mischief Tom lives with his Aunt Polly (Mary Robbins). It doesn’t take Tom long to get into a brawl with another lad, and Polly is at her wits end as she leads a powerful performance of the show’s title tune, “Tom Sawyer,” joined by Mary
(Savannah Michelsen), Widow Douglas (Allie Darnell), Sid (Zoe Holbrook), Miss
Dobbins (Zoe Bullard), and Mrs. Thatcher (Cameron Valadez). The action quickly moves to the quaint town square where the apple of Tom’s eye, pretty Becky Thatcher (Christina Seberino) and her giggling girlfriends flirt with the boys. Then it is on to the adorable schoolhouse scene where stern schoolmarm, Miss Dobbins, rules with an iron fist until she faints when Tom throws an insect at her. The glee of the cheering students is infectious, and Tom’s young pal, Ben (adorable John David Dvorak) emerges as a cherubic scene-stealer.

Tom and the gang

Back in Aunt Polly’s yard, Bailey’s star power is clear as Tom and his gang offer a delicious romp through the cheerful song, “Gratification.” Talented Zane Nixon gets into the action as Huck Finn when he joins Tom, Ben, and Muff Potter (Adam Springer) for the
rambunctious and engaging, “A Man’s Gotta Be.” Next, a well-staged graveyard scene is misty and mysterious, and maybe a murder takes place, but maybe not. Soon the action is back in town where Mr. Bailey convinces us he is an absolute charmer as Tom sings the poignant, “If’n I Was God.” Wow! Then Act One ends with another of the many speedy and efficient set changes as we find Tom, Huck and Ben running away on a river raft during the merry tune, “The Promise Land” with its bright solo moments for each of the boys.

A-rafting we will go: (L-R) Zane Nixon as Huck, John David Dvorak as Ben, John Bailey as Tom

Intermission offered countless snack treats and little gift items for sale, and there were
auction items, too. But when the curtain went up for Act Two it was back to our three naughty runaways camping in the woods as they sing and dance merrily during the song, “Free Bootin’.” There are sweet counterpoints in the tender reprise of “If’n I Was God,” from Tom and Polly. Soon the whole town gathers at the church as the preacher (Preston Parkhurst) leads the hilarious memorial funeral service for the missing boys presumed dead. Miss Dobbins launches into the classic Gospel tune, “It is Well,” and the whole town joins in with choir-like perfection. Feisty young Huck has a pleasant duet with Widow Douglas for, “Take Me As I AM,” and the whole town rejoices at the return of the boys
during a 4thof July picnic with the lively delight and whirling choreography of the spirited song, “Hannibal, MO.”

Great Excitement in Hannibal, MO

Still to come was a spooky cave scene with the ominous Injun Joe (Joshua Bullard) and the best echo sound effects I have heard. There is a sweet “Soliloquy” from Polly and Mary before Tom leads Polly and Muff in a glowing rendition of “I Saw the Light.” The eye-popping and patriotic Fourth of July “Finale” that followed was led by the
talented Liberty Girls with a full cast that seemed to brilliantly explode on stage like fireworks personified.

The Liberty Girls

And off stage — somewhere—there was another set of stars: the CYT staff, parents and crew who had made the impossibly wonderful really happen, right there on the Crighton stage. Bravo!

TOM SAWYER continues at Conroe’s Crighton Theatre with performances tonight at 7pm, Saturday at 2 pm & 7 pm, and Sunday at 2 pm. Tickets may be purchased by calling 832-487-8770, or visiting the website at CYTHouston.org.

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Electrifying GHOST Captivates London and Heads to Broadway

Posted on October 28, 2011 by

Caissie Levy PHOTO: Sean Ebsworth Barnes

Now back from Europe with summer adventures behind me, and with the fall season well underway, it seems an appropriate time to catch up on a highlight of Show Business from “across the pond.” To be more specific, allow me to report on the very interesting production of GHOST The Musical currently playing at London’s Piccadilly Theatre with solid and creative direction from Matthew Warchus. Featuring music & lyrics by the team of Dave Stewart & Glen Ballard, book & additional lyrics by Bruce Joel Rubin, and fine musical direction from James McKeon, the show is based on the 1990 motion picture of the same name that starred Patrick Swayze, Demi Moore and Whoopi Goldberg. This latest effort bravely takes on the task of converting that endlessly popular film into a stage musical, and it largely succeeds in doing so. Perhaps that is why the show has recently been slated to open on Broadway, with previews to begin in March 2012 before an April 23rd opening at the Lunt-Fontanne Theatre.

 The familiar plot begins with tragedy, and while heavily dramatic, it has such delicious moments of hilarity (and such a satisfying conclusion), that it is no surprise the film became an audience favorite. Young lovers Molly (Caissie Levy) and Sam (Richard Fleeshman) have such a close bond that when he is tragically murdered in one of the opening scenes, his ghost lingers on to protect her from dangers of which she is unaware. Thereby hangs our tale. The staging has a film-like opening that makes one feel the credits are about to roll. A starry sky is descending and a smoky mist is rising to create an air of mystery that is diminished a bit by an orchestra that is initially much too loud. We find ourselves in contemporary New York City as Sam and Molly join Sam’s banking industry colleague, Carl (Andrew Langtree), for the pleasing melody of the opening number, “Here Right Now.” The piercing purity of Miss Levy’s voice becomes immediately apparent. Amid visuals that include a kind of 3-D photomontage, shadow play and cityscape transitions, there seems a kind of romantic “Dirty Dancing” atmosphere emerging. Soon we find Molly and Sam in their new apartment where, in an adorable way, he treats her to a lusty and seductive rendition of their favorite tune, the classic “Unchained Melody,” with gyrations that have hints of Elvis and Michael Jackson.

 Next, with moving sidewalks adding to the excitement as young urban professionals dash to and fro, we have a frantic taste of busy life in the financial corridors and streets of New York that is cleverly and technologically captured during the vibrant ensemble song, “More.” That vibrancy is enhanced with sound (designer, Bobby Aitken), light (designer, Hugh Vanstone), illusions (designer, Paul Kiev), video projection (designer, Jon Driscoll), and robotic choreography (designer, Ashley Wallen), all displayed on the very electronic set of designer, Rob Howell. It surrounds the entire back and sidewalls of the stage area with the kinds of huge electronic video screens one might associate with the largest sports stadiums. Throughout the performance those screens would be a key to the unique look of the show as their brilliant pulsations and images generate visual excitement in number
after number. There would be times when those visual extravaganzas seemed designed more to dazzle than advance the plot, but the eye-popping excitement was certainly a new kind of theatrical adventure.

Caissie Levy & Richard Fleeshman PHOTO: Sean Ebsworth Barnes

Molly is a talented artist and clearly hoping for marriage during a cozy dinner with Sam in the lovely Luigi’s Italian Restaurant. There is romantic rapture as the two sing a charming duet of “Three Little Words,” but hopes are quickly dashed when Sam is killed during a street mugging as the two walk toward home. The murder is chillingly staged, even for we fans of the film who knew it was coming. At the hospital it is clear Sam is dead, and effective holographic illusions continue as Sam’s ghost meets other spirits. A Hospital Ghost (played by Mark White) joins Sam’s ghost (and the talented ensemble) for the tongue-in-cheek merriment of a Vaudeville-style “Ball of Wax.” The song introduces Sam to his new reality in the spirit world. Lyrics like, “Who’s ready? Ain’t anybody ready,” and “It’s too late to pray. It’s all over now. It’s a whole new ball of wax,” leave the audience contemplating its own mortality.

Following his own funeral, Sam’s ghost continues to look out for Molly, but his breathless hysteria when a burglar is spotted entering Molly’s apartment seems a bit overdone by Mr. Fleeshman. Next we enter the spooky world of nutty psychic, Oda Mae Brown (Lisa Davina Phillip substituted for Sharon D Clarke at the performance I attended). That scene opens with the rousing and gospel-style, “Are You a Believer?” featuring Oda Mae and her entourage. Miss Phillip’s brassy portrayal seemed at first to lack subtlety. Happily, her ultimately amusing performance would soon prove to be a real winner. Meanwhile, Miss Levy thrillingly captures Molly’s grief with clear-voiced tenderness in the poignant song, “With You.” In Levy’s capable hands Molly’s desperate longing seems to rise to the stratosphere and then descend dreamily to earth.

Act One closes with the rich, melodic counterpoints of, “Suspend My Disbelief / I Had a Life,” from Sam, Molly, Carl and ensemble, while flashes of a blood-red tickertape seem to
symbolize the emerging revelation that it was Carl’s greed and betrayal in a financial scheme that were central to Sam’s murder. The ghost of Sam needs plenty of second act help from psychic Oda Mae to convince Molly he is still a presence as he tries to thwart Carl’s schemes.

When Act Twobegins amid whirling umbrellas and an ominous storm, there is another soaring counterpoint vocal as the ensemble sings “Rain,” and Sam and Molly duet with the quiet desperation of, “Hold On.” The song, “Life Turns On A Dime,” seemed at first predictable and formulaic in its rhyme scheme, but evolved into a strong trio for Sam, Molly and Carl. There were amazing special effects in the noisy subway scene that followed. It featured Adebayo Bolaji as a Subway Ghost who sings the very loud, often inaudible and somewhat unfocused song, “Focus.” Another expendable number was “Talkin’ ‘Bout a Miracle,” as it showcased the assorted spirits at Oda Mae’s séance table. Much more satisfying was the touching, “Nothing Stops Another Day,” a really memorable gem from Levy. I found myself hoping I might one day see her in concert.

Sharon D. Clarke as Oda Mae Brown PHOTO: Sean Ebsworth Barnes

For really zany fun, don’t miss Oda Mae’s hilarious exit with, “I’m Outta Here.” In a hot-pink satin dress dripping with a lush white fur coat, she would strut her stuff in a hat that could have stolen the show at Prince William’s wedding. Accompanied by a powerful ensemble cast in glittering black formal attire, this number was a sure-fire crowd pleaser. But the final touching moments are reserved for Molly and Sam in the sweet intimacy of their “Unchained Melody” duet. The departing ghost of Sam sums it up best: “It’s amazing Molly! The love inside — You take it with you!”

For information on both the London and New York productions of GHOST The Musical, visit http://www.ghostthemusicallondon.com/ghost-the-musical-to-open-on-broadway/ .

For video samples from of the London production visit:
http://www.piccadillytheatre.org/ghost-the-musical/

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