PARAMOUNT CENTER Marquee as Campbell Fans Gather
Photo By S.A.Bentley

There was a dreamlike quality for my recent return to the exquisitely restored Paramount Theatre of my youth. A product of the Roaring Twenties built in 1929, it has been the crown jewel of my Peekskill, New York hometown for most of the time since. I say “most of the time” because like many movie palaces during the rise of television, it fell into disuse and disrepair in the late 1950’s. That ushered in a period when local birds and bats ruled the decaying marquee of the closed and crumbling building. I distinctly recall offering up a prayer that the Good Lord would somehow bring back the glory of that great building where, as youngsters, we lined up around the block to attend those Saturday matinees so full of big-screen wonder.

That prayer was answered ten-times-over many years ago when community & political leaders, donations, volunteers and foundation grants all combined to make possible what is now known as the Paramount Center for the Arts, a theater now known for classic film screenings, special events, and much sought after by national concert tours.

PARAMOUNT CENTER View From the Stage

Once past the glittering marquee and polished wood and brass of the entrance doors, visitors discover plush seating and the handsome interior that makes it clear this theater has never looked better.

PARAMOUNT CENTER Balcony View

Perhaps best viewed from the cozy balcony, the intricate, ornate, and many-colored decoration of walls and ceiling within the stunning auditorium retains the original Neo-Classical flavor preserved through meticulous restoration.

PARAMOUNT CENTER Interior View

Ruby-colored curtains drape the stage, classic columns soar and accents of gold leaf abound. Illuminated and recessed busts of classic figures preside from on high atop the walls on either side. In a word, the room is breathtaking.

So when my sister, Sara offered me a birthday gift of tickets to GLEN CAMPBELL: The Goodbye Tour, how could I resist returning to this place where, nearly two decades ago, I got my start in a second career as a performing arts critic when writing occasional pieces for editor Kathy Daley and her Peekskill Herald newspaper. On the recent Friday night of Campbell’s performance, an air of excitement permeated the sell-out throng that gathered outside on a warm spring evening as the radiant marquee gleamed its welcome. The festive atmosphere quickly moved inside as many patrons visited the wine bars set up on both levels of the house. As one pleasant chap entered our row of seats with wine glass in hand, I joked, “Is that for me?”  He later surprised me during intermission with a glass of my own.

When it was Showtime the Paramount’s enthusiastic new director, Lisa Reiss, gave the crowd a cheerful welcome, and the opening act band, Instant People, took to the stage. The attractive and energetic group of five young musicians (3 guitars. keyboard and drums) included three of Mr. Campbell’s own youngsters, sons Cal & Shannon and lovely daughter, Ashley, who handled not only keyboard but banjo as well. Their musical style was clearly hard rock, and regrettably barely a word of the noisy lyrics was audible for the crowd. But the group’s enthusiasm was genuine and I appreciated the lead singer recognizing the disconnect with Campbell’s style when he closed the set saying to the audience, “We know this music is a different flavor, so thank you for being so nice.”

Glen Campbell- The Goodbye Tour

Interestingly, after the intermission that followed, the same musicians returned to join Campbell for his set, and his longtime musical director (on a second keyboard) also joined him. Happily, all the noisy excess volumes of the first set now faded away as the band calmed to offer music of a much more pleasant “flavor.” The star emerged in a western-style blue shirt with rhinestone decorations very appropriate to the man who made the song, “Rhinestone Cowboy,” such a winner. He seemed to immediately enter a time machine that allowed him to sound much the way we recall the voice from his now classic musical hits. If the voice was older, it had acquired a maturity that was solid and appealing, while only a few times did he appear to reach for a lyric line that escaped him. That was most evident in the latter part of the program when Campbell indicated several times that the chill of the stage air-conditioning was disturbing him. At one point during that bit of confusion, a sweatshirt was brought out to drape over his shoulders as he continued to amaze the audience with not only the fine vocals but also with his dazzling solo segments on guitar during familiar numbers like the whimsical, “Gentle on My Mind,” the cheerful, “Try A Little Kindness,” the Jimmy Webb composition, “Wichita Lineman,” and the title tune from 1969’s Oscar-winning film, “True Grit.” And speaking of Jimmy Webb songs, Campbell delivered a warm, embracing, “By the Time I Get to Phoenix,” a gently rolling, “Galveston,” and he even did nicely performing Webb’s less familiar, “Where’s the Playground, Susie?” Putting the guitar down for a time and wandering freely about the stage, he sang a beautiful, “Didn’t We,” and then moved on to the richness of, “I Can’t Stop Loving You,” as he yodeled a bit and playfully joked with the audience between bars of the song. And yodeling would be a highlight of the excellent “Lovesick Blues” that followed, and excellence would be on full display when he took guitar in hand to challenge daughter Ashley to a fiery, “Dueling Banjos” number. The audience roared its approval.

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

The Cast of SEVEN BRIDES FOR SEVEN BROTHERS
ALL PHOTOS BY WaltJurekPhotography.com

 YourHoustonNews.com_5-29-12

I’m old enough to remember seeing the MGM Technicolor film masterpiece, “Seven Brides for Seven Brothers,” in a real theater on the wide screen. That was the kind of joyful event the memory of which the intervening years cannot diminish. Now, for those lucky enough to get one of the remaining tickets, that delicious musical is available live on the stage of the Crighton Theatre for a very limited time only. If you have been blessed to come across this report in time, be blessed again by going to see the show. You won’t be sorry. Oh, and by the way, if you have youngsters old enough to sit still at a great show for two hours, by all means bring them along. Failing to do so might result in your being charged with child abuse. Those fortunate enough to attend will see a cast of fellow youngsters so full of talent and enthusiasm, it may cause them, for a time, to forget all about the usual distractions of video games, cell phones and mediocre television fare. At the same time your kids will be learning about the real joys the theatre can afford them.

A marvelous group known as Christian Youth Theatre brings us the theatrical magic I am describing. For those who might fear this is some proselytizing church group with an agenda, put those fears to rest. There is none of that here, though during a pre-show tour backstage I learned that the spiritual connection that binds this fine cast was refreshingly present in a private, “pre-curtain” prayer session among the players that was not unlike the locker room prayer for a sports team before the big game. But once that curtain went up it was just a delightful stage musical all the way, not unlike the wonderful Tom Sawyerproduction the group offered at Crighton last fall.

Milly teaches the boys to dance.

For those unfamiliar with the story, it revolves about seven brothers who live in the mountain backwoods and their quest to find brides from the nearby town. Based on the aforementioned 1954 film directed by Stanley Donen, (with music by Saul Chaplin and Gene de Paul, and lyrics by Johnny Mercer), this MTI edition has a book by Lawrence Kasha & David Landay, some new songs by Al Kasha & Joel Hirschhorn, and is skillfully directed here by Ray Pereira with terrific show coordination by Wendy Brasher.

ADAM: The Mountain Man

Anchoring this fine production are the extraordinary talents of fourteen year-old Austin Hartis (in the role of the oldest brother, Adam), and seventeen year-old Kaylin Hill (in the role of his bride, Milly).

Milly (center) with the brides-to-be.

There is solid support from Kelsey Kalberer, Christine Plunk, Courtney Kalberer, Kelcie Glaspie, Kaitlyn Glaspie and Rachel Willis as the remaining brides, while Zane Nixon, Cameron Lichnovsky, Jordan Sacchieri, Christopher Jurek, Timothy Jurek and Joey Sheaff delightfully portray Adam’s brothers. Understudies, Mary Robbins (in the lead as Milly), Christina Seberino, Cassidy Lichnovsky, and Abby Bailey will be featured in tonight’s performance. A wonderful singing ensemble of Suitors and Townspeople rounds out the fine cast. Nicholas Flores plays the Preacher who is ultimately confronted with officiating at probably the largest, sweetest and most innocent “shotgun wedding” on record.

Several key elements contribute to the success of this production. At the performance I attended the very lovely Miss Hill was enchanting as Milly and she had a gentle sweet voice to match. More than once she reminded me of Jane Powell in the original film.

Kalyn Hill as Milly & Austin Hartis as Adam

What was perhaps even more remarkable was the lusty and convincing portrayal of Adam by fourteen year-old Mr. Hartis. Tall, handsome and husky, with a resounding voice and commanding stage presence for songs like “Bless Your Beautiful Hide, he could easily have passed for twice his own age while often reminding one of Miss Powell’s film co-star, Howard Keel. The pairing of Hill and Hartis is clearly one of the anchors of this production. Another is the extraordinary dancing of the full cast under the brilliant direction of choreographer, Kim Glaspie, with assistance from Tiffany Plunk.

Whirling Choreography by Kim Glaspie

What a tribute Glaspie has constructed to the original choreography of Hollywood’s legendary Michael Kidd. Perhaps it will sound as though I am exaggerating, but there were high kicking and acrobatic dance sequences in this production that seemed more extensive and elaborate than the brilliant ones I have enjoyed so many times in the film.

Jumping the Ax !

The Wrestling Match

That a cast of nearly fifty youngsters with an average age of thirteen accomplished all this makes the results all the more remarkable. Adding to the glow are the richly colored costumes of designer, Marci Lane and her army of parent volunteers, along with the charming farm country set designs of Rob Holbrook & Brandon Nixon. And if you don’t believe this is farm country, just keep your eyes peeled for real farm animals that include a piglet, a goat and a chicken. All performed superbly.

Yet another element of this major success is the often-lovely music and the singing of the large cast. (Music Director, Mandy Henson & Asst. Vocal Director, Christy Hill). I say “often-lovely” advisedly because there were times when the soundtrack musical score was simply at too high a volume to properly show off the fine young voices of the cast. Fortunately there was only one notable failure of the notorious body microphones currently so popular. There were several songs original to this updated production, and in a few cases, like the early selections of Act Two, I think cutting a weak number here and there would have enhanced the overall impact of the stronger and more familiar melodies. And speaking of impact, watch for a very convincing snowstorm and avalanche, all nicely wrapped in the lighting of designer, John Romain, and the sound designs of Rick Hill.

There were countless other highlights. The breezy sweetness and gay dancing of the “Wonderful, Wonderful Day,” and “Goin’Courtin’” numbers was memorable. With Milly’s etiquette guidance and a witty script, the transformation of these rowdy, ill-mannered backwoods brothers into respectable young gentlemen is great fun to watch. (Adam is less easily convinced as he snaps, “What do I need manners for? I already got me a wife!”) The brides and brothers are perfectly cast and bring charm to scene after scene. Miss Kalberer as Alice and Mr. Nixon as Gideon make a particularly sweet young couple, with Nixon reminding one a bit of Ron Howard when he played innocent young Opie on The Andy Griffith Show. And of course that shotgun wedding scene I mentioned makes for a dazzling finale that will send you home smiling.

SEVEN BRIDES FOR SEVEN BROTHERS continues at the elegant Crighton Theatre, 234 Main St. in Conroe. Performances are at 7 pm tonight and tomorrow, with 2 pm matinees this weekend on both Saturday and Sunday. For tickets & information call 936-441-7469 or visit the websites, www.crighton-theatre.com or www.cythouston.org.

Poster by B.K.Myer

There is something delightful about the spirit that sometimes embodies a local community theatre where many performers and crewmembers work hard all week at their day jobs and then spend countless hours nights and weekends preparing an entertainment to gladden the hearts of the hometown crowd. Conroe’s Crighton Players at the Owen Theatre would be a perfect example of what I am describing. Cheerfully directed by Carole Lamont, the current production of Smokey Joe’s Café rides along merrily with essentially no plot, but an abundance of the pleasant words and music from the songs of composers, Jerry Leiber & Mike Stoller. The time is described as “one night remembered,” and the action takes place in a pleasant neighborhood bar/dance club depicted in the attractive set from designers, Carole & Joey Lamont, and Don Hampton.

The cast of Smokey Joe’s Café
PHOTO by Brad Myer

The energetic cast I mentioned includes Cristy Campobella Neil, Courington, Shana Googer, Jim Heffner, David Herman, Dee Hughes, Creg Kelly, Joey Lamont, Laura Lange, John McDonald, Hunter McMahon, Giny Mendez, Dan Tippen and Beverly Watkins. A strong cast as singers, their talents vary from top-notch to perhaps, here and there, a bottom notch, but there isn’t anyone in this cast that hasn’t put all heart into the performance. The audience of friends, neighbors and visitors seemed to appreciate that, as did I. As Music Director, David McKenery and his terrific six-member DJ MAC BAND glided onstage, a mellow, sweet opener of “Neighborhood” was paired with visual projections of a hometown scrapbook to set the folksy mood. Creg’s snazzy “Youngblood” number featured some of the perky gals in cute costumes (designer, Sue Hayes) and pleasant light choreography that would permeate the show. Adorable Cristy may have had a touch of opening night jitters as she delivered a sweet, “Falling,” that seemed a bit tentative considering her fiery contribution when the gals really strut their stuff for the “I Am Woman” that would come later in the show. Hunter followed as he led the guys with a lusty, full-voiced “Ruby Baby,” that featured some cute dancing. A rhythmic version of “Dance With Me” featured some fine solos like the solid one from Rebecca.

Smooth scene transitions had the guys depicting a pulsing railroad train for a “Keep On Rollin’” that evolved into a powerhouse, “Searchin,’” led by Hunter with some prancing choreography from the guys. There were more pleasant moves for the dynamite trio of David, Ginny & Rebecca with “Kansas City.” Jealousy rears its ugly head as sexy Shana (in a knock-out short red chiffon dress with jeweled straps) mixes it up with Giny in a number aptly titled, “Trouble.” The tunes “Love Me,” and “Don’t” came off as just so-so, and then sassy Dee took the stage for a nice, “Fools Fall in Love,” she would reprise full of passion and high notes in Act Two.  Joey and the guys return for a “Poison Ivy,” that was, in fact, contagious. A great saxophone solo from Don Pope introduced the Latin rhythms of “Don Juan” with its tango-flavored dancing and a fine vocal from Giny. Hunter and Neil added some comic moments for a skit of “Shoppin’ For Clothes,” that was reminiscent of the old I Love Lucybit when Lucy and Harpo Marx do the hilarious mirror image scene. Shana delivers a rousing, “I Keep Forgettin’,” and the energy and movement of the “On Broadway” number that followed looked like a slimnastics class at your local gym.

“I’ll have another!” (L-R) John McDonald & Dan Tippen
PHOTO by Brad Myer

With an odd paper plate ballet in the background, John performs well as the neighborhood drunk in “D.W. Washburn,” but his chance to shine as a singer would come in Act Two with his powerful, “I, Who Have Nothing.” As for Act One, Shana and the full company close it out with the revival-style excitement of, “Saved,” under the twinkling light of a ballroom glitter ball.

Act Two gets right into high gear with “Baby That is Rock & Roll,” as the talented band members were introduced to the audience. A fun-filled “Yakety Yak,” featured more great saxophone work, and there was lots of cheerful nonsense for, “Charlie Brown.” Jim & Dee offer a cute, “Stay A While” duet, and while the guys sing “Teach Me to Shimmy,” director Lamont did exactly that, taking the stage in a pink flapper dress with more fringe than there are stars in the heavens. WOW! Deep-voiced Jim led a tune unfamiliar to me with “You’re the Boss,” and then a warm, “Loving You,” brought the couples out on the dance floor.

Singing and Dancing at Smokey Joe’s
PHOTO: Brad Meyer

Hunter supplies a very Elvisized, “Treat Me Nice,” with sexy gyrations that might have been edited out on the Ed Sullivan Show. And speaking of sexy, how about Rebecca’s red-hot mama version of “Hound Dog” that quickly had the audience clapping along? Then for a comic change of pace, Jim was a hoot performing the hilarious lyric about a stripper known as “Little Egypt.”

The choreographed movements may have been a bit predictable, but the harmonies were swell for the guys’, “There Goes My Baby.” “As for “Love Potion #9,” that was so jazzy it required police action to get things under control. Then Shana’s intro to “Some Cats Know,” reminded one a bit of the style of singer, Barbara Cook. “Jailhouse Rock” was another chance for the cast to dance, and then Creg handled the sensuous rhythms of “Spanish Harlem” as Nancy Bonilla-May was featured as Rose. At last the full cast filled the audience aisles for a “Stand By me” with lots of ensemble harmonies and strong solo moments. If you’re ready for a lighthearted night of fun and music, why not head over to Smokey Joe’s Café?

PHOTO: Courtesy of The Music Box Theater

YourHoustonNews.com   The summer travel season is fast approaching, and if gas prices are keeping you close to home, you may want to stay local and simply head over to Houston’s reigning musical comedy club, the MUSIC BOX THEATER, where you can enjoy a clever vacation spoof titled, TRAVELSTY. One word of warning though: The night I attended, the room was completely Sold Out so be sure to make reservations in advance.

With the aid of four stools that serve as the front and back seats of a car, our four stars (Cay Taylor, Luke Wrobel, and club founders, Rebekah Dahl & husband, Brad Scarborough) are quickly off on a “virtual road trip” that may ring a bell with audience members who have ever been stuck in a crowded car with a family group on vacation. Funny stuff can happen, and at The Music Box it certainly does. Rebecca warns us up front about the high cost of gasoline saying those prices are now, “…higher than I was in the ’90s!”

With the aid of video postcard projections, the first stop on this cross-country trip is the state of Georgia. Rebecca’s soaring, “Midnight Train to Georgia,” launched the show like a rocket and had solid backup from the gang. Brad followed with a lush, “Georgia on My Mind” that was as dreamy as he is good-looking. Smartly mounted, it rose to dazzling heights with just elegant accompaniment on guitar.

The action moves on to New York where Cay does an amusing turn as a crotchety old woman in a rooming house who is reminiscent of Fruma Sarah in Fiddler on the Roof. Cay and Rebecca join in a fine counterpoint medley of New York/Empire State of Mind with shadowy rose lighting adding to the glow (Tech director, Pat Southard). The band gives a solid performance (music director, Glenn Sharp) as Brad & Luke deliver a thrilling, “Where the Streets Have No Name.” Then it was on to a goofy group of Brooklynites (oh, those accents!) who meet on the Coney Island Boardwalk. They break into a heavenly a cappella version of “Under the Boardwalk” that had the kinds of mouth-made sound effects that made the Mills Brothers famous. Cay returned for a breezy “Anywhere I Hang My Hat is Home,” with the band smartly laying low to keep the spotlight on her fine voice.

(L-R) Luke Wrobel, Cay Taylor, Rebekah Dahl, Brad Scarborough
PHOTO: Courtesy of The Music Box Theater

It’s on to the West Coast as Brad leads a “Hotel California,” featuring some cute comic bits and a well-done touch of strobe light slow-motion. Then the group nicely tips their hats to John Denver with, “Rocky Mountain High” and a rousing “Country Roads” that brought the show to an intermission with plenty of drinks and snacks available at the bar.

Act Two opened with a fine rendition of Duke Ellington’s “Take the ‘A’ Train” from the band, and then it was off to the merry harmonies of “Route 66,” as the cast returned to the stage and our trip lands us in Tennessee. That gave Luke a chance to show his real gifts as a singer/storyteller with his powerful version of, “Graceland.” The silly airplane sketch that followed had hilarious moments with Brad as an impish lad traveling on Obstructed Airways. That led to the hypnotic harmonies of “Leavin’ on a Jet Plane,” from the trio of Cay, Brad & Luke. Rebecca has a knockout with the “Travelin’ Prayer,” and as we arrive in New Orleans, Brad jumps from bass to falsetto in a richly crafted, “House of the Rising Sun.” Luke portrays an affable drunk with a full bladder, as Cay offers a sassy and seductive, “Basin Street Blues.” And don’t miss Luke’s impression of Louis Armstrong. It’s a real winner.

Next stop is San Francisco with another clever skit featuring a mocking Hippie Trippy Trolley Tour with Rebecca as an eco-friendly, sourpuss tour guide who stands for every environmental extreme imaginable. Carol Burnett would have loved playing this part. Luke brings plenty of Tony Bennett mannerisms to the song, “I Left My Heart in San Francisco,” while Brad clowns around with great physical comedy take-offs of Dean Martin, Julio Iglesias, Charlie Chaplin, Mick Jagger, and finally a hilarious gobbling turkey.

With some funny reflections on her hometown, Rebecca takes us next to the city of Detroit as she delivers another thriller with, “Hometown Glory.” With sounds like this, this gal could be on a real cross-country concert tour, but let’s hope we can keep her here in Houston. Of course that would be our last stop as Brad smoothly sang the Dean Martin hit, “Houston,” and then moved right on to a great, “King of the Road.” Luke’s final number, “I Got a Name,” once again displayed his ability to theatrically connect with the audience.

 Now I know we critics are supposed to complain a bit, so here goes. I could have done without the strident and noisy, “Born to Run” number that both opened, and later (in reprise) closed the show. These gifted voices should be protected, and the shrillness of that number struck me as unhealthy for both their vocal chords and my ears. But on a lighter note, the next day was Mother’s Day and I, of course, called my mom in New York. When I told her about our night at a comedy club she asked, “Was it raunchy?” I hadn’t thought about it until then, but I guess that is another thing I like about the Music Box. They are more interested in real humor and great music, and not in trashy cheap gags. When all was said and done, we audience members were still in the club, and we hadn’t really visited any of those cities. But maybe Rebecca was right when she observed in closing, “The journey is more important than the destination.”

TRAVELSTY continues through August 4^th at The Music Box Theater, 2623 Colquitt in Houston, Texas, with performances Friday & Saturday nights at 8 pm and Sunday matinees at 2 pm. For tickets & information call 713-522-7722 or visit the website at www.themusicboxtheater.com .

Production: GISELLE
Dancers: Simon Ball & Artists of the Houston Ballet
Photo: Courtesy of Cynthia Woods Mitchell Pavilion

 YourHoustonNews.com_5-14-2012

I often have the pleasure of reviewing the Houston Ballet in their Brown Theater home at the Wortham Theater Center. There, it is not surprising to see some dramatic set or staging of their fine productions. But it was a stunning surprise to see the intricate and exquisite scenic design of Peter Farmer that the company transported to the outdoor venue of The Cynthia Woods Mitchell Pavilion for this month’s magnificent production of Giselle. With the soothing and very lovely music of Adolph Adam (Houston Ballet Orchestra elegantly conducted by Ned Battista), the brilliant choreography of Marius Petipa, and the very charming costumes (also designed by Mr. Farmer), this moonlit, forest-scene staging, embraced by lacey trees, had the look of an eye-popping antique painting being presented in 3-D. But allow me to begin at the beginning.

George P. Mitchell, the Wortham Foundation, and the Cullen Trust for the Performing Arts sponsored this performance and the available free admission for the audience. This first-class evening of superb dance began with two delightful appetizers prior to the Giselle main course. First up was the “White Swan Pas de Deux” from Tchaikovsky’s Swan Lake. Capturing the splendid grace and whirling romance of this ballet classic (choreographed by Stanton Welch) were dazzling HB stars, Danielle Rowe & Linnar Looris.

Starring the lovely and graceful Kelly Myernick and an athletic and bare-chested Jun Shuang Huang, the next offering was the richly romantic “Pas de Deux” from Le Corsaire (The Pirate), featuring choreography styled after the Marius Petipa original, and once again the music of Adolph Adam. Sweetly delicate one moment and acrobatically amazing the next, the stars thrilled the audience with their brilliant dancing.

Then it was on to the main event, Giselle, and I think it is safe to say the audience let out a gasp of delight when the curtain first rose on the magnificent peasant village scene embraced by a lovely forest. Five year-old Baylie Jo Clark was seated beside me for her first ballet experience and seemed fully justified in wondering aloud, “Are those real trees?” Even the painted backdrop beautifully enhanced the scene. There would be still more delight as the villagers began to emerge in the soft, autumnal pumpkin colors of Mr. Farmer’s elegant costume designs. Whether portraying aristocrats or peasants, all the dancers were arrayed in colorful splendor.

Production: GISELLE, Dancers: Sara Webb & Simon Ball
Photo : Courtesy of Cynthia Woods Mitchell Pavilion

And speaking of splendor, consider the exquisite dancing of Sara Webb in the title role at this performance. The prancing gaiety of her arrival is soon paired with the swashbuckling bravado of handsome Simon Ball in the role of Albrecht, the Duke of Salesia, who courts her while pretending that he is a peasant as well. Looking a bit like a matinee idol of the silent film era, Albrect charms Giselle as the two dance divinely. Meanwhile, the gamekeeper, Hilarion (Ian Casady), secretly in love with Giselle himself, lurks nearby, his jealousy growing. Statuesque Samantha Lynch dances the role of Berthe, Giselle’s caring and very protective mother, who tries to rein in the dance exuberance of her frail daughter. As the village peasants gather to join the dancing we are treated to one of the gayest scenes in all ballet.

Production: GISELLE, Dancers: Sara Webb & Artists of Houston Ballet
Photo: Courtesy of Cynthia Woods Mitchell Pavilion

The rich colors of the production are further enhanced with the arrival of a royal hunting party that includes the Prince of Courland (Linnar Looris), his daughter, Bathilde (Jessica Collado), and Christopher Coomer as the Master of the Hunt. Peter Franc plays Wilfried, Albrecht’s squire. The amazed audience interrupted with applause as Webb performed an en pointe “hopping” sequence that was astonishing and finished with a series of captivating 360 degree whirls as Mr. Ball joined her for the dance frenzy of Act One’s tragic ending. Hilarion has revealed that Bathilde is actually Albrecht’s true fiancée, and Giselle dances in despair until she collapses, dying of a broken heart.

In Act Two, Berthe’s earlier warning is fulfilled as the spirit of Giselle now takes its place among the Wilis, the vengeful ghosts of young girls who die before marriage. We find ourselves in the dark and misty graveyard of Giselle.

Production: GISELLE, Dancers: Kelly Myernick and Artists of Houston Ballet
Photographer: Amitava Sarkar

The eerie arrival of Myrtha, the mysterious Queen of the Wilis (Melissa Hough in a demanding role) brought more audience applause as she appeared in a ghostly en pointe glide across the stage that was remarkably performed. Remarkable as well was the stunning choreographic synchronization of the large cast of Wilis as danced by the Artists of Houston Ballet with featured dancers, Jessica Collado and Nao Kusuzaki, leading the charge.

Production: GISELLE, Dancers: Artists of Houston Ballet
Photographer: Amitava Sarkar

The delicate and ghostly costumes added to the visual mystery as the lines of dancers interwove with masterful precision while sometimes freezing in dramatic tableaus.

With his final dances obscured by stage lighting that was perhaps a bit too dim, Hilarion comes to a tragic end with the dancing advance of the Wilis.

Production: GISELLE, Dancers: Danielle Rowe & Shuang Huang
Photographer: Amitava Sarkar

Meanwhile, in their ghostly final pas de deux, Mr. Ball seemed to have otherworldly powers of levitation as he lifted Miss Webb heavenward with what gospel singers might call, “Amazing Grace.” Bravo!

“Mama’s Family”: (L-R) Carolyn Wong, Maredith Zaritski, Patrice Kentimenos, Steve Murphree (KMH Photography)

 YourHoustonNews.com_5-3-2012

I wonder how many of my readers are as tired as I of not having the family fun of musical comedy variety shows that used to be such a television treat in years gone by. Now we are saddled with hundreds of channels we don’t want just in order to have access to the few we care about. How’s that working for you? And nowhere in that sea of so-called “entertainment,” can we find the innocent pleasures once available from programs like “The Carol Burnett Show.” Well I am happy to report that thanks to the efforts of producers Carolyn and Steven Wong, there is relief on the way from the talented Stage Right Players of Conroe’s elegant Crighton Theatre.

Sam Martinez, Director (KMH Photography)

Through special arrangement with Contemporary Drama Services & The Carol Burnett Show Company, Stage Right was granted permission to present this adaptation of the show created by Ms. Wong and director, Sam Martinez. In his preface to the printed program, Martinez promises, “…scenes that should seem familiar, but are also brand new.” Longtime fans of The Carol Burnett Show will probably agree that he and his cast have delivered on that promise even though Miss Burnett herself is not part of the show.

Typical Family watches the show (KMH Photography)

First we meet a typical “70’s Family” as mom, dad and the kids  (Tom & Amy Lockhart, Mac and Sally Johnson) gather ’round the TV to watch — you guessed it! — The Carol Burnett Show. The format that follows is basically a series of musical numbers and humorous sketches based on the classic skits old-timers will recall from the original show.

Yvonne Nelson as Ethel Merman (KMH Photography)

Things got off to a sensational start as Yvonne Nelson led the company in a marvelous tribute to Ethel Merman with, “There’s No Business Like Show Business.” Ms. Nelson lights up the room with her radiant energy and soaring voice that really captures the Merman essence. Crighton regulars may recall her spectacular Sophie Tucker routine when she performed “Some of These Days” in Crighton’s wonderful 2009 Vaudeville show, brilliantly written and directed by the late Glen Lambert. I hope there will be more Vaudeville in the Crighton future.

A couple of Mama’s Familysketches provided plenty of laughs with Maredith Zaritski as a fiercely intense Eunice and Ms. Wong as a deliciously cantankerous Mama. Steve Murphree (as Ed) and Steve Dowell (as Mickey) add to fun, while Patrice Kentimenos gives us a Mavis styled on Madeline Kahn. At another point in the show Patrice is a real “Kahn Artist” when she delivers a terrific rendition of Madeline’s “You’d Be Surprised.”

Steve Dowell as “Sunny” (KMH Photography)

Another song sensation came from Dowell and Michael

Michael Raabe as “Claire” (KMH Photography)

Raabe as they performed “I Got You Babe” in a riotous Sonny & Cher spoof as Sunny & Claire. It was hilarious!

Marcia Feldt Bates and Will Radcliffe kept the laughter going as the jealous wife and vain husband that make up an unattractive elderly couple in “Passion on 10^thAvenue.” Cathleen Reagan and Katie Kelly join them in the fun. Jim King and Tom Richard joined Reagan, Bates, and Wong in a spoof of “Guess Who’s Coming to Dinner” that seemed a bit overlong.

Yvonne Nelson (left) and Maredith Zaritski (KMH Photography)

Relief came quickly with the great duet of “You’re the Top” from Nelson and Zaritski. Nelson would return in Act Two to lead the tap dancing quartet of Beverly Blair, Lorraine Counts, Angela Graves and Lynn Winkler in an “I Got Rhythm” that sparkled as much as the glitzy costume designs of Kathleen Zaritski.

On Death Row- Jim King & Patrice Kentimenos (KMH Photography)

In the “Prison Nudge” sketch, Kentimenos is such an annoying wife that her imprisoned husband (Mr. King) would rather stay on Death Row. Radcliffe plays the Warden. Act One would close (And Act two would open) with soap opera spoofs titled, “As the Stomach Turns,” and Mr. Raabe as Gaylord sports “a hat to die for.” Wong brings plenty of physical lunacy to a Guys & Dolls spoof of “Take Back Your Mink” with Blair, Counts, Graves and Winkler returning for more tap dance fun. For still more hilarity there was “The Howl and the Pussycat” with Raabe uproarious as a man with cat-like instincts. Next up, as though sensing the audience would need relief from laughing so much, we have the not very funny Rent-A-Car sketch. The less said about that the better.

As the end drew near the cast tackled what must be the favorite all-time Burnett Show skit: The take-off on Gone With the Wind, re-titled here as Went With the Wind. If it was the show’s greatest challenge it was also its greatest success.

Michael Raabe as Rat Butler & Carolyn Corsano Wong as Starlett
in “Went With The Wind” from THE CAROL BURNETT SHOW
(KMH Photography)

With Wong as Starlett, Raabe as Rat Butler, Dowell as Brashley Wilkes, Katie Kelly as Melody, and Zaritski as the ever-hysterical lunatic maid, Sissy, there was great help from a supporting cast of Radcliffe, Kentimenos, Reagan, Tom Richard and Jim King. As laughter rocked the room, it all came together beautifully with more gorgeous costumes and the grand set design of Debra Schultz. Ms. Nelson would return to sing a rousing “That’s Entertainment” as the cast emerged for much-deserved bows. I must quote Burnett’s classic closing line as the floor-scrubbing Charwoman: “I’m so glad we had this time together.”

THE CAROL BURNETT SHOW continues through May 6^th at Conroe’s Crighton Theatre with performances tonight & Saturday at 8 pm and a 2 pm matinee on Sunday. For tickets and information call 936-441-7469 or visit the website at www.crightontheatre.org .

George Hamilton with the Cagelles (PHOTO: Paul Kolnik)

In New York I have had the good fortune to see both the original Broadway production and the later Broadway revival of Jerry Herman’s groundbreaking musical, “La Cage Aux Folles.” Those productions skillfully combined the fine music and lyrics of Mr. Herman with the often-zany comedy of the amusing book by Harvey Fierstein. Centered in the world of a drag queen nightclub (The French “La Cage Aux Folles” translates as “The Bird Cage”) the comedy was full of campy hilarity that was measured in a way so as not to become annoying. That trick was not successfully replicated in the current national tour being presented by Theatre Under the Stars at Houston’s Hobby Center. That is not to say that this touring production (starring film star, George Hamilton) was entirely without merit. Directed by Terry Johnson, it had success on various levels and did send the audience out smiling at the close. But, in fact, it could have had so much more to offer.

Even before the show proper began, the proceedings opened merrily as one of “Les Girls” stepped forward alone on the stage to warm up the audience with what could aptly be called gay and playful banter. If this were a stalling tactic because so many patrons were delayed in unusual downtown Houston traffic snarls on the night of my attendance, I would say the tactic created one of the most hilarious parts of the evening and had the audience in stitches. Then, at last, it was show time and we were off to the cabaret world of St. Tropez, France. Blood-red lighting (designer, Nick Richings) cast dramatic black silhouettes of the club’s half-dozen showgirls known as the Cagelles. Gentlemen all, this group brings much of the spirited fun to La Cage, and whether doing an acrobatic ballet in a birdcage or a feisty Can-Can (choreographer, Lynne Page), they all sparkle in the glitzy costume designs of Matthew Wright.

 Mr. Hamilton’s character, Georges, is Emcee at the nightclub, and his longtime gay lover, Albin (Christopher Sieber) is a temperamental and aging drag queen that stars in the show. This is where the problems began.

Christopher Sieber (left) and George Hamilton (PHOTO: Paul Kolnik)

Sieber’s performance as Albin is so one-dimensionally and outlandishly gay that much of the time he becomes essentially a hysterically campy cartoon character that one could never imagine having a meaningfully tender and loving relationship with the smoothly elegant Georges. Sieber sometimes seemed to be aping the feminine mannerisms of the late Paul Lynde, but before Act One ends he does lead the cast in a lusty and snarling rendition of the show’s title tune. Better still, he tones down the camp with a diva moment for the fiercely solid, “I Am What I Am,” that takes the show to intermission.

Meanwhile, with lushly silvered hair and wide smile, the endlessly handsome Mr. Hamilton certainly lives up to his occasional nickname: “Teeth & Tan.” And I know where he got some of that tan, having met the glamorously golden-brown gent some 30 years ago at the Malaga airport on the Mediterranean sun coast of Spain known as La Costa del Sol. Hamilton’s cheerful performance as Georges was understated and had no fire in the belly, but he did look marvelous whether beaming in a wine velvet tuxedo or formal white tails. While singing is certainly not his forte, he did have some pleasant vocal moments for a duet of “Anne on My Arm” with young Michael Lowney who plays Georges’ son, Jean-Michel. The “straight” Jean-Michel shocks his gay dad with the news that he plans to wed the lovely Anne (Allison Blair McDowell), who just happens to be daughter of Monsieur Dindon (Bernard Burak Sheredy), the head of the anti-gay and arch conservative “Tradition, Family and Morality Party.” The fun begins to crank up when M. Dindon and his wife (Cathy Newman) are invited to come for a visit and meet the parents of the groom. It is safe to say that all hell breaks loose, but alas the very campy character of Georges’ butler, Jacob (Jeigh Madjus) gives us another example of heavy handed comedy that is wildly overdone. The role of Jacob is supposed to be outrageous and should be one of the funniest in the play, but in the hands of Madjus it became instead another example of annoying excess.

George Hamilton and Christopher Sieber in LA CAGE AUX FOLLES (Photo: Paul Kolnik)

Finally, in Act Two we see the seeds of a genuine loving relationship between Albin and Georges in their mellow and sweet duet of “Song of the Sand.” In preparation to meet the Dindon family, Albin gets some amusing how-to-be-macho lessons during the cute ensemble number, “Masculinity.” Hamilton has another vocal success with a tender and reflective, “Look Over There,” and when a hilarious ending proves that “all’s well that ends well,” there is the sensational joy of the show’s anthem, “The Best of Times is Now.” A smiling audience seemed to agree.

LA CAGE AUX FOLLES continues at the Houston Hobby Center with performances Tuesday through Thursday at 7:30 pm, Friday & Saturday at 8 pm, matinees Saturday & Sunday at 2 pm, and a final performance next Sunday night at 7:30 pm. For tickets & information call 713-558-8887 or visit the website at: www.TUTS.com .

Cast & Crew of Tommy Tune Awards BEST MUSICAL: “Dirty Rotten Scoundrels” – Episcopal High School (PHOTO: Bruce Bennett)

 www.HereHouston.com_May 2, 2012

Published in 1940, the title of a Thomas Wolfe novel suggests “You Can’t Go Home Again.” But perhaps you can. It was a homecoming of sorts at the recent 10^th anniversary Tommy Tune Awards presented in the grand Sarofim Hall of Houston’s Hobby Center, and sponsored by The Brown Foundation, Inc. and Conoco Phillips. Broadway legend Mr. Tune, himself a nine-time Tony Award winner, was on hand to assist in honoring the year’s outstanding actors and musical productions representing 44 high schools throughout the Houston area. As in the past, it was to be a memorable night of what Mr. Tune correctly described as, “magic, energy, talent and excitement.” Correct on all counts! Even before the show began that energy was bubbling over from the largely youthful sell-out crowd, and it would be enthusiastically on display with the announcement of every award and scholarship. Family and friends packed the house with many in formal attire, and local media was visibly on hand as ABC Channel 13 cameras recorded the event for later telecast on Sunday June 3^rd from Noon until 2 p.m.

The opening number, “It’s Not Where You Start,” starred the night’s nominees for Best Lead and Supporting Actor/Actress performing the song from Seesaw that won Tommy Tune his first Tony Award. Dressed in elegant black, the cast launched into such a rousing performance that it gave one chills to see and hear such musical theatre excellence. Theatre Under the Stars President and CEO, John Brackenridge was certainly justified as he spoke of the pride his TUTS team feels in having reached this tenth anniversary celebration of the awards program. Meanwhile, Jim Bernhard and Ayana Mack presided as emcees for the evening. Now in his 70’s, the tall, handsome, and endlessly youthful Mr. Tune came quickly onstage at the outset, and once again he charmed his young audience. Wearing elegant red cowboy boots fitted with taps, he wowed the crowd with a few fancy steps before joking, “I’m older and taller than I ever intended to be.” The crowd roared approval. Also a talented artist, Tune told the crowd that each award winner would receive a framed and signed print of one of his splendid watercolors.

As the evening continued there would be production numbers from each of the eight schools competing for Best Musical.

Scene from BEST MUSICAL “Dirty Rotten Scoundrels”- Episcopal High School (PHOTO: Bruce Bennett)

With outstanding accompaniment from Music Director/Conductor, Michael Moricz and the Tommy Tune Orchestra, the nominees  included:

-         A glittering performance of “All That Jazz” from Chicago by St. John’s School.

-         A spirited and fun-filled “Brotherhood of Man” from How to Succeed in      Business Without Really Trying by Klein Oak H.S.

-         A classy medley from The Drowsy Chaperone by Kingwood H.S.

-         The medieval charms and merriment of Once Upon a Mattress from Klein H.S.

-         A stunning “Wil-a-Mania” from Will Rogers Follies by Stratford H.S.

-         A rollicking “Once A Year Day” from Pajama Game by Friendswood H.S.

-         A riotous “Great Big Stuff” from Dirty Rotten Scoundrels by Episcopal H.S.

-         A high-energy “Toledo Surprise” from Drowsy Chaperone by Clear Springs H.S.

In the end, Episcopal H.S. would triumph with “Best Musical” for its delightful Dirty Rotten Scoundrels, and there were countless other awards and scholarships that are recorded here in the accompanying lists.

TOMMY TUNE SCHOLARSHIP WINNERS (L-R) Alma Acosta (Elsik High School), Tommy Tune, Nathaly Garcia (Elsik High School), Billy Cohen (Episcopal High School), Monica Brown (Kingwood High School), Kate Court (Pearland High School), Shelby Stark (Klein High School), Eleonore Verkerk (Stafford High School), Haylee Hoelscher (Houston Christian High School), Elisabeth Del Toro (Friendswood High School), Jeremiah James (Cypress Ranch High School), and TUTS President and CEO John Breckenridge. (PHOTO: Bruce Bennett)

Among the notable presenters were TUTS’ Board Chairman, Steve Burkett, Broadway performer, Stephanie Gibson, (the first ever Tommy Tune Award winner for Best Actress), Ernie Manouse of PBS, St. John Flynn of NPR’s The Front Row, Don Nelson of ABC-13, Stanton Welch of the Houston Ballet, Paul Hope from the Alley Theatre, and Manuel Santos, a Humphreys School of Musical Theatre graduate who is now a cast member in CBS-TV’s current hit series about Broadway, “Smash.”

In addition to the nine scholarship winners listed here, the prestigious Ruth Denney Scholarship carried an increased stipend of $5,000.00 and is named in honor of Tune’s mentor and legendary Lamar High School drama teacher. He seemed almost on the verge of tears describing what a life changing influence she had on him when she told him years ago, “Tommy Tune, you are different and that’s okay, because it means youare an original.” The Denney Scholarship was presented to Billy Cohen of Episcopal High School.

(L-R) Tommy Tune, Ruth Denney Scholarship winner, Billy Cohen, and TUTS President & CEO, John Breckenridge (PHOTO: Bruce Bennett)

Other highlights of the gala evening included an Act Two video montage of clips from productions of each competing school, and a complex, original and fabulous medley of show tunes from first the group of Best Leading Actor nominees, and secondly the group of ladies nominated for Best Leading Actress.

BEST FEATURED PERFORMERS & SUPPORTING AND LEADING ACTORS (L-R) are TUTS President and CEO John Breckenridge, First ever Tommy Tune Award winner for Best Actress Stephanie Gibson, Best Supporting Actress Morgan Starr, Tommy Tune, Best Leading Actor Billy Cohen, Best Featured Performer Cheryl Cedillo, Best Supporting Actor Mason Patterson, Best Leading Actress Caitlin Finnie, and Tommy Tune Award presenter Manuel Santos (PHOTO: Bruce Bennett)

Maestro Moricz orchestrated those two numbers, as well as composing the elaborately choreographed Finale, “Eyes on the Goal,” The latter featured a cast made up of two talented youngsters from each of the 44 schools. How in the world Mr. Moricz and the show’s brilliant Artistic Director, Michael Tapley, were able to so successfully rehearse and prepare this stunning production with students from such a wide-ranging area will go down as one of the great mysteries of the age.

Capturing the top performance awards were Billy Cohen of Episcopal H.S. as “Best Leading Actor,” and Caitlin Finnie of the John Cooper School as “Best Leading Actress.” I took particular satisfaction in Miss Finnie’s triumph as I had reviewed her winning performance as Belle in “Beauty and the Beast” for ThePeoplesCritic.com last November. At the time I wrote:

 “…luminous young star, Caitlin Finnie, gave a performance that could have been on Broadway in her superb portrayal of Belle… 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.”

After reviewing and evaluating the 44 participating Houston-area high school productions during the 2011-12 school year, a team of 32 Houston-based theatre professionals made 154 nominations in 15 categories.  The winners are as follows:

Best Musical –Episcopal High School / Dirty Rotten Scoundrels

Best Leading Actor – Billy Cohen as Freddy Benson in Episcopal High School’s Dirty Rotten Scoundrels    

Best Leading Actress – Caitlin Finnie as Belle in John Cooper School’s Beauty and the Beast

Best Supporting Actor – Mason Patterson as Vernon Hines in Friendswood High School’s The Pajama Game

Best Supporting Actress – Morgan Starr as Smitty in Klein Oak High School’s How To Succeed in Business Without  Really Trying

Best Featured Performer – Cheryl Cedillo as Penny Pingleton in Morton Ranch High School’s Hairspray

Best Direction – Klein High School / Once Upon A Mattress

Best Musical Direction – Episcopal High School / Dirty Rotten Scoundrels

Best Choreography – St. John’s School / Chicago

Best Orchestra – Woodlands High School / Singing’ In The Rain

Best Ensemble / Chorus – Klein High School / Once Upon A Mattress

Best Crew & Technical Execution – Clear Springs High School / The Drowsy Chaperone

Best Scenic Design – Friendswood High School / The Pajama Game

Best Costume Design – Stratford High School / Will Rogers Follies

Best Lighting Design – Klein Forest High School / Seussical

Additional Scholarship Award Winners include Alma Acosta (Elsik High School), Monica Brown (Kingwood High School), Kate Court (Pearland High School), Elisabeth Del Toro (Friendswood High School), Nathaly Garcia (Elsik High School), Haylee Hoelscher (Houston Christian High School), Jeremiah James (Cypress Ranch High School), Shelby Stark (Klein High School), and Eleonore Verkerk (Stafford High School).

COME FLY AWAY company (Photo: © Joan Marcus)

There really were moments during the Houston Hobby Center’s opening night of COME FLY AWAY that we audience members felt we were being lifted heavenward. There was heavenly song with the carefully integrated vocals of the late Frank Sinatra that anchor the show. There was heavenly music with a truly sensational onstage Big Band conducted by pianist Rob Cookman. And of course there was dazzling dancing from the talented Twayla Tharp Dance Company that brings to life the vibrant choreography of Miss Tharp who, by the way, also conceived and directed this imaginative production. Score another triumph for the GEXA Energy Broadway Series.

The stellar dancers included Ramona Kelley, Christopher Vo, Stephen Hanna, Ashley Blair Fitzgerald, Iona Alfonso, Anthony Burrell Mathew Stockwell Dibble and, statuesque blonde, Meredith Miles, who was certainly an eye-catcher throughout the evening in her sexy scarlet dress. Wow!

Meredith Miles (PHOTO: © Joan Marcus)

And speaking of “wow,” that Big Band should receive equal billing with our dancing stars. The band’s brilliant delivery of classic Sinatra arrangements by the legendary likes of Nelson Riddle, Don Costa, Billy May, Gordon Jenkins, Johnny Mandel, Neal Hefti & Quincy Jones made the evening as much a concert as a dance program. I haven’t had the pleasure of hearing such a big band sound since the Dick Campo Orchestra played for the elegant wedding of my nephew a few years back in a private club at Brown University.

Mallauri Esquibel & Ron Todorowski (PHOTO: © Joan Marcus)

With a few exceptions, the Sinatra songbook utilized was largely a familiar one.  A haunting and mystical, “Stardust” vocal opened with a pristine a cappella recording from the man remembered as Old Blue Eyes.  That quickly evolved into an explosive and very wonderful “Luck Be A Lady,” as the whirling dancers burst onstage in the sassy costumes of designer, Katherine Roth, while the magnificent orchestra launched a musical night to remember under the dreamy rainbow lighting of designer, Donald Holder.

Marielys Molina & Matthew Stockwell Dibble (Photo: © Joan Marcus)

The simple set comprised a few cabaret tables on one side of the dance floor and a glittering bar full of sparkling cocktail glasses on the other. (Scenic Designer, James Youmans) There would be cute dance flirtations for “Let’s Fall in Love,” and some sharp solo flute moments for a “Fly Me to the Moon,” that featured a fine ballet that may have lacked just a bit of grace, but was full of fun as the guys tossed Miss Fitzgerald back and forth in mid-air.

Anthony Burrell & Ashley Blair Fitzgerald (Photo: © Joan Marcus)

There was a romantic and seductive, “I’ve Got a Crush on You,” from Mr. Vo and Miss Miles, and then a bluesy saxophone solo as the dancers gave it their all for “Body and Soul.” I found myself thinking how Sinatra would have loved this reincarnation of his work bringing the music he loved to whole new generations.

Then it was on to a perhaps less familiar tune with the gaiety of, “Here’s to the Losers.” But there were no losers among this cast of fine dancers, as “You Make Me Feel So Young,” reestablished their youthful vitality amid a brassy arrangement from the band. The supporting Ensemble was particularly worthy of note. Miles and Mr. Hanna have another sensuous turn in “Witchcraft,” and Mr. Dibble and Miss Alfonso follow as they lead the ensemble for the funky fun of “Yes Sir, That’s My Baby.” The Sinatra “hip” and “cool” were on full display for a very smooth, “Learnin’ the Blues,” that featured perfect vocal volume from sound designer, Peter McBoyle. Such was not always the case, as there were many numbers where the Sinatra vocals suffered a bit of distortion due to excess volume that may have been an unnecessary attempt to compete with the band. Bad idea there!

Ron Todorowski (PHOTO: © Joan Marcus)

Mr. Burrell and Miss Fitzgerald take us to the rough and tumble world of Apache-style dance with their vigorous duet of “That’s Life.” Then it was back to the easy-going pace with the company’s charming, “Makin’ Whoopee.” There was more perfect vocal volume as Hanna and Miles danced to the pleasing but less familiar, “I Like to Lead When I Dance.” The band took over with a “Jumpin’ at the Woodside,” featuring shimmering brass and a terrific sax solo from P.J. Perry. None of our dancers looked lonely for “Saturday Night is the Loneliest Night of the Week,” and the athletic and volcanic, “I’m Gonna Live ‘Til I Die,” that followed turned into a minor male striptease as many of the muscular guys tore off their shirts to go bare-chested. There was a perky dance duet of “Pick Yourself Up,” from Vo and Miss Kelly, and there were more seductive dance designs for a “Let’s Face the Music” that evolved into a mambo rhythm with an outstanding trumpet solo from Mike Herriott.

Ramona Kelley & Christopher Vo (Photo: © Joan Marcus)

Sadly, that number once again had the voice of Sinatra at too loud a volume, but it made for a nice change of pace when we moved on to the softer elegance of, “Teach Me Tonight.”

The freestyle flavor of the dancing worked well during a hypnotic “Take Five,” that featured another saxophone success from Perry and a thunderous drum performance from Paul Ringenbach. That segment concluded in a kind of circle dance from the company that looked a bit like some ancient tribal ritual. The less familiar “Lean Baby” was followed by a jazzy “Makin’ Whoopee” reprise that had a knockout solo on trombone from James Nelson. As if to make a bit of “Whoopee” of their own, several of the gals now reappeared in bikinis. Now none of this makes particular sense from the standpoint of plot, but the visual wonders were ever-present in the dancing.

Tanairi Sade Vazquez & Ron Todorowski (PHOTO: © Joan Marcus)

Our conductor, Mr. Cookman, took over next on the grand piano. With Sinatra appearing like a vision overhead, and Burrell and Fitzgerald creating writhing mystery on the dance floor, Cookman gave a beautiful performance of one of my personal favorites: “One For My Baby.” Thankfully the voice of Sinatra was again at perfect volume. There would still be the dancers’ waltzing grace for “My Way,” but of course the evening could not conclude without the Sinatra favorite, “New York, New York.” When I return there next month I will carry with me fond memories of a great night in Houston.

COME FLY AWAY continues through Sunday April 15^th 2012 at the Houston Hobby Center. For tickets and information call 800-982-ARTS or visit the website at www.BroadwayAcrossAmerica.com 

PHOTO: Morris Malakoff IMAGE DESIGN: Lendsey Kersey

 YourHoustonNews.com_4-05-2012

There was the usual cheerful welcome from genial director, Phillip Duggins. But the venue was an odd location for those of us most familiar with enjoying his Masquerade Theatre productions in the comfort of Houston Hobby Center’s Zilkah Hall. The Barnevelder Movement & Arts Complex on Preston Street is a modest little building in a dusty, rundown corner of Houston, just beyond the area of the Minute Maid Park baseball stadium. But somehow the inherently tacky atmosphere of the building and the seedy surrounding neighborhood seemed quite appropriate for this one-weekend-only production of Kander & Ebb’s Broadway musical classic, CABARET, a show that takes place at an equally tacky nightclub in the pre-war Berlin of early 1930’s Germany. Decadence abounds there, and it is never more evident than on the stage of the cheesy and outrageous Kit Kat Klub, with its KKK initials seemingly symptomatic of the growing Nazi cruelty of the era.

We first hear pleasant ’30’s jazz recordings reminiscent of an old Laurel & Hardy soundtrack as we enter this world through the minimal set design of Amanda McBee: a small platform stage with a few cabaret tables below for additional audience seating, a couple of sets of stairs, a few scattered chairs, and a two-man “orchestra” (Luke Kirkwood on piano, Brady Spitz on drums) that is clearly visible backstage through a series of bars suggesting an animal cage at the zoo. And a zoo is what we have here in this bawdy collection of nightclub performers. Arriving in this tawdry world is young American author, Cliff Bradshaw (Michael J. Ross), hoping to there find inspiration for his new novel. Unwittingly, he meets Nazi sympathizer, Ernst Ludwig (Scott Lambert), who offers him some work and recommends an available apartment at the home of Fräulein Schneider (Allison Sumrall). The plot begins to thicken when Cliff visits the Kit Kat and meets the featured singer there, a pretty English girl named Sally Bowles (Kristina Sullivan).

As the Kit Kat action gets underway, the club ensemble (consisting of six Kit Kat Girls and four Kit Kat Boys) opens the musical proceedings with a shadowy and spooky rendition of the familiar, “Willkommen.” Leading the action is the show’s musical director, Adam W. Delka, in the role of the bizarre Emcee. For those who recall seeing Mr. Delka in such more traditional roles as that of Col. Pickering in “My Fair Lady,” it is to his credit that this part seemed both a great departure and a considerable challenge. With wild eyes glaring (and plenty of eye makeup), he rises to the challenge quite well while creating a strange and snarling character, and staying very much within that character throughout the performance. The eerie lighting designs of Miss McBee and the raunchy costume designs of Erin & Kaelin McDonald combine to effectively enhance the freakish look of the nightclub scenes.

Sullivan’s peerless credentials as a talented actress and singer are well established from many Masquerade productions, and I confess to being a big fan. She gives us a radiant and bubbly Sally Bowles at the outset. But I was soon surprised to find her in an excessively hyper state here, seeming to be working endlessly at affecting both a haughty air and an English accent. Those elements could rightfully have their place, but not to the extent here, where so much frantic energy was on display that I fear it even diminished the impact of her ordinarily wonderful singing voice. Lovely songs like “Maybe This Time,” and “Perfectly Marvelous,” do not require a constant frenzy of facial expressions and physical “business” during delivery. Mr. Duggins and assistant director, Luther Chakurian seemed to have a different approach, but Sally’s whole dynamic made me wonder how she could capture the attention of Cliff long enough to get herself pregnant with a child that “might” be his. As for the role of Cliff, Mr. Ross’ interpretation was a puzzle as well, and it created an awkward contrast between these two central characters. Ross is one of the very bright lights in the Masquerade organization with dazzling musical comedy credits in shows like “The Producers,” and “Dirty Rotten Scoundrels.” His acting talents for singing, dancing and comedy are all beyond question. Here however, in many scenes he stood around like a moping mannequin, looking numb and disconnected from what was going on around him. How that downcast attitude could spark romance between him and Sally (or his occasional gay lovers) is beyond me.

On a lighter note, frequent Masquerade choreographer, talented Laura Babbitt, (herself one of the Kit Kat girls) provides plenty of sleazy bumps and grinds for the gyrating ensemble. The “Kick Line” that opened Act Two was a dance winner for not only the Kit Kat Girls, but for Mr. Delka as well. But Nazi terror is spreading and the frightening fanaticism is fiercely captured in the song, “Tomorrow Belongs to Me.” That same terror comes vividly to light in a romantic second plot line revolving about Fräulein Schneider and one of her boarders, a sweet elderly Jewish man named Herr Schultz (Brad Zimmerman). Schultz flirts adorably with Schneider and she responds in kind as Sumrall and Zimmerman offer beautiful duets of “It Couldn’t Please Me More,” and “Married.” In the latter song, Kim Truncale beautifully joins them in the role of Fräulein Kost, another of Schneider’s boarders. With a lovely singing voice, Truncale also shows her flair for comedy as the boarder who is always bringing unauthorized sailors to her apartment. Sumrall delivers a robust and thoughtful, “So What” as Fräulein Schneider reflects on how she copes with life’s difficulties. Shultz and Schneider are well along in years, but the courtship results in their becoming engaged during one of the most charming segments of the show. Their joy is short lived however, as Fräulein Schneider backs out upon learning her marriage to a Jew would not go down well with the Nazi Party. Sumrall’s poignant “What Would You Do?” beautifully captures Schneider’s desperation in ending the engagement. Nevertheless, that tender little romance was so elegantly performed by Sumrall and Zimmerman that it was, for me, the theatrical highlight of this production.

Masquerade Theatre’s next production, THE CIVIL WAR, will play at Zilkha Hall in the Hobby Center from May 18th – 27th. For tickets & information call 713-TMT-9696 or visit the website at www.masqueradetheatre.com