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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Intrigue and Confusion Meet on “The Bus”

Posted on October 19, 2011 by

I imagine most of we theatergoers have traveled enough to realize that a bus, like many other modes of transportation, can sometimes be a helpful conveyance, while at other times it may experience mechanical problems. It seems the same can be said of James
Lantz’ intriguing new play, THE BUS, currently in performance at the 59E59 Theaters in Manhattan. Directed by John Simpkins, this theatrical bus tour takes us on an oft-times troubling journey through the young lives of two likable adolescent boys as they discover their physical attraction to one another amid a conservative small town community that is
largely in the grip of the powerful Golden Rule Church. The resulting conflicts propel a plot that is sometimes compelling and sometimes puzzling.

With probably fewer than a hundred seats, the ninety minutes of intermission-free action play out on an intimate and minimal in-the-round set that consists mostly of a large wooden platform at center stage that serves as the controversial bus belonging to the church. It is controversial because, while belonging to the church, the inoperable bus is actually situated on the nearby property of Harry (Travis Mitchell), owner of Hamp’s Texaco Service Station. Harry wants nothing to do with the church and he wants the bus removed. But the well-connected church officials want the bus (with it’s proudly displayed lettering of “Golden Rule Bible Fellowship,”) to remain as a kind of landmark symbol for those arriving at this enormous church, a house of worship that is so large it has its own
Starbucks coffee shop. Adding to the conflict is Harry’s former wife, Sarah (Kerry McGann), herself an active member of the church, and as insistent as anyone that the bus must stay where it is.

Skillfully guiding us through these opening scenes, and those that follow, is talented Julia Lawler in the role of The Little Girl. While the stage is an essentially bare one, her
character serves quite effectively as a kind of narrator who, in a visually poetic way, describes each scene for the audience as the play progresses. I would have to agree with a comment from TheaterMania suggesting this production contains, “…more than a hint of Thornton Wilder’s ‘Our Town’.” But this aspect gives the play a unique structure and is brilliantly carried off thanks to the very believable Miss Lawler. Lighting designs of Chris Dallos were effective, and adding another authentic note to the production were the exceptionally convincing sound effects for everything from rainstorms, to passing cars.

A central conflict emerges when the bus becomes a secret late night meeting place for Sarah and Harry’s teenage son, Ian (Will Roland), and his high school buddy, Jordan (Bryan Fitzgerald). Ian lives with his mother, Sarah, who does her best to keep her reluctant son active in the church. Handsome Jordan is a loner with no interest in the
church, but he has clearly found a special friend in Ian when he remarks, “…with him I couldn’t remember what lonely was.” The sexual intimacy that finds its way into their tender friendship makes secrecy crucial for each rendezvous, and adds to the mounting tension of the piece. Both Fitzgerald and Roland succeed in warmly conveying the confusions and passions youth.

Mr. Mitchell is convincing as Ian’s somewhat distant and macho father who seems more interested in firm handshakes and his struggling business than in a real relationship with his son. McGann gives a solid performance as a mother who is somewhat distant from Ian herself, with her passion for the church seeming to sometimes take precedence over the lad’s struggles to understand his parents’ conflicts and his own emerging identity. Robert Nuner nicely plays Harry’s mechanic at the station, a pleasant old codger named, Sloat. But even the efforts of kindly Sloat cannot avoid the many explosive events that follow. To
say more would give away a number of unexpected plot twists. It may be there were too many of those, as it appeared the author might have struggled with several possible endings for the play and then decided to use them all. In the end, that decision seems to have deprived THE BUS of satisfying clarity in its conclusion. Still, for many this bus trip may be a ride worth taking.

THE BUS continues through October 30th. The performance schedule is Tuesday, Wednesday, Thursday & Sunday at 7:30 PM; Friday – Saturday at 8:30 PM; and matinees Saturday at 2:30 & Sunday at 3:30 PM. Performances are at 59E59 Theaters, 59 East 59th Street, between Park and Madison Avenues. Tickets are $25 ($17.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or visit www.59e59.org. For
further information on the show, visit the play’s website at http://thebustheplay.com/ .

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Music Complements Comedy for DIVAS at “The Box”

Posted on October 8, 2011 by

  [  HERE_HOUSTON_Lifestyle_&_Entertainment_10-5-2011  ]

At long last it has finally dawned on me how appropriately Houston’s MUSIC BOX THEATRE has been named. I say that because while it casts itself as a comedy club, music is central to its irresistible allure. Oh, you will have plenty of laughs there, that I can assure you. The performers were even respectfully hilarious on the recent somber 10th anniversary of the September 11th terror attacks when a previous commitment required my hesitant attendance at “The Box” for a Sunday matinee of the current riotous production, “Damaged Divas.” Divas indeed! This cast of six sports some of the finest vocalists anywhere with husband & wife team and club founders, Brad Scarborough and Rebekah Dahl heading that list with music and comedy skills they thoroughly honed during their years as stars at the Masquerade Theatre. If we could transport ourselves back toward the middle of the last century this couple would probably have had a nationally telecast hit musical comedy variety show, and Sonny & Cher and Donny & Marie would have been suitably worried. Equally important to the success of The Box are talented fellow cast members and Masquerade veterans, Cay Taylor, Luke Wrobel, Colton Berry and John Gremillion, along with the jazzy Music Box Band led by musical director, Glenn Sharp, who is ably supported by Mark McCain (lead guitar), Long Le (bass guitar), and Donald Pain (percussion). To top it off, the venue is cozy, intimate and comfortable. With all of that as background, let’s move on now to the fun of Damaged Divas.

Rebekah Dahl (left) as Judy Garland & Cay Taylor as Barbra Streisand PHOTO: Jessie Talemantes

The show humorously bills itself as an effort to, “…seek out damaged performers and profit from their misfortune,” and appropriately opens with a rockin’ and ghostly rendition of “When You’re Strange.” There are running gags about Celine Dion and Whitney
Houston (is she hiding backstage?) that work sometimes but not always. A William Shatner take-off by Mr. Gremillion was not nearly as strong as his really hilarious take-off on newscaster, Tom Brokaw and the “MBT Nightly News.” They may want to make that bit a running gag at the club. But back to the music, Rebekah delivered an electrifying, “Crazy.” Colton and Brad followed with a strong counterpoint arrangement combining “At Last,” (Brad in a rich, mellow and confident performance worthy of a Vegas showroom) and a Patsy Cline version of “Crazy,” from Colton that was full of longing and passion. Miss
Taylor follows with a really sexy, solid, and vibrant, “Cabaret,” that featured an especially well done “girlfriend Elsie” segment. The performers tipped their hats to the music of Stevie Nicks & the Dixie Chicks with great harmonies for, “Landslide.”

With expressed reverence for “Aretha Franklin’s collection of endangered furs,” the cast joined forces singing a, “Respect-a-thon,” as they took on such personas as Ethel Merman,
(Rebekah), Pavarotti (Luke), and Liberace (Brad) while Cay and Colton had zany fun as Joni Mitchell and Britney Spears. Rebekah follows with Merman’s classic from Gypsy, “Everything’s Coming Up Roses,” and it was an exciting performance but just a bit too exciting. Dahl’s voice is superb and I would urge her to trust it more when going into overdrive to hit one out of the park. She’s a natural winner without any need for excesses that might strain such a fine vocal instrument.

The next segment’s prison theme was well carried off by Colton, Luke, Brad & Company, and featured more of John’s Brokaw spoofing, a terrific “Folsom Prison Blues,” from Luke, funny Lil Wayne gangsta wrap from Colton and a sensational “Jailhouse Rock” from the
ever-amazing Mr. Scarborough. Following the intermission the fine band warmed up the crowd with a jazzy, “Dancing Queen.” Then it was on to “Big Girl’s Don’t  Cry,” featuring
Brad’s beaming smile and terrific falsetto. Luke followed with a fine accent and terrifically clever spoof of French stereotypes before he launched into a warm, seductive and very passionate,” La Vie en Rose,” and Cay joined the fun with a dreamlike “Dream a Little Dream.” Colton brought lashing desperation to a fierce, “Man in the Mirror.”

(L-R) Wrobel as Frank Sinatra, Dahl as Garland, Colton Berry as Liza Minnelli, Taylor as Streisand, and Brad Scarborough as Dean Martin. PHOTO: Jessie Talemantes

Perhaps the most hilarious part of the show finds the cast recreating an onstage gathering of Judy Garland (Rebekah), Barbra Streisand (Cay), Dean Martin (Brad), Frank Sinatra (Luke) and the endlessly riotous Colton in drag as an ever-fidgeting Liza. Rebekah & Cay skillfully perform the familiar Garland/Streisand counterpoints of “Happy Days” & “Get
Happy,” and then the whole gang combines for an “I Love Paris,” free for all that I would have used for the final number. It was a screaming riot! But there was more as Luke produced a thoughtful Billie Holiday tribute with an easy going “God Bless the Child” that built to an almost operatic conclusion. Rebekah played “can you top this?”  with a savage and very on-target “Me and Bobby McGee” that seemed to reincarnate Janis Joplin right down to the rose-colored glasses and matching feather boa. When the full cast joined in the finale of, “Get Together,” I’m sure many in the audience were thinking about when they would next be able to get together at The Music Box. Perhaps a good time would be during the November 18th - January 15th run of the club’s “very special holiday special”, titled Fruitcakes. All shows run Fridays and Saturdays at 8pm and Sundays at 2pm at 2623 Colquitt in Houston. For tickets and information call (713) 522-7722 or visit the website at www.TheMusicBoxTheater.com .

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N.Y. MUSICAL THEATRE FESTIVAL WELCOMES HOUSTON CAST

Posted on October 6, 2011 by

CAST OF KISSLESS - Photo: HFAC by Lisa Broussard

 Some months ago I began to hear reports that the Houston Family Arts Center had a cast of area youngsters being selected to participate in the eighth annual New York Musical Theatre Festival. As I split much of my time between New York and Texas, it piqued
my interest to learn that a group of young actors from the Lone Star State was being so honored with a couple of weeks to perform in America’s capital city for theatre. I learned the musical to be performed was an original one by Houston playwright/producer, Chance McClain, known to many as one of the founders of Houston’s first independent sports radio station, 1560 The Game. With music, lyrics and direction from McClain, the show would be called KISSLESS, and the dream would be to find a way to finance not only the production itself for Houston area performances, but to cover the enormous costs of such an extended trip to The Big Apple for a cast of nearly thirty, along with production staff and crew. That’s no small order for one of the nation’s most expensive cities. The success of those efforts in providing such a great experience for the young actors involved constitutes the real miracle that Mr. McClain and his associates made possible. Perhaps part of the secret is revealed in McClain’s “Author’s Forward” in the show’s printed program. He opens with the words, “I’m a pretty positive guy.” That must surely have been the case if he was able to organize and carry off the weeks of such an expedition that included not only time for rehearsals, but performances extending from September 28th to October 8th.

As for those production finances, it would be best to keep in mind another of McClain’s cautions in his forward to the program: “Please read the entire program and know that every name in it deserves so much more than the simple acknowledgement afforded in a show program.” In following his directive I noted the contributions of Associate Producer, Kevin Lambert, co-directors, Sam Brown and Ilich Guardiola, Music Director, Stephen W. Jones, Choreographer, Ellen Dyer, Assistant Director, Sammy Green, music arrangers, Kevin Ryan, Frank Bullington and Bryan Ford. But something even more stunning caught my eye. There were literally hundreds of financial contributors listed in the program. What an incredible indication of the generous community support these youngsters had from the city of Houston. That was another part of the miracle.

As to the show itself, I regret to say it will not go on to win the Tony Award. Kissless brings a high-energy cast to a fairly lightweight piece that would have been more suitable as a high school skit where kids in the audience could giggle at the antics of pals on the stage. At its core it is the tale of clashing school cliques that include nerds, rednecks, jocks, practicing witches, and some so-called Goths who favor dour expressions, black clothes and outsider status. One of the latter is young Summer Stokely (Teresa Zimmerman), who has to spend the summer living at the home of basketball team captain, Derek (Tyler
Galindo). Derek is mortified that his cool buddies will learn a Goth is living in his home. Adding to the confusion are Derek’s flighty mom (Megan Blackmon) and his blustering dad (Cameron Worthen), the team coach.

As the action unfolds, friends reject friends, cliques get angry with cliques, dialogue is routinely shouted, and an assortment of disappointing songs are sung too loudly on an essentially bare set that depends on backstage slide projections to suggest locations. These elements do not combine to create theatrical magic. Mr. McClain’s bio in the program declares he has written “hundreds of forgettable songs,” and there are many here that audience members would notbe humming on the way home. There were encouraging moments like the country-flavored, “Secret Love.” (Not to be confused with that same title from Doris Day or Stevie Nicks). Then there was the more upbeat “Ladida” finale, which was another cheerful exception while being led by the flaky psychiatrist, Dr. Spinks, humorously played by Tyce Green. But heck, look at all these kids who had the time of their lives on such a grand adventure in New York City. Why am I complaining?

KISSLESS Cast 2011 - Courtesy Photo

Of course Derek begins to discover a Goth might not be such a bad friend while playing Soul Crusher video games with Summer amid a spooky ensemble number that looked ready for Halloween with its annoyingly frantic choreography. But even Derek’s newfound friendship with Summer cannot survive the problematic plot. I am reminded of the last line of a poem Mr. McClain placed at the top of his forward remarks: “Think of only
happy things.”

KISSLESS continues at The Theatre at St. Clement’s, 423 West 46th St., NYC with a final performance Saturday October 8th at 5 PM. For tickets and information visit the website www.NYMF.org or call 212-352-3101. For additional information on this production visit www.Kissless.net

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Ehnes Thrills Pavilion as HSO Closes Summer Season

Posted on September 25, 2011 by

Violinist, James Ehnes PHOTO: Benjamin Ealovega

In the hour before the Houston Symphony Orchestra began its recent final concert of the summer season at the Cynthia Woods Mitchell Pavilion, Ira J. Black, member of the Performing Arts faculty of HCCS-Northwest College, offered the arriving audience a lecture on the musical selections on the program: Brahm’s Violin Concerto in D major,
Opus 77, and Dvořák’s Symphony No. 6 in D Major, Opus 60. In describing the latter piece Mr. Black advised the audience that Dvořák’s approach to composition demonstrated the composer’s keen awareness that “…both joy and sadness are part of the human condition.” That caution not withstanding, I think it is safe to say that when conductor, Hans Graf, lifted his baton to start the program, he would begin a night of pure joy for the audience.

No small part of that joy would be the breathtaking performance of world-renowned violinist, James Ehnes, during the Brahm’s Violin Concerto. Adding to the excitement was the instrument played by the handsome soloist. It was no ordinary violin, but rather a
priceless 1715 Stradivarius. During the 1st movement’s Allegro non troppo, as Ehnes’ flawless technique combined with the incredible purity of sound from the instrument, it was quickly evident the violin had fallen into perfect hands. Positioned very close to each other on the stage, the smooth, arm-waving motions of the conductor and violinist seemed to form a kind of delicate dance to accompany the music. The majestic sweep of the orchestra beautifully echoed the themes introduced by the soloist, and there was a feast of excellence from the orchestra’s strings. During the symphony’s purely solo moments it was fascinating to watch the fellow musicians as they intently gazed at the young star with deserved and reverential respect for his dazzling and truly athletic skill.

The Second Movement’s Adagio offered moments of gentle and seductive retreat from the vigorous climax of the First Movement. Finally, there came the thrilling intensity of the much more familiar Allegro giocoso, ma non troppo vivace of the Third Movement,
and Ehnes closed with still more racing precision, dazzling fingering and smiling confidence. The audience erupted with appreciative cheers and applause, and during the intermission Woodlands resident, Albert McCoy, expressed amazement as to how Ehnes could perform such a monumental work entirely from memory. I echo that astonishment.

When maestro Graf returned to the podium it was time for the evening’s other offering, the Dvořák Symphony No. 6. Another showcase for strings it had the orchestra’s first violinist beaming with joy at the outset. The opening Allegro non tanto begins with proud elegance and moves on to pulsing escalations and the thrilling entry of the brass. Subtle
variations seemed always to return to the commanding power of the strings and the crowning glory of the brass approaching the powerful excitement of the movement’s conclusion. The Second Movement’s Adagio had a tenderly regal opening and an atmosphere of calm in its gently rolling majesty. The Third Movement’s Scherzo provided lashing excitement that reached fever pitch and sweeping grandeur at times, and then receded like gentle waves of the sea. The final movement’s Finale fully displayed the orchestra’s sharp collective unity under the watchful eye of conductor, Graf, who was clearly ever attentive to every section of his fine orchestra as he guided them to the thrilling climax. I recall that during Ira Black’s opening remarks he had stated his belief that, “The Houston Symphony is the only team that always has a winning season.” How right he was!

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Mime and Merriment From Le CIRQUE DE LÉGUME

Posted on September 22, 2011 by

Attention Dear Readers: Have you been getting your recommended servings of fresh vegetables each day? If not, you may want to hurry over to the 59E59 Theaters for one of the final amusing performances of CIRQUE DE LÉGUME. As the name suggests it
is a bit of a circus, at least to the extent that there is plenty of clowning around from the two clever stars, Jaimie Carswell and Nancy Trotter Landry, with cheerful direction from Pablo Ibarluzea. The show runs just under an hour with no intermission and would, I believe, be absolutely marvelous for children, though sadly none were present at the evening performance I attended. I can just imagine the charming impact children’s joyful laughter would add to the event. That did not prevent the adults in the audience from having a very unusual and jolly good time.

Playing on an essentially bare stage with just some rosy crimson lighting and a small chair mid-stage, the nonsense begins with a flourish as the performers arrive to the fanfare of
music typical of the Big Top. In fact an eclectic program of varied merry music from cha-cha, to mambo, to jazz and beyond would add to the fun of the numerous comic routines performed. As one may have guessed from the show’s title, vegetables share the stage with our stars, and before the show is over I can tell you there will be vegetables all over that stage. How that happens is central to the fun.

Perhaps the fun really begins with the silly costumes (designer, Amy O’Hara) of our two clowns, each wearing the requisite red clown nose as they arrive with arms flailing frantically to address the audience in booming ringmaster tones with, “Ladies and Gentlemen…” For the Chaplinesque Mr. Carswell there is a dusty tuxedo and tight black felt hat that would have been perfect for Clem Kadiddlehopper, while Ms. Landry wears a comical assemblage of hugely puffed sleeves and pantaloons of shiny emerald green that seemed to have been borrowed from the Land of Oz. At the outset the two confront the audience with bulging eyes and an extended silent gaze that seemed at first overlong, but soon made clear that all normal rules would be off during this comic free-for-all. Of course the comedy would always revolve around vegetables. A head of lettuce becomes a feisty and well-trained dog named Dusty that will sit, roll over, play dead and do high jumps just to earn his carrot rewards. Carswell follows with his hilarious impression of a proud and snorting “Horse of Spain,” that is whipped into shape by Landry using two very large leeks for discipline. It was a high-energy riot with the horse prancing and neighing wildly during each trick, followed by the players alternately coaxing audience applause exclaiming, “How ’bout that?!”

Then came the mysterious and exotic unveiling of a brown velvet case containing “sharp knives.” Well, not really. The “knives” were actually hot red peppers and there is plenty of fun to follow with them being used in knife-throwing displays. Then there is cucumber fun that features cartwheels and handstands; but one of my favorite segments was the hypnotizing of Landry as Carswell swings a dangling small vegetable in front of her. Under hypnosis she suddenly (and very convincingly) becomes a bird, a goat and a mouse. Her impression of a waddling seal is another winner, and the two combine their antics for a kind of innocently seductive striptease show in the peeling of an onion.

Now for some this may be too much of a good thing in the confines of a theater. I imagine if Ed Sullivan were alive he would have enthusiastically given the routines about ten minutes on his television program. Already a hit at last year’s Edinburgh Fringe Festival, I think The Independent of London very well described CIRQUE DE LÉGUME when it used the words, “Creative Lunacy!” Why not stop by and see for yourself? Oh, and by all means bring the kids along!

CIRQUE DE LÉGUME continues through October 2nd. The performance schedule is Tuesday, Wednesday, Thursday & Sunday at 7:30 PM; Friday – Saturday at 8:30 PM; and matinees Saturday at 2:30 & Sunday at 3:30 PM. Performances are at 59E59 Theaters, 59 East 59th Street, between Park and Madison Avenues. Tickets are $25 ($17.50 for 59E59 Members) with Sunday evening performances for $15.00. To purchase tickets, call Ticket Central at (212) 279-4200 or visit www.59e59.org.

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At Crighton: Comedy Will Fly Even If Mama Won’t

Posted on September 17, 2011 by

Catherine Anderson, Martha Davis and Melody Montez PHOTO: Courtesy of Stage Right Players

[NOTE: All photos by Nikie Brown of WishNik Photography]

Attention all Montgomery County area fans of wacky, far-fetched and very silly comedy. Your time has come with the Stage Right Players’ current production of the brand new Jessie Jones / Nicholas Hope / Jamie Wooten play, Mama Won’t Fly, now premiering at the Crighton Theatre with merry direction from Carolyn Corsano Wong. If you are ready to separate from your serious side and have plenty of laughs, this may be just what you have been waiting for. Even with a few dry spells amid the comedy, there is plenty of down-home hilarity to keep this cross-country road trip rolling.

I mention a road trip because, as you may have already guessed, Mama (Martha Davis as Norleen Sprunt) won’t fly! That causes problems when her son in California is about to get married and she needs to get quickly to the West Coast. The job of getting her there by car falls to her feisty daughter, Savannah (Melody Montez), and it is no easy task because Mama is, to say the least, a handful. Miss Davis does a fine job of giving us a Mama who is
a master manipulator when it comes to getting her own way in the frequent hilarious clashes with her daughter. Don’t think Savannah will surrender without a fight, and adding to the mayhem is the ditzy bride-to-be, Hayley (Catherine Anderson), who as it happens will join the two for the cross-country drive so she can get to know her new family. Fasten your belly laugh seatbelts!

They travel from Birmingham, Alabama to California squeezed into a tiny center-stage car. (Set designs by Ms. Wong and Katt Gilcrease are humorously moved about by purposely visible stage hand, Patrick Slagle). Along the way we meet an abundance of nutty characters, with many actors playing multiple roles that include friend, Tanya (Crys McClure), Denton the auto mechanic (Gerald Livingston), and elderly Essie, (Marcia Feldt Bates) who runs the hilarious Foundation Undergarments Museum and has antique bras for all occasions! Bates is a riot in several roles that include an angry divorced wife-to-be in Las Vegas, and a senile and wheel chair bound old woman

Aunt Ardale (Amy Sowers) and Great Aunt Pawnee (Marcia Feldt Bates). PHOTO: Courtesy of Stage Right Players

named Great Aunt Pawnee who shows affection by giving you a slap. Out west we meet some of the redneck members of the Sprunt family with Aunt Rema Jean (Katie Kelly), Aunt Ardale (Amy Sowers), dense Cousin Chicken (Michael Raabe), and loony Uncle Ferd (Gerald Livingston)

Savannah 'dancing' with Uncle Ferd (Gerald Livingston). PHOTO: Courtesy of Stage Right Players

who raises clothing clashes to a whole new level with his loud plaid pants (one of many comical costumes from designer, Kathleen Zaritski. Don’t miss Savannah’s homemade square dance outfit.)

Mitch (Steve Murphree) tells the girls a joke in his cowboy bar PHOTO: Courtesy Stage Right Players

When the trio stops at an Irish – Cowboy bar run by feuding brothers Mitch (Steve Murphree is the cowboy) and Mickey (feisty Irish fun from Quint Bishop), we meet barroom lush, Juliette (another role for Sowers). Edweena (Ms. McClure) and Fanny (Ms. Kelly) are dowdy marching prohibitionists

Katie Kelly and Crys McClure PHOTO : Courtesy of Stage Right Players

who want the bar shut down, but they think better of it and decide to have a drink. Officer Dugger (Mr. Raabe) has comical Smokey and the Bandit swagger as he pulls the gals over on the highway.

Officer Dugger (Michael Raabe) being used as a scratching post PHOTO: Courtesy Stage Right Players

Hitchhiking lands these ladies in an eighteen-wheeler with a real redneck and an uproarious performance from Mr. Gilcrease.

On a wild ride with Red (Katt Gilcrease). Photo: Courtesy of Stage Right Players

Then, in the aforementioned Las Vegas scene, impulsive Kiki (Miss McClure) is about to marry Ron, (Mr. Bishop) the man she met last night, but who, it turns out, is still married to Sylvia (Miss Bates). Dressed like a feathered bluebird and presiding hilariously over the ceremony is Teeta (Ms. Sowers), as the “only ordained showgirl minister.” The gals do finally get out to the coast and zany hotel host, Kelvin (Patrick Slagle), is ready to greet them.

The Royal Flush Discount Wedding Chapel-Crys McClure, Quint Bishop, Amy Sowers.

But have I mentioned that all through the trip Savannah has lamented her lost love, Spud (Mr. Gilcrease again), the man she almost married years before? Well Spud turns up too, but for the fun of what happens then you will have to buy a ticket.

MAMA WON’T FLY continues at Conroe’s Crighton Theatre through September 25th with performances Fridays and Saturdays at 8pm and Sunday matinees at 2pm. For tickets ($12 / $15 / $17) and information call 936-441-SHOW or visit the website at www.stage-right.org

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Brilliant Houston Ballet Opening Saves Least ’til Last

Posted on September 15, 2011 by

Dancer(s): Karina Gonzalez, Joseph Walsh, Artists of Houston Ballet PHOTO: Amitava Sarkar

No doubt about it, it was an evening of stunning dance as the Houston Ballet opened its season with, “Return of the Masters,” last Thursday night at the Brown Theatre of the Wortham Center. In part at least, the program offered one of the most exquisitely memorable ballet offerings that I have ever seen. I should begin with that sequence as it was the first ballet of the three on the bill, but I hope readers would bear with me as I feel the company erred in the ordering of its program. I will save best things for last, and truthfully, I wish Houston Ballet had done the same. Allow me then to describe the program in reverse order of presentation.

Gustav Mahler’s symphony, Song of the Earth (“Das Lied von der Erde”), was composed during 1908-09 and first publicly performed in Munich in 1911. A half century later Kenneth MacMillan proposed choreographing the piece for The Royal Ballet, but finally had his opportunity to do so with the Stuttgart Ballet in 1965. That is the work with which Houston Ballet is closing this current three-part program. Mahler’s music needs no endorsement from this critic to assure its status as a classic, but it is not for the lighthearted listener with its somewhat heavy and serious aspects perhaps more suited to equally serious followers of classical music. The symphony, beautifully performed here
by the Houston Ballet Orchestra under the baton of Ermanno Florio, is enriched by Mahler’s inclusion of two soloists. In this case we have the impressive talents of mezzo-soprano, Susanne Mentzer, and tenor, Russell Thomas. Singing from opposite sides of the stage in the original German, they alternately accompany the dancers as Mahler’s six songs tell the story of what MacMillan described as, “A man and a woman; death takes the man; they both return to her and at the end of the ballet, we find that in death there is the promise of renewal.” The performance I attended featured Danielle Rowe as The Woman,
Linnar Looris as The Man, and Connor Walsh as the masked Messenger of Death. All danced superbly with wonderful support from the fine ballet company (Repetiteur: Grant Coyle), but it is understandable why noted dance critic, Jann Parry recently reflected in Playbill that the choreography was at first, “…awkward for the Stuttgart dancers, until they adjusted to the parallel positions, flat-footed steps and tilted torsos. The women’s arms are often angled at the elbows and wrists…” Audiences should be prepared to adjust as well, as this is certainly not the type of grace one associates with more traditional ballets. Also problematic are the essentially bare stage and colorless costumes consisting of dance rehearsal tights and T-shirts for the men and basic tunics for the women, and all this in a work that runs more than an hour. The experience of tedium will be a possibility for some viewers. Upon leaving the theatre, a delightful elderly couple joined my guest and I in the
parking lot elevator. “Mahler makes me so tired,” she said. “Too long, and too slow,” he replied. Perhaps that was why an enormous portion of the audience stood up rudely during the curtain call and headed for the exits.

Sara Webb & Connor Walsh PHOTO: Amitava Sarkar

The ballet’s second offering, In the Night, was beautifully set to the music of Chopin’s Piano Nocturnes, Opus 27, No.1; Opus 55, Nos.1 and 2; and Opus 9, No.2. (Katherine Burkwall-Ciscon was pianist). Aptly described in the program as, “…portraying the relationships of three couples evoking moods ranging from romantic serenity to agitation and aggression,” the work featured the brilliant dance pairs of Sara Webb & Connor Walsh, Melissa Hough & Simon Ball, and Amy Fote & James Gotesky.

Melissa Hough & Simon Ball PHOTO: Amitava Sarkar

Amid the soft lighting design of Jennifer Tipton (recreated here by Nicole Pearce), and with the airy and colorful costumes of designer, Anthony Dowell, all danced divinely.

Finally, in the view of this critic, the piece de resistance for the evening was the marvelous 1937 ballet, Les Patineurs, choreographed by Sir Frederick Ashton, to the music of Giacomo Meyerbeer, with the original Constant Lambert arrangements and orchestrations conducted here for the Houston Ballet Orchestra by Ermanno Florio. The charming scenic and colorful costume designs of William Chappell, the gay lighting designs of Christina R. Giannelli, and the magnificent staging of Hilary Cartwright all combined to capture a lovely winter scene surrounding an ice pond amid a snowy forest.

Amy Fote, Jun Shuang Huang PHOTO: Amitava Sarkar

The resulting vision made this a picture perfect offering that will linger long in memory, and I would suggest the ballet become a holiday perennial right alongside The Nutcracker. Better still was the exquisite dancing of the members of this large cast in a ballet that depicts them all as ice skaters gliding on the pond. Joseph Walsh beamed with playful joy and a commanding talent in the central role of the skating Boy in Blue. Each of the several vignettes was a delight with Karina Gonzalez & Allison Miller portraying the Girls in Blue, Amy Fote & Jun Shuang Huang as The Lovers, and Kelly Meyernick & Jessica Collado as The Friends.

Joseph Walsh, Artists of the Houston Ballet PHOTO: Amitava Sarkar

A cheerful cast of four skating couples looked a bit like gaily decorated gingerbread cookies in their pretty rust brown costumes, and those dancers included Aria Alekzander, Madison Morris, Jordan Reed, Natalie Varnum, William Newton, Aaron Sharratt, Garrett Smith and Brian Waldrep. As a very convincing onstage snowstorm concluded the piece, the audience appeared to be beaming with joy as much as the talented performers. This was the big finish— or it should have been!

HOUSTON BALLET’S “Return of the Masters” will be performed at 7:30 p.m. on September 16th & 17th, 2011 and at 2:00 p.m. on September 18, 2011 with all performances in the Brown Theater at the Wortham Center, 501 Texas Avenue in downtown Houston. TICKETS: Start at $18. Call (713) 227 ARTS or 1 800 828 ARTS. Tickets are also available at www.houstonballet.org

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Great Voices Sabotaged in Pavilion’s POPERAZZI

Posted on September 14, 2011 by

POPERAZZI -- Photo: Courtesy of the Houston Symphony

At the Cynthia Woods Mitchell Pavilion September began with a night of delightful Italian musical classics, and to be honest, the night would end with a cheering audience expressing its enthusiastic satisfaction. This was the Houston Symphony’s concert featuring guest vocalists, POPERAZZI. Founder, George DeMott, formed this talented trio in 2009, and the group is well known in Las Vegas and beyond. Their wide vocal range and extensive musical repertoire of “all things Italian,” would be on impressive display this
night. But wait; —- there was a problem that may have been overlooked by many. Specifically, the splendid voices of Mr. DeMott, Cody Shawn Gay, and Janien Valentine were to be so viciously over-amplified during the evening that at many points in the program audio distortion was the modus operandi. What on earth were the sound engineers thinking? With free mezzanine and lawn seating (sponsored by Woodforest National Bank and KPMG, LLP), and additional sponsorships from Houston Family Magazine and CultureMap, this over-amplification was an especially sad circumstance as the large audience included many who had probably never before enjoyed performances at the Houston Grand Opera or “The Met” in New York, where back in the 1960’s I first had the thrill of hearing world-class singers right on the stage in front of me. In this age of routinely blaring rock concerts, it is pathetic to think of the many Pavilion audience members who missed this opportunity to hear what pure vocal excellence could really sound like. In my opinion, these three artists could have stepped away from microphones during some of the selections and been heard quite well at the top of the lawn.

 On a happier note, sound levels for the superb orchestra itself were very well managed, and one would expect no less under the fine musical direction of jocular Michael Krajewski, looking summer-crisp and cool in his white shirt. With just soft rainbow lighting as a stage backdrop the orchestra began with the immediate and pulsing thrills of R. Wendel’s arrangement, “Balli il Tarantella.” It was merry and joyful with playful accents from brass, woodwinds, and percussion, all neatly wrapped in the sound of the rich and mellow strings.

(L-R) George DeMott, Janien Valentine, Cody Shawn Gay PHOTO: Courtesy of The Cynthia Woods Mitchell Pavilion

The talented trio appeared next to perform Verdi’s lusty and joyous “Drinking Song,” from La Traviata. Miss Valentine was in elegant voice (and equally elegant attire with her exquisite ink-blue satin gown) as she joined the gents in what could have been a sublime performance but for the aforementioned audio problems. Her delicately soaring rendition of Puccini’s “O mio babbino caro” from Gianni Schicchi suffered the same fate. With
authoritative power and focused intensity, DeMott stepped forward next for a thrilling, “Salute to the Italian Tenor,” that featured many numbers associated with the late, great, Luciano Pavarotti.

 Next, with resounding brass a highlight, the orchestra offered the galloping delights and racing excitement of Rossini’s “Largo al factotum,” from The Barber of Seville. Krajewski introduced the piece by mentioning it would be familiar to many from Woody Woodpecker cartoons, but I heard an audience member near me say, “He’s wrong about that. It was Bugs Bunny.” Our three stars returned to the stage with lashing vocal power for a traditional favorite, “Funiculì-Funniculà.” The orchestra followed with Barton’s romantic arrangement of the old Dean Martin standard, “Volare,” that began with a sweeping waltz tempo for a summer evening, and then shifted tempos, styles and rhythms as it delightfully evolved into another Martin favorite, “That’s Amore.”

 Dressed in a rich, rose-red dress and sexy matching scarf, Valentine then returned as seductress for a playful performance of, “Be Italian,” from the musical, Nine, with still more shrieking volume that even muddied the lyrics. But there were no audio problems when the orchestra superbly played the Rota/Prechel arrangement of Music from “The Godfather.”

Mr. Gay then took center stage for a tribute to Old Blue Eyes. Titled “Sinatra Suite,” it featured snatches of such hits as, “I’ve Got You Under My Skin,” “Fly Me to the Moon,” and “I Did It My Way.” While a passable performance, it offered new reasons to reflect on the unique subtleties of Sinatra’s vocal technique and cool delivery that allowed many of us guys to foolishly think, “I could do that.”

For the final set the formally dressed trio found Miss Valentine attired in a glittering burgundy dress overlaid with sequined lace as the three began with a medley titled, “Singing Italian Songs,” that featured some lightweight choreography that was neither memorable nor offensive. The next medley featured popular Jersey Boys selections like the hand-clapper, “Oh, What a Night,” but there was perhaps a bit too much in the way of cutesy (and probably exhausting) stage antics from the three principals. There was even a bit of jitterbugging from the energetic cast during Louis Prima’s fun-filled, “Jump Jive Boogie Woogie.” Then it was clearly “Time to Say Good-bye,” with the serene encore of “Con te partirò,” familiar to many from the world-wide hit performed by Andrea Bocelli & Sarah Brightman.

The Houston Symphony will close its summer season at the Cynthia Woods Mitchell Pavilion with a performance of “Brahm’s Violin Concerto” on Thursday September 15, 2011 at 8 pm. Mezzanine and lawn seating will again be complimentary. For tickets call 800-745-3000 or visit any Ticketmaster outlet.

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The Sound of Success at the Owen Theatre

Posted on September 11, 2011 by

Crighton Players in THE SOUND OF MUSIC Photo: Brad Meyer

The case can certainly be made that a vibrant local theatre can be central to a vibrant community. That is perhaps never truer than in the ever-improving city of Conroe, Texas. With the Stage Right Players and a wide variety of other performing arts offerings at the historic Crighton Theatre, the arts have been firmly anchored in Conroe for years. More recently, with the addition of the newer Owen Theatre just across the street, the Crighton Players theatre season has greatly expanded the entertainment possibilities
for Montgomery County residents. With some forty-five years of experience to back them up, the Crighton Players’ offered a perfect example of that enrichment with their most recent offering, Rodgers & Hammerstein’s, The Sound of Music.

Gifted director, Marty Craig, has done it again by bringing together a huge cast of more than thirty actors, and a production and orchestra staff of more than forty members. This enormous involvement of so many in the community comes across the footlights with the clear sense that those onstage and backstage truly combine with the audience to form one big happy family. That helps to explain the excited buzz that filled the theater just before
curtain time. Craig has a magical way of managing all this with such skill that rather than having to run around backstage with last minute details before the final performance last Sunday afternoon, she was, instead, relaxed and serene out in the lobby where she could cheerfully greet arriving guests. But she very justifiably gives much credit to her assistant director, Becky Teague, musical director, Dave Englert and vocal coach, Kerri Edwards. The proof was in the pudding.

A Time For Prayer PHOTO: Brad Meyer

The joy of this production began as candlelit procession of the nuns approached the stage through the audience while singing the very beautiful, “Preludium.” Their lovely voices and comic flair were such keys to the success of this production that I feel compelled to list the actors including Amy Bogan, Laura Conner, Kim Lambright, Becca Fleming, Wendi Sims, Delma Talley, Marilyn Lewellen, Terry Woods, Sara Soland, and above all, (no
heavenly pun intended), Kerri Edwards as the Mother Abbess. Her voice of pure gold would be most evident later in her soaring, “Climb Every Mountain.”

Alexandra Casey as Maria PHOTO: Brad Meyer

The well-known story (based in fact) tells of young Maria (a radiant Alexandra Casey), the troublesome postulant at an Austrian abbey who is sent off by the nuns to be governess for the children of widower, Captain Von Trapp (Creg Kelly). Casting of these children resulted in a superbly talented group including Katja Yanko (Liesl), Robbie Yanko (Friedrich), Payton Russell (Louisa), Ian Reina (Kurt), Shelby Lambright (as precocious Brigitta), McKaylie Self (Marta), and Macie Self (as little Gretl). With Miss Casey leading the way, the children sang sweet numbers like, “Do Re Mi,” “The Lonely Goatherd,” “So Long Farewell,” and “The Sound of Music.” It was as if to hear the very angels in our midst. Jodie Schrier neatly choreographed many of their numbers, while Lynn Peverill designed the show’s lovely costumes.

Jordan McLaughlin & Katja Yanko

With the plot turning to the Anschlussannexation of Austria by Nazi Germany in 1938, we meet young Rolf (Jordan McLaughlin), a Nazi courier and love interest for fellow teen, Liesl. Their darling duet of “Sixteen Going on Seventeen” was yet another show highlight.

(L-R) Angelie De Los Santos, Gil Guillory, Creg Kelly PHOTO: Brad Meyer

Meanwhile, the flirtatious Baroness Schraeder (Angelie De Los Santos) has eyes for the
Captain, while her animated friend Max (Gil Guillory) is more interested in starring the children in the Salzburg Music Festival contest. The two pair for a breezy duet of, “No Way To Stop It,” and the Captain joins them. Set designers, Ron Craig & Wes Bush, created an elegant interior for Captain von Trapp’s villa, where the officious housekeeper, Frau
Schmidt (Donetta Ingling) keeps things in order. There were various other compact and effective center stage sets that could be easily moved about. The lighting designs of Roger Ormiston, and sound designs of Mike Ragan nicely complemented the scenes. The only confusion seemed to come near the end of Act One when lighting and timing caused many in the audience to rise thinking the Intermission had begun just as Miss Edwards was about to perform the aforementioned, “Climb Every Mountain.”

Act Two delights included the children’s charming performance at the festival, lightened deliciously by an amusing bit with Miss Lewellen and Miss Talley as the hilarious Schweiger Sisters, runners-up in the contest. Then too, there was the charming, “An Ordinary Couple” duet from Maria and the Captain, more treats from the nuns, (“Maria,” “Gadeamus Domino,” “Confitemini”), the lovely wedding scene for Maria and the Captain, and his tender, “Edelweiss,” (clearly the best vocal moment for Mr. Kelly), as the family surrounded him in song for that Austrian National Anthem while the Nazis advanced. It was a moment to reflect on how fortunate we are to live in a free country where theatre can still comment on political evil without risk.

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