TOMMY TUNE AWARDS: Young Actors Shine As Two Head For Broadway

Posted on April 19, 2012 by

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 10th 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 3rd 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.”

Both she and Mr. Cohen will now go on to Broadway as their reward for winning top honors here. With TUTS paying all expenses, they will participate in the National High School Musical Theater Awards and compete for the coveted 2012 Jimmy™ Awards to be presented at the Minskoff Theatre in New York on June 25th. I hope to attend.

———————————————————————————

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).

Posted in Broadway, BroadwayStars.com, HERE HOUSTON-Lifestyle & Entertainment, HERE Lifestyle & Entertainment, Houston Community Newspaers online, Miscellaneous Reviews, The Courier Columns, The Villager Columns, Theater Reviews, ThePeoplesCritic.com | Tagged , , , , , , , , , , , | Leave a comment

Audience Takes Flight For Stunning “COME FLY AWAY”

Posted on April 12, 2012 by

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 15th 2012 at the Houston Hobby Center. For tickets and information call 800-982-ARTS or visit the website at www.BroadwayAcrossAmerica.com 

Posted in Broadway, BroadwayStars.com, Concert Reviews, Dance Reviews, Houston Community Newspaers online, Miscellaneous Reviews, The Courier Columns, Theater Reviews, ThePeoplesCritic.com | Tagged , , , , , , , , , , , , | Leave a comment

Elderly Couple Steals the Show in Masquerade’s “CABARET”

Posted on April 4, 2012 by

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

Posted in Broadway, BroadwayStars.com, Masquerade Theatre, Miscellaneous Reviews, Nightclubs, Theater Reviews, ThePeoplesCritic.com | Tagged , , , , , , , , , , , | Leave a comment

YTA Gala Undiminished By Weekend Rain

Posted on March 18, 2012 by

Flutist, Gina Choi, YTA Gold Medalist PHOTO: Alan Montgomery

 Conroe_COURIER_3-18-2012

It was a very special night for the Young Texas Artists Music Competition, and long in the planning by the Montgomery County Performing Arts Society. Perhaps in a perfect world the weather last Saturday night might have been perfect as well. But the heavy rains did not frighten YTA Committee Chair, Susie Pokorski, who even managed attendance at a family wedding on the same day. What a trouper! But when all was said and done, it was the music and not the weather that took center stage at the Crighton Theatre for the 2012 edition of the annual Entergy Finalists Concert and Awards. This year’s event began in a special way with a pre-concert fund raising dinner under a grand tented pavilion erected directly in front of the theater on North Main Street. With a real Texas theme of Bach, Beethoven & Barbecue, and hard-working Shirley and Lee Pruitt serving as co-chairs, the dinner featured not only tasty barbecue with all the trimmings, but also a hot “baked potato casserole” that was as delicious as it was unusual. Texans Barbecue and Catering in Willis supplied the fine food, and of course there was plenty of wine and beer on hand for the guests to wash it all down while Lyn Howard led a lively auction. An added bonus found my guest and I seated for dinner with the always fascinating columnist, Peggie Miller, Montgomery County’s real voice of the performing arts.

Then it was on to the excitement of the YTA final competition in the elegant Crighton Theatre.

Emcee, Chris Johnson
Courtesy Photo- KUHF-FM 91.7

Chris Johnson, genial host of Houston Public Radio’s The Afternoon Concert (Classical 91.7FM), once again served with charm and wit as Master of Ceremonies, while Emelyne Bingham, Young Texas Artists artistic director, brought together an impressive panel of judges for the competition. Jurors were Joan Kwuon, Cleveland Institute of Music; Miyoko Lotto, Manhattan School of Music; Eric Mitchko, North Carolina Opera; and Becky Tobin, Houston Chamber Choir.

Cellist, Lachezar Kostov, was the first contestant as he offered a tour de force performance of Prokofiev’s Sinfonia Concertante for Cello & Orchestra. With his straight hair flying about his head, his impressive virtuosity produced rich tones, humorous variations, and an extraordinary finale of great technical difficulty. He was rewarded with the Silver Medal in the Strings Division. Dressed in an elegant tuxedo, and exhibiting considerable comic flair, baritone, Noel Bouley, brought a lusty and resounding voice and a bit of devilish glee to his fine performance of Mozart’s “Madamina! Il catalogo e questo,” and was rewarded with the Silver Medal in the Voice category. Matthew Moore dazzled the audience with a stunning marimba performance of Kevin Bobo’s, “Uphill Downhill,” that created a spider web of gentle mystery, as he seemed to fly up and down the instrument creating rich and haunting tones. His reward would be the Silver Medal for the Winds, Brass, Percussion, Harp and Guitar Division.

Dazzling as well was the performance of Chopin’s Piano Concerto No.2 in f minor by Hui-Shan Chin. In a lush burgundy gown, and with slender arms full of power, she offered a focused intensity, stunning control, and seemingly effortless delicacy of touch with hands that appeared to race one another across the keys. Even her pauses were of such perfection they offered music of their own. She would capture the Silver Medal in the Piano category.

The Gold Medals would go to four very worthy artists. In the Voice category the winner was baritone, James D. Rodriquez, for his amusing, thoughtful and theatrical performance of Rossini’s tongue-twisting “Medaglie incomparabile” from Il Viaggio a Reims. In the Winds, Brass, Percussion, Harp and Guitar Division top winner was flutist, Gina Choi. Dressed in a sleek ruby-colored gown, she performed Carl Nielsen’s Concerto for Flute and Orchestra, bringing playful virtuosity to the frequent mood changes of the piece with one moment full of longing and the next full of enchantment. In the Piano Division, Wanting Zhou captured gold performing the final movement of Beethoven’s Piano Concerto No.5 (“The Emperor”). Elegant with long black hair and long black gown, her dazzling fingering was wondrous and her majestic performance displayed an intimacy that made her seem one with the instrument. The audience was suitably impressed and also voted her the Audience Choice Award, which affords her an invitation to perform with the Conroe Symphony Orchestra.

YTA Grand Prize Winner, Coleman Itzkoff PHOTO:DWC Photography

Gold winner in the Strings Division would be cellist, Coleman Itzkoff, for a performance of Elgar’s Concerto in E minor that exhibited pensive intensity, romantic flair, and a proud sense of passion that clearly reached both his fingers and the strings. His success continued when the judges announced his selection as Grand Prize winner in the competition.

An after-party of coffee, dessert and champagne awaited the many guests participating in the pavilion gala. There, along with my guest Kelli Estes, founder of Houston’s annual Lonestar Lyric Theater Festival (www.lonestarlyric.org), it was an added treat to chat at length with the evening’s animated host, Chris Johnson.

A Young Chris Johnson PHOTO: Courtesy KUHF-FM 91.7

At one time a violinist with The  Woodlands Symphony, he amused us with tales of his own failed attempt as a YTA contestant years ago. Better still, when we all headed home, it had stopped raining.

[ For further information about the Young Texas Artists Competition, visit the website at www.YTAMC.com . ]

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Crighton Players Offer Laughter That “You Can Take With You”

Posted on March 16, 2012 by

 Conroe_Courier_3-16-2012

Cristy Campobella (left) and Marilyn Moore PHOTO-Courtesy of Owen Theatre

I’m not much a one for making categorical statements, but let me make an exception. I’m prepared to state categorically that in fifteen years of reviewing local productions I have never laughed as hard in Conroe as I did last weekend when attending the Crighton Players’ performance of You Can’t Take It With You at the Owen Theatre. This hilarious production of the classic Moss Hart & George S. Kaufman comedy was so brilliantly directed by Jim Walker and so flawlessly and comically performed by the large cast of nineteen actors, it left me repeatedly gasping for breath as I roared with laughter. It is safe to say I was not alone in that audience. This show crackles with wit and is really FUNNY with a capital ‘F!’

The charming 1930’s set design and period costumes of Marieda Kilgore beautifully captured the cozy atmosphere of a middle class home of the late depression era, and assorted Big Band selections from the period add to the atmosphere. Soon the set would be filled with the zaniest collection of wacky characters that one could hope for.

Foreground: Terry Lynn Hale, Rear: (L-R) Rick Sellers, Marilyn Moore, Natalie Hernandez, Cristy Campobella, Bob Townsend, John Adair

How Kaufman & Hart ever dreamed up such a set of oddballs is one of the sweet mysteries of the theatrical ages. But thank goodness they did! Take for example the role of mother, Penelope Sycamore (a riotous performance from Marilyn Moore, reminding one of a kind of cross between actresses Estelle Winwood and Jean Stapleton).

Marilyn Moore

Oblivious to most of the nutty things going on around her, and with titles that keep changing, she is endlessly pecking away at her typewriter (it was delivered to the house by mistake) creating what she thinks is the next great American play. Her husband Paul Sycamore (Roger Ormiston) keeps busy in the basement experimenting with new formulas for the manufacturer of fireworks with bumbling help from his assistant, Mr. DePinna (Katt Gilcrease).

(L-R) Cristy Campobella, Katt Gilcrease, Marilyn Moore

These gents do more than their share to keep things wacky.

Meanwhile the Sycamore’s flighty daughter Essie (Critsy Campobella), has been studying ballet with a thoroughly zany Russian teacher named Boris Kolenkhov (Rick Sellers) who escaped to America before the Russian Revolution and worries constantly about Russian politics. According to Boris, Essie is a poor ballet prospect, but at all times she dances endlessly around the house. Her husband, Ed (Mike Ragan) is goofy too, as he spends most of his time at home playing Für Elise and Pomp & Circumstanceon the xylophone, or using his typeset machine to print up little messages for inclusion in boxes of Essie’s homemade “Love Dream” candies that they have for sale. In the role of Grandpa Vanderhof (Penelope’s father), Quint Bishop turns in a solid performance as the eccentric old man who long ago decided to quit the business world and concentrate on doing only the things he enjoys, like throwing darts, attending commencements, and collecting stamps. Oh, by the way, he doesn’t believe in paying taxes and never has.

Quint Bishop (left) and Joe Witcraft

That brought a few cheers from the audience in this election year, but Grandpa has to face the music when stern IRS investigator, Mr. Henderson (Joe Witcraft) arrives at the house.

Dee williams and Rick Sellers

Dee Hughes gives us a terrific performance as the family maid, Rheba, and if she had starred in the recent popular film, “The Help,” she might have won an Academy Award! Jose Arrambide adds to the fun in the role of Rheba’s boyfriend, Donald.

Balancing all this nonsense from crazy characters we have the normal side of things in the person of the Sycamore’s other daughter, sweet Alice Sycamore, in a darling and oh-so-natural performance from lovely Natalie Hernandez. Adding to the charm of her portrayal is that of Alice’s equally charming fiancée, her Wall Street boss’s son and wealthy man about town, Tony Kirby (handsome Bob Townsend with slicked down hair of the period making him look a bit like a good-looking version of Pee Wee Herman).

(L-R) Terry Lynn Hale, Natalie Hernandez, Bob Townsend, John Adair

The two are delightfully sweet together as they confront a problem that brings the plot to a hilarious peak: It is time for Alice to have Tony’s mom and dad over for dinner so they can meet her crazy family. You won’t want to miss what happens then. Tony’s parents, Mr. & Mrs. Kirby, are nicely played by a grand and haughty Terry Lynn Hale (dig that lovely formal gown!), with John Adair in a great turn as her overworked husband, head of his own Wall Street firm. When they arrive in formal attire (and on the wrongnight) for dinner at the Sycamore home, dare I say that all hell breaks loose?

The Drunkard: Carol Haley

Hoping to have her read her new play, Penelope has brought home a drunken actress named Gay Wellington (Carol Haley) that she met on a bus. Meanwhile the IRS agents (Dan Tippen, Jim Murph and Derwin Youngblood) descend on the house and arrest everyone. I won’t tell you how, but everything ends well, and before long yet another nutty character, the ex-Grand Duchess of Russia, Olga Katrina (Susan K. Morrow) is serving everyone delicious blintzes in celebration.

(L-R) Cristy Campobella, Quint Bishop, Roger Ormiston, Katt Gilcrease, Mike Ragan, Susan K. Morrow, Rick Sellers

One final warning: Allow a few days for your laugh muscles to recover!

YOU CAN’T TAKE IT WITH YOU continues through March 25th with performances Fridays and Saturdays at 8 pm and Sunday matinees at 2 pm. For tickets & information call 936-539-4090 or visit the website at www.owentheatre.com

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“Tapestry” Premiere Anchors Houston Ballet’s ROCK, ROLL & TUTUS

Posted on March 14, 2012 by

Ballet:Tapestry
Choreographer:Stanton Welch
Dancer(s):KarinaGonzalez, Connor Walsh, Ian Casady
Photo:Amitava Sarkar

HereHouston.com_3-14-2012

If the title of Houston Ballet’s current production, ROCK, ROLL & TUTUS, seemed a bit silly, the dance artistry displayed on Opening Night certainly was not. The first of the program’s three segments was the World Premiere of company Artistic Director, Stanton Welch’s romantic and visually dramatic ballet, TAPESTRY. Indeed, while the evening’s three ballets would vary widely in style, there did seem to be a collective celebration of love and romance throughout. In the case of Tapestry, the set design produced the dramatic tone with a vast array of vertical, parallel and equi-distant cords set back and running from floor to ceiling and fully across the width of the stage. In the upper reaches of this very linear visual field was another set of intersecting cords running horizontally across the stage and creating a kind of woven web that would frame the dancing as the various performers sometimes emerged from backstage through the cords and sometimes faded back through them to disappear. What happened in between was a showcase of the dance talents of this large company.

It is never difficult to imagine the athleticism and physical strength required by such professional dancers, but in this case we have an additional proof. The male dancers wear tights alone as their uniformly classic physiques are revealed while dancing bare-chested. I need to get back to the gym right away! The lush music of Mozart’s Violin Concerto No. 5 accompanies the work as Ermanno Florio beautifully conducts the Houston Ballet Orchestra and violinist, Denise Tarrant, superbly performs the violin solo. The lovely and sensual dancing is characterized by gentle elegance, vast variety, playful charm and an extraordinary collective delicacy. The stately, regal and bird-like grace of the many ballerina’s slender and undulating arms seemed more striking than ever. There were impressive slow-motion moments, and the aforementioned framing grid effect gave added visual impact to the many beautiful extensions from the dancers. Shadowy golden lighting from designer, Lisa J. Pinkham, and soft, rose-colored costumes for the ladies (designer, Holly Hynes) added to the glow.

The evening’s second offering, ROOSTER was not unknown to local audiences, having had its American & Houston Ballet premiere in May of 1995. The Roosterroster (forgive me) includes dancers Jessica Collado, Ian Casady, Katharine Precourt, Garrett Smith, Kelly Myernick, Ilya Kozadayev, Katelyn May, Christopher Coomer, Melissa Hough and Joseph Walsh who, by the way, had just three days earlier found himself promoted to Principal Dancer in the company.

Ballet:Tapestry 2
Choreographer:Stanton Welch
Dancer(s):Joesph Walsh
Photo:Amitava Sarkar

With the funky and fun-filled choreography of Christopher Bruce and the exciting lighting designs of Tina MacHugh, this ballet is set to a soundtrack of assorted songs from The Rolling Stones that allows a full range of the dancers’ skills to be on display. Costume designer, Marian Bruce, has tipped her hat to London’s 1960’s Carnaby Street fashions by dressing the male dancers in classic “mod” velvet sport jackets & ties of assorted warm colors that might have been seen in that neighborhood back when The Stones were playing there in venues like the legendary Marquee Club. For “Little Red Rooster,” the guys literally strut their stuff, much as a rooster might do during his flirtations with the ladies. With a gaily-prancing quality, the number “Lady Jane,” was a whirling courtship dance backed by sharp dance line designs. “Not Fade Away,” had a thunderous rhythm and a frantic jitterbug quality. “As Tears Go By” had interesting contrasts of stillness and movement. With its high-energy music, “Paint It Black,” had passionate lifts and turns, dramatic flashes of red in the costume designs, and a hint of rejection in its conclusion. For “Ruby Tuesday,” Melissa Hough was both grand and graceful in dancing the part of Ruby in a soft, lush, and ruby-colored gown. The fun of “Play With Fire” resembled an exotic mating dance with a bright red feather boa as its centerpiece.

Ballet:Rooster
Choreographer:Christopher Bruce
Dancer(s):Christopher Coomer and Katelyn May
Photo:Amitava Sarkar

With vivid dancing, and hues as vivid as Metrocolor, the haunting and devilish designs of “Sympathy for the Devil,” seemed a bit like a train coming down the track with its relentlessly repeating musical motif.

Set to the music Georges Bizet’s, L’Arlesienne Suites No. 1& 2, the company’s final offering was another production choreographed by Stanton Welch. First presented by Houston Ballet in 2004, DIVERGENCE is a work in nine movements, each of which profits from the varied lighting designs of Francis Croese. Opening under blood-red lighting, we see the stunning contrast of the darkly silhouetted black tutu designs from Vanessa Leyonhjelm. These amusing dance costumes for the ladies bounce freely and look a bit like large pleated rubber flying saucers. This was a crimson wake-up call with the lead dancers up front during the exciting opening passages of Bizet’s thrilling composition, while members of the ensemble are visible further back in what seems like a ballet class in progress.

Ballet:Divergence
Choreographer:Stanton Welch
Dancer(s):NozomiIijima and Jim Nowakowski
Photo:Amitava Sarkar

A lavender colored second movement brings renewed calmness and lush romance with the seductive Pas de Trois from Danielle Rowe, Linnar Looris & James Gotesky. Another segment has a golden glow as three of our ballerinas creep out onto the stage like low-lying spiders and then arise to join the gentlemen in more romantic dancing before finally creeping back off stage as the gents roll away on the floor. There are a variety of other lovely dance sequences, including a rose-colored segment that opens like a ladies’ calisthenics class before its romantic pairings evolve, a blue segment with the gentle waltz quality of a grand ball, and finally the return of the unusual tutus which are quickly pulled free and tossed aside during a dazzling finale. The audience roared its approval. How can I do otherwise after such an elegant evening of dance? Bravo!

ROCK, ROLL & TUTUS continues through Sunday March 18th at the Brown Theater of Houston’s Wortham Theater Center. Performances will be Friday & Saturday at 7:30 pm and Sunday at 2 pm. For tickets & information call 713-522-5538 or visit the website at www.houstonballet.org.

Posted in Dance Reviews, HERE HOUSTON-Lifestyle & Entertainment, Miscellaneous Reviews, Theater Reviews, ThePeoplesCritic.com | Tagged , , , , , , | Leave a comment

And the Winner Is ….THE MUSIC BOX THEATRE !

Posted on March 8, 2012 by

[ CLICK PHOTOS ABOVE TO ENLARGE ]

HereHouston.com_3-8-2012

The hilarious show was called, OSCAR® IN THE BOX, and on a cool, clear Texas night, and under a growing moon, the crowd of customers assembling at The Music Box Theatre was about to have more fun than any televised Academy Awards program could ever provide. The talented resident cast of five (Luke Wrobel, Colton Berry, Cay Taylor, and club founders, Brad Scarborough and wife, Rebekah Dahl) was not hiding backstage waiting for the show to begin. The affable group was out front greeting the customers, working the crowd, shaking hands, and just generally continuing the kind of family atmosphere that is drawing ever-larger crowds to Music Box shows as the word gets around. And then, — it was Showtime!

The fine four-piece band (Glen Sharp, musical director), tipped its hat to Hollywood right away as it struck up an Overture that began with a bluesy “The Way We Were,” and moved on to a twangy, “Diamonds Are A Girls Best Friend.” Then, in a classic black tuxedo, the handsome Mr. Scarborough suddenly arrived center stage amid dramatically shadowy lighting (technical direction, Pat Southard). With his elegant voice he proceeded to knock out a first inning home run with a classy counterpoint arrangement of “Puttin’ On the Ritz,” that featured slick, slow, and jazzy choreography from the ensemble. The show took off like a rocket and never looked back except to lampoon just about every film cliché and song you could think of. Countless movie quotes and memories would abound with such familiar phrases as “Rosebud,” “As God as my witness I’ll never be hungry again,” “I’ll make him an offer he can’t refuse,” “I want to be alone,” “Show me the money,” “Snap out of it!” and “It’s gonna be a bumpy night,” all echoing round the room as the show moves toward a cleverly written series of well-made video movie “trailers,” projected above the stage, and numerous well written comedy sketches, none of which ever interfere with a great series of movie songs, all beautifully sung by this exceptionally talented group of vocalists. This company shows a real gift for separating clever comedy bits from exceptional vocal work and it all comes together beautifully.

One early segment nicely spoofs the James Bond films with the very cool and tuxedoed Scarborough as Bond, during the cast’s dark and cleverly staged slow-motion gun battle, with Colton all the while singing a masterful, “Nobody Does It Better,” on the side. There is more slow-mo and video fun during a Hawaiian surfing segment that features a silly dance contest, a great takeoff on the West Side Story song, “Maria,” and more familiar Hollywood clichés like “Frankly my dear, I don’t give a damn,” and “Love means never having to say you’re sorry. Next, with first-class guitar accompaniment, the lovely Miss Taylor enters a vocally sweet comfort zone for a rich rendition of, “Feels Like Home.” It was great, and I found myself hoping she does not leave the company to take off on a concert tour.

There was Star Wars merriment as Colton appeared as “Yoga” with a spoof of the character, Yoda. And Oh, those long green ears, making him look a bit like a wilting palm tree! Hilarious. There would be more space films before the night ended, and Colton would be a riot once more playing ET with a perfectly extended forefinger. Outer space themes provoked an appropriately noisy rap version of “Swinging on a Star.” A show highlight followed with Mr. Wrobel doing a great turn as The Godfather that was full of fun with lines like, “Stand up in the presence of Don Cortisone!” as the Godfather prepares for the marriage of his daughter, Mary Nara. He barks orders at his gangsters with lines like, “Lefty, you and Righty will leave in the morning!” But beyond the nonsense, Wrobel lets go with a hypnotic “As Time Goes By,” while twinkling sparkle lights bathe the audience in a glittering glow. When the Godfather announces, “Fredo, you broke my heart,” poor Fredo is presented with a surprise gift. Can you movie fans guess what it is?

Not to be outdone, Scarborough returns to the stage with a vocal that would have made Roy Orbison proud as Brad sang a terrific “Pretty Woman” that then dramatically shifts gears to become an elegant “Unchained Melody,” all while Dahl looks on adoringly. Then it’s off to an action movie segment with Colton as Kneau Reeves, Luke as Arnold Schwarzenegger, and Taylor as an Angelina Jolie who wants to “adopt six Mongolians.” Soaring above that mirth we have Miss Dahl delivering a showstopper with an electrifying, “I Need A Hero.”

Following intermission there was a prize of future theatre tickets awarded during an audience drawing. I was only disappointed the announcement was not preceded by another Hollywood cliché: “May I have the envelope please?” But that would be the only disappointment as the band began the second act Overture with frisky guitar for the theme from The Pink Panther. Moving to scary movies, the cast reappeared with spooky a cappella humming of the theme from Jaws, and ghostly lighting on their faces as they deliver familiar lines like, “I see dead people.” Then the cast moves on to a tribute to film westerns, and you won’t want to miss the gunfight showdown between Brad and Colton, and the resulting trio of “Man of Constant Sorrow,” that results when indian chief, Luke, enters the mix.

There would be a segment for films of  heartbreak such as “Love Story,” and “An Affair to Remember,” but there is always enough humor to keep our hearts from breaking. Eventually the show works its way around to a stunning, “The Man That Got Away,” from Dahl. With the focus fully upon her and just a tinkling piano for accompaniment, she’s not doing Judy Garland here, she’s doing Rebekah Dahl, and she’s doing it really well. It was thrilling!  And speaking of thrilling, don’t miss Taylor’s delicate, and warmly whispered, “Moon River.” It’s a knockout as Dahl and husband Scarborough dance romantically center stage.

A clever “Wizard of Oz” twist wraps things up nicely as Brad awakens with the cast hovering over him. “It wasn’t a dream!” he protests. “It was a real place. But we’re home now, and this is our theatre, and I’ll never leave here ever again!”

That sounds like a good plan to me.

OSCAR® IN THE BOX continues through April 28th with performances Fridays & Saturdays at 8 pm and Sunday matinees at 2 pm, all at the Music Box Theatre, 2623 Colquitt, Houston, Texas. For tickets & information call 713-522-7722. Next Up at the Music Box: A spoof of summer travel will be titled, “Travelsty” and runs from May 4th – August 5th.

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