Music Box Fulfills its Promise to KEEP IT BRASSY

Posted on September 24, 2018 by

By DAVID DOW BENTLEY III       www.ThePeoplesCritic.com

The talented cast on stage at Houston’s popular nightclub, THE MUSIC BOX THEATRE, included most of “the usual suspects,” minus cast regular, Cay Taylor, who was out of town. Joining performers Brad Scarborough, Rebecca Dahl, Kristina Sullivan & Luke Wrobel, gifted trumpet player, Vaughan Pedersen, and equally talented trombonist, Louis Sanchez, would share the stage spotlight throughout the evening in keeping with the show’s title promise to KEEP IT BRASSY. This was actually the second edition of last year’s success with the same title, a show that helped cheer weary Houstonians through the aftermath of Hurricane Harvey. As usual, gifted Music Director, Glenn Sharp, would preside over his talented G-Sharp Band that includes Mark McCain on lead guitar, Long Le on bass guitar, James Metcalfe on percussion and Michael Adamcik on reeds, with Pat Southard as Technical Director.

Launched by the rich, resonant voice of Mr. Wrobel, the group’s powerful opening sequence paid rousing tribute to the music of the band, Chicago. Next, Wrobel was vocally ferocious when he lashed out with the song, “Vehicle” by Ides of March. There would be the usual playful cast banter between numbers, and then it was on to Kristina’s tribute to women about to lose their partners to the football season as she sang the Etta James number, “I’d Rather Be Blind.” Then it was on to the hand-clapping fun of the Amy Winehouse tune, “Rehab,” in the capable hands of wide-eyed Rebecca, as her sensuous moves were amusingly echoed by the grinding gyrations of the guys clowning behind her. Brad was then more serious as he had an irresistible homerun with the confident command of his piercing version of Billy Joel’s 1983 hit, “Tell Her About It.”

LUKE WROBEL recalls Sinatra with, “Don’t Worry ‘Bout Me.”
PHOTO: Courtesy of The People’s Critic

For a real change of pace, Wrobel offered a warm, seductive embrace with his tender rendition (Skillfully sung in French) of Edith Piaf’s, “La Vie En Rose.” Mr. Pederson complemented the number with a fabulous trumpet tribute to the immortal, Louis Armstrong, calling to mind a night long ago when I had a front row seat for a Satchmo performance as a student at the University of Texas. The musical merriment continued when Rebecca delivered the Louis Prima hit of, “Just a Gigolo,” amid some echoing refrains from the gang and a terrific saxophone solo from Mr. Adamcik. The jolly accompanying cast high-kick dance line will win no one a position with the Radio City Rockettes. Then Brad leads Billy Joel’s mini musical drama with, “Scenes from an Italian Restaurant,” featuring some atmospheric touches on accordion from Luke. With its little carnival parade, it was a perfect follow-up to the nice meal across the street at Carrabba’s that my friends and I had just enjoyed before the show.

Intermission offered available beer, wine & snacks, and then the band called things back into session with the very brassy Herbie Hancock tune, “Chameleon.” There would be more Act Two delights with Brad’s Ray Charles’ hit, “Hallelujah, I Love Her So,” and a nice pairing of Kristina’s bird-like vocal sweetness and her husband, Luke’s, raspy and convincing Satchmo impression, during Ella Fitzgerald’s memorable, “Dream a Little Dream.” Rebecca and Kristina would bring feisty fun to Patti LaBelle’s “Lady Marmalade,” and Brad would again bring his solid vocal power to Blood, Sweat & Tears’, “You Made Me So Very Happy.” There was plenty more, but somehow those last six words seem to sum up my feelings about The Music Box.

KEEP IT BRASSY 2 continues through October 13th at the Music Box Theater, 2623 Colquitt, Houston, Texas, with 7:30 p.m. performances on Fridays & Saturdays. There will be 2 p.m. matinee on Sunday, October 7th. Reserved seating for all shows is $39 + tax, and General Admission is $29 + tax. For tickets and information call 713-522-7722 or visit the website at www.themusicboxtheater.com, where you can also find information about the upcoming show, BACK TO THE 80’S beginning on October 20th, 2018.

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com E-mail may be directed to ThePeoplesCritic3@gmail.com .

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Posted in BroadwayStars.com, Conroe Courier, Houston Chronicle online, Music Box Theater, Nightclubs, ThePeoplesCritic.com | Tagged , , , , , , , , , , , , , | Leave a comment

SAVANNAH Laughter Rocks the Crighton

Posted on September 20, 2018 by

Cast of THE SAVANNAH SIPPING SOCIETY
(L-R Carolyn Corsano Wong, Martha Davis, Lisa Schofield, & Cheryl Campbell)
PHOTO: All photos by David Clements & DWC Photography.
[Click any photo to enlarge]

By DAVID DOW BENTLEY III

www.ThePeoplesCritic.com

It’s hard to believe that STAGE RIGHT PRODUCTIONS has just completed its first decade as the resident company in Montgomery County’s crown jewel, the historic and beautiful Crighton Theatre. But if the current production opening the 11th season is any indication, the next ten years look to be a rollicking good time. The play in question is the uproarious comedy, “The Savannah Sipping Society”, by Jessie Jones, Nicholas Hope, & Jamie Wooten.

DIRECTOR Dinah Mahlman

I confess to a bit of suspicion when Director, Dinah Mahlman, stepped on stage before the curtain with a few words of introduction that promised “a laugh a minute.” Let me tell you, she was not kidding. This show is both adorable and HILARIOUS right out of the gate! I was originally scheduled to review it on its opening weekend, but my flight from New York made that impossible, so I attended last Saturday night. Since this gentle comedy for just four players was not one of Stage Right’s blockbuster musicals with a cast of thousands, I anticipated a moderate-sized audience. WRONG! The house was packed from wall to wall, and without benefit of the kind words I will share with you here. After seeing the show, I realized the crowd must have resulted from not only local media coverage, but perhaps moreover, from an explosive word-of-mouth campaign from delighted audience members who laughed themselves silly the week before. I don’t ever remember laughing that hard for that long at the Crighton, and on the way home in the car afterward, my guest was calling all her girlfriends to urge their future attendance.

What makes all this fun possible? To begin with, we have a cute plot revolving around three mid-life crisis gals who happen to meet at a yoga class that will have you howling. Each has personal issues she is trying to work through, but don’t be frightened off guys. The men in the audience were laughing just as hard as the ladies.

Role Playing to combat stress

First we have Randa (a beaming Carolyn Corsano Wong, who brightens any stage). Company downsizing has found Randa abruptly fired from a job she loved in the business world, and replaced by a “3o year-old twit who wears bow ties!” Then there’s Dot (Martha Davis), who’s still struggling to come to grips with the death of the husband she had been planning a happy retirement with. She takes some consolation in the fact that, “He has now reached his ideal weight. 4 pounds including the urn!” She goes a step further cautioning the other girls that, “The shivering feeling you get when falling in love is just common sense leaving your body.” Finally we have the bitter, sassy and rowdy, Marlafaye (Lisa Shofield), who’s in a vengeful mood since her husband ran off with a twenty-something dental assistant. Marlafaye’s been suspicious ever since her husband began flossing between meals, and she contemptibly refers to her challenger as, “Little Miss Rinse and Spit.” Tying these characters all together is the arrival of a feisty new gal in town named Jinx (Cheryl Campbell). The real fun gets going when Randa has them all over to her home for cocktails on her lovely patio. (Set Designer, Melissa Cummins, — and if you like the wicker porch furniture you may have the chance to win it by buying a raffle ticket at Intermission). Jinx seems to sense the personal struggles revealed by the others as the wine flows and the very witty script gets rolling. She offers her services as a Life Coach to help her new friends move forward with life. Of course Jinx has had some issues of her own and shares that, “One guy I dated said I never listened to him. At least I think that’s what he said.”

Mojitos after Salsa Dancing

In addition to the abundant crackling wit, the show sports an eclectic and pleasing costume collection ranging from flamenco dresses to hilarious medieval Renaissance Festival garb. (Designer, Debbie LaRue). There is also use of an effective theatrical device supplying more laughs, when during each scene break, one of the characters steps forward into the spotlight and addresses the audience directly.

The Fun-filled Renaissance Adventure

Summing up, these four actresses give remarkable performances that speak very well of the crisp direction from Ms. Mahlman. If there’s one minor problem worth mentioning, the audience laughter is sometimes so uproarious it may drown out the next joke. But in addition to the wit, the play offers occasional bits of wisdom. A couple I recall: “The older you are, the harder it is to jump start a new life,” and how about this one? “It’s been said that the more you complain, the longer you live.” I’m reasonably certain no one will be complaining after attending this show.

THE SAVANNAH SIPPING SOCIETY continues thru September 23rd at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Friday & Saturday, with a Sunday matinee at 2pm. For tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

Posted in BroadwayStars.com, Comedies, Crighton Theatre, The Courier Columns, ThePeoplesCritic.com | Tagged , , , , , , | Leave a comment

Twin Pleasures Illuminate TUTS Production of OKLAHOMA!

Posted on September 14, 2018 by

The Cast of Theatre Under the Stars production of OKLAHOMA!

[ All Photos by MELISSA TAYLOR.  Click any photo to enlarge ]

There is bittersweet irony in the fact that the supremely joyful current OKLAHOMA! production from Theatre Under the Stars began its run at Houston’s Hobby Center on this past week’s September 11th anniversary of one of the most tragic events in American history. Skillfully directed here by Kevin Moriarty, what better way to lift the spirits on such a somber occasion than to present this magnificent edition of the classic Rodgers & Hammerstein musical, now celebrating its own 75th anniversary? And what better way to celebrate the beginning of the TUTS 50th Anniversary Season?

Laurey in the OUT OF MY DREAMS ballet sequence.

TUTS Artistic Director, Dan Knechtges, is to be specially commended for initiating, in the wake of Hurricane Harvey’s tremendous destruction to the Houston Ballet’s home at the Wortham Center, a new collaboration with that company and its renowned Artistic Director/Choreographer, Stanton Welch. That new partnership now culminates in this glorious production, featuring more than twenty of the company’s brilliant dancers (that at various performances will include such established stars as Jessica Collado, Melody Mennite, Ian Casady, Charles-Louis Yoshiyama, Christopher Coomer, and Brian Waldrep), during the exquisite, “Out of My Dreams,” ballet sequence featuring the original choreography of the legendary Agnes de Mille.

Olivia Hernandez as Laurey and Sam Simahk as Curly

Set in the farm and cattle country of early 19th century Oklahoma, the story centers on the flirtations and budding romance between handsome cowboy, Curly (Sam Simahk), and a sweet farm girl named Laurey (Olivia Hernandez).

Sam Simahk as Curly and Priscilla Lopez as Aunt Eller

She lives with her Aunt Eller (Priscilla Lopez), in a rustic farmhouse, and Laurey coyly enjoys resisting Curly’s advances, though he is not easily dissuaded.

Eric Ulloa as Jud and Hassan Nazari-Robati as Ali Hakim

Meanwhile, the sinister farmhand, Judd (Eric Ulloa) creates plenty of tension as he has eyes for Laurey as well.

Hassan Nazari-Robati as Ali Hakim, Olivia Hernandez as Laurey and Madeline Hamlet as Ado Annie

On the lighter side is the flighty and amusing romance between young Ado Annie (Madeline Hamlet) and her presumed fiancée, Will (Christopher Campbell), with her additional suitor, the traveling peddler, Ali Hakim (Hassan Nazari-Robati) adding to the fun. Of course, as with all R&H musicals, the marvelous music is king. With some twenty fine musicians in the pit, Musical Director, Kimberly Grigsby, was more than up to the task as he first took baton in hand to conduct the sublime opening “Overture.” Countless other delights would follow showcasing the gifted actors, dancers, singers and ballet stars assembled for this memorable production.

Right from the crimson morning sky of Curly’s sensational opening number, “Oh, What a Beautiful Morning,” the warm lighting from designer, Jason Lyons, and authentic country costumes of designer Karen Perry, would beautifully illuminate the scenes.

Cast of TUTS “Oklahoma”

Mr. Simahk’s solid and beautiful voice, combined with his rugged good looks, made me quickly think of the young Howard Keel. He would bring that same brilliance to numbers like the cheerful, “Surrey With the Fringe on Top,” and the magnificent love duet of “People Will Say We’re in Love,” with the vocally gifted Ms. Hernandez. Her bright and perky characterization of young Laurey peaks in the lovely, “Many a New Day,” when she is sweetly joined by the girls in the ensemble.

Cast of TUTS “Oklahoma”

There are knockout numbers like “Kansas City,” led by the energetic talent of Mr. Campbell, and the Act Two opener of, “The Farmer and the Cowman,” highlighting the feisty talents of Ms. Lopez. Both songs feature the dazzling singing and dancing of the full company, and the brilliant stars of Houston Ballet.

Along with the overall joy of the piece, as often typifies R&H musicals, there is an underlying touch of serious drama as we see here in the storyline surrounding the ominous character of Judd. Mr. Ulloa brings such passion to that role that I found myself wishing Judd would have a better outcome than the one I knew was coming. Nevertheless, there is abundant witty fun when Curly sings the hilarious funeral spoof, “Pore Jud is Daid.” And speaking of wit, there is plenty of that throughout the book of this very amusing show that will leave you with a special glow when the full cast of more than sixty artists comes on stage for the finale of the title song.

OKLAHOMA continues through September 23rd at Houston’s Hobby Center main stage with performances Tuesday, Wednesday, Thursday, & Sunday at 7:30 pm, Friday & Saturday evenings at 8pm, and Saturday and Sunday matinees at 2pm. The September 23rd matinee will be the final performance. For tickets visit the website at http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

The columns of David Dow Bentley III may be viewed online at the website: www.ThePeoplesCritic.com. Email may be directed to ThePeoplesCritic3@gmail.com .

Posted in Broadway, BroadwayStars.com, Hobby Center Houston, Houston Ballet, Rodgers & Hammerstein, The Courier Columns, ThePeoplesCritic.com, TUTS | Tagged , , , , , , , , | 1 Comment

Anderson Twins’ “SUMMIT” Celebrates Luminaries of the American Songbook

Posted on August 18, 2018 by

Cast of SONGBOOK SUMMIT
Photo by Geri Reichgut

[Click any photo to enlarge]

For the ever-growing Big Apple fan base of the musically gifted young Anderson Twins (Peter & Will), it will come as no surprise that they are now in the midst of another New York triumph with their current, month-long celebration of four of America’s legendary composers. Becoming an annual event, this 2018 edition of their SONGBOOK SUMMIT (being presented in the intimate Leonard Nimoy Thalia Theater of SymphonySpace), is currently showcasing the music of Jerome Kern (thru AUG. 19th with performances today at 4 & 7pm, tomorrow at 2 & 5 pm), Hoagy Carmichael (AUG 21-26), Jimmy VanHeusen (AUG 28-Sep 2), and, just completed, Irving Berlin (AUG 7-12). To whet New York musical appetites for what is to come, it is that recent latter concert that I report on here.

A colorful and amusing Al Hirschfeld drawing of Irving Berlin at the piano greeted the arriving audience, and would be the first of many on-screen projections of video clips, photographs, and even additional drawings made possible with the permission of the Hirschfeld Foundation.

Drummer, Phil Stewart, backs up Will & Peter Anderson
PHOTO: Geri Reichgut

The joyful 90-minutes (no intermission) got underway as the talented back-up trio took to the stage with Clovis Nicholas on bass, Phil Stewart on Drums, and Tardo Hammer on piano. (Some performances feature Steve Ash on piano & Neal Miner on bass). They were quickly joined by the multi-talented and identical twins, Julliard graduates who would bounce freely between assorted instruments throughout the program. Known for their extraordinary interpretations of classic jazz compositions, both gents are virtuosos on clarinet, while Peter would dazzle on both tenor and soprano sax, and brother Will is a master of flute and alto sax.

The Anderson Twins
PHOTO: Geri Reichgut

Those collective skills were quickly on display for the opener of Berlin’s first major song hit, “Alexander’s Ragtime Band,” featuring a dazzling clarinet solo. Then it was quickly on to the joys of “Cheek to Cheek” with shining moments for clarinet, sax and piano, while many of us in the audience were wishing we were up dancing with the Fred & Ginger projected on the screen from the 1935 film, “Top Hat.”

The program format continued to follow the successful style of previous Anderson concerts I have reviewed at Manhattan’s 59E59 Theatre complex in midtown.

Peter & Will Anderson perform as Irving Berlin looks on.
PHOTO: Geri Reichgut

Reflecting on Berlin’s long life (1888-1989), and his some 1500 song compositions, an informative historical narration punctuates the show’s musical numbers, as do the assorted visuals. One amusing montage flashed brief clips including Edith Bunker sweetly singing, “Won’t You Play a Simple Melody,” a Star Trek scene featuring, “Blue Skies,” a rare childhood home movie of future stars, Eli and Peyton Manning tossing a football around to the tune, “Anything You Can Do (I Can Do Better),” and Ethel Merman joining the Muppets for a rendition of that same song.

Vocalist, MOLLY RYAN
Photo: Geri Reichgut

Next, the concert moved up to an even higher level as lovely featured vocalist, Molly Ryan, came to the stage to deliver a fresh and lilting interpretation of, “Blue Skies,” accented by a solid jazz duet from the twins, and peppered by crisp piano from Mr. Hammer on the keys. The beautiful Miss Ryan, golden tresses tumbling down her back, shows a smooth and gentle vocal side just as endearing as her glowing smile while singing, “Isn’t it a Lovely Day.” The purity of her voice could have been etching fine crystal during a sublime, “I’ve Got My Love to Keep Me Warm,” that featured more great spots from the twins, great pacing on drums, and pulsing bass that guides Ryan to a rousing vocal conclusion. As Will Anderson continues the informative narration, we learn that Berlin could neither read nor write music, and could play piano only in the key of F#, but a specially designed piano allowed him to change keys by simply shifting a lever below the keyboard. But Berlin’s long life was not without its tragedies, as his first wife died just 6 months after their marriage, and in 1929 he would lose his fortune in the stock market crash. His second marriage produced a front page 1926 scandal in the New York Times when the Jewish Berlin married the love of his life, Catholic, Ellin MacKay. It was the beginning of a happy union that would last for 60 years, though their first child would sadly die in infancy. Sad moments notwithstanding, Berlin’s body of work is a joy to behold, and the Andersons really know how to put it across. Musical delights seemed to tumble one upon another as the show continued with such classics as a “What’ll I Do?” that had a richly tender pairing of piano and clarinet that was dreamy, warm and reflective. With sax and clarinet the brothers joined for a fast paced, “Let’s Face the Music and Dance,” highlighted by jazzy moments from the trio. Berlin’s Hollywood musical years are nicely sampled with fascinating video clips of Astaire, Garland, Jolson, Harpo, Crosby, and even Donald O’Connor and Marilyn Monroe. Then Miss Ryan returned to bring her remarkable vocal purity to a bubbling rendition of the song, “Always,” the musical wedding gift Berlin gave his bride in 1926. For the tune, “There’s No Business Like Show Business,” the twins brought dueling saxophones to their rapid-fire launch of the song that shot Ethel Merman to fame in the 1946 hit, Annie Get Your Gun. But the song soared to an even higher level when Ryan joined in on the vocal and knocked it out of the park like it was her own personal anthem. Next, we were treated to yet another set of great video clips, this time from countless musical TV appearances by stars like Sinatra, Nat King Cole, Bobby Darin, and Count Basie.

The show offered more education as we learned of the patriotism, heart and generosity of Irving Berlin with the support he gave the Red Cross, the Girl and Boy Scouts, not to mention the three World War II years he toured selling war bonds with his 1942 musical, This is the Army, which soon became a hit film of the same name. His perennial classic, “White Christmas,” won Berlin the Academy Award for Best Song of 1943. When our cast returned to the stage for the musical complexities of the tune, “Puttin’ on the Ritz,” it was clear they were up to the task, and Mr. Hammer followed with a lush piano solo of “How Deep is the Ocean?” Finally, with Ryan anchoring the sensational company finale of, “Anything You Can Do, I Can Do Better,” I realized it was the perfect finish for this stellar group of musical talents. Nobody could have done it better!

“SONGBOOK SUMMIT: The Andersons Play Berlin, Kern, Carmichael, Van Heusen“

Continues through September 2nd at Symphony Space’s Leonard Nimoy Thalia Theater

2537 Broadway (at 95th St), New York, NY 10025

Performances – Tues, Wed, Thurs, Fri 7pm; Sat 4&7pm; Sun 2&5pm

Running Time: 90 minutes (no intermission) Tickets: $35

WATCH PROMO VIDEO

Box Office: (212) 864-5400 (Tues-Sun 1-6pm)
Online Link: https://www.symphonyspace.org/events/month/08/2018

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com   E-mail may be directed to ThePeoplesCritic3@gmail.com

Posted in BroadwayStars.com, Concert Reviews, ThePeoplesCritic.com | Tagged , , , , , , , , , , , , , , , | 1 Comment

A Seemingly Ageless TOMMY TUNE Charms Fans at the Paramount

Posted on June 22, 2018 by

TOMMY TUNE
Photo by Franco Lacosta

It was yet another coup for the magnificently restored 1930 Paramount Theater in the quaint Hudson Valley town of Peekskill, and it graced that stage on the recent afternoon of Father’s Day. The one-man show starred one of Broadway’s brightest lights, ten-time Tony Award winner, Tommy Tune, in a program titled, TOMMY TUNE TONIGHT. (The 2 o’clock matinee notwithstanding). The performance was a highlight of the Hello Again Dolly Festival under the guidance of festival director and renowned artist, Christopher Radko. The summer-long celebrations would include nearly two dozen various events commemorating the 50th Anniversary of the making of the 1969 motion picture, “Hello Dolly,” starring Barbra Streisand, directed by Gene Kelly, and filmed in the area of Cold Spring and Garrison’s Landing, just a few miles north of Peekskill on the Hudson River.

For those in the audience old enough to remember, Mr. Tune arrived onstage seeming a much younger version of his 79 year-old self, though his still handsome full head of hair is now grayer. Incredibly tall at 6’6 ½”, and amazingly slim in his sleek, soft blue suit and matching vest, he was the embodiment of youthful “cool” on a very hot day. That same cool would pervade the performance that followed.

Volunteer usher, Ann Brady, greets artist, Christopher Radko.

He opened with a musical invitation to, “Let’s Get Lost,” and as we began to lose ourselves in his talents, he quickly began to accent the song with his signature (and still dazzling) tap dancing, albeit on a small tap platform at mid-stage. His gleaming silver shoes could have rivaled Judy Garland’s Ruby Slippers. What followed was a breezy 90 minutes of song, dance, and the star’s many fascinating reflections and memories of an amazingly successful life in the world of musical theatre. Tune is a proud Houston native where I have been privileged on several occasions to report on his sensational annual black-tie evening of the TOMMY TUNE AWARDS. Patterned after the Tony Awards, the red carpet event honors the best Houston area high school musicals of the year.

In this production, one of Tune’s anecdotes describes his youthful New York arrival on St. Patrick’s Day for his first trip to the Big Apple, and how, after playfully telling the director his extreme height was 5’18 ½”, Tune’s very first audition (Singing “You Gotta Have Heart”) won him a part in the chorus of Irma La Douce. Surrounding the star, warm stage lighting would alternate from soft lavender to vibrant raspberry and lime greens as his fascinating story began to unfold. His optimism was apparent with, “It Could Happen to You,” and then with “It’s Not Where You Start, It’s Where You Finish,” concluding that song athletically, high atop his one stage prop, a towering step ladder. Then came a relaxing, “Let’s Take it Nice and Easy,” that contrasted with Tune’s descriptions of the many exhausting tours of his Broadway successes in such productions as, “Nine,” “Best Little Whorehouse in Texas,” “Grand Hotel,” and “The Will Rogers Follies.” Memories of “Bye Bye Birdie,” included Tune’s gentle rendition of, “Everything is Rosie.” The voice was pleasant, though an occasional touch of hoarseness would send him back for a sip of water at the piano where his longtime music director, Michael Biagi, presided over a smooth trio that included bass and percussion. But the song selections were abundant, often revealing the aging star’s poignant look back at a long and successful career that the soon-to-be octogenarian knows cannot go on forever. He reflected on how “Dancers die twice,–once when they die, and once when they stop dancing.” That theme was evident as he sang the bluesy, “Can’t Get out of This Mood,” and especially with the phrase, “…The days dwindle down to a precious few…” as he sang, “September Song.” Elsewhere the mood was upbeat and sparkled with his dance genius as in “The Feelin’ Too Good Today Blues.” Under starry lighting there was a dreamy, “Up on the Roof,” then more great tapping for the tropical flavors of “Sand in My Shoes,” and the rhythmic delights of, “So Nice.” (The “Summer Samba”). There was a glowing, “Nowadays,” from the show Chicago, and affectionate memories of dance partners like Gwen Verdon, Chita Rivera, Ann Reinking, Marge Champion, Lauren Bacall, Barbra Streisand, and especially his My One and Only costar, British model, Twiggy.

Hometown resident and retired fireman, John D’Angelo said it best: “The show was fantastic!”

There were still more memories of backstage visits from the stars. Tune does a marvelous impression of Carol Channing, repeating her advice after he broke first one foot, and then the other: “Maybe that’s God’s way of giving you symmetry.” He also reports first meeting Fred Astaire, who looked him up and down and quipped, “You are one tall son of a bitch!” Another marvelous tale told of the opening night of My One and Only, when Tune and legendary dancer, Charles “Honi” Coles paired for a soft shoe number that caused such a record-breaking uproar of audience enthusiasm that the musicians in the pit had to turn back all their music pages so the number could be repeated. Both gents would receive Tony Awards for that show. There were more delights with, “They All Laughed,” “They Can’t Take That Away From Me,” “Stairway to Paradise” and “I Got Rhythm,” which may be the show’s greatest understatement coming from the brilliant Mr. Tune. Finally, he shared a saying he recalled: “Telling your life on stage is the ego’s last stand.” With that, he charmed us once more with a touching, “Ev’ry Time We Say Goodbye,” that hinted of a final farewell.

Posted in BroadwayStars.com, Concert Reviews, Dance Reviews, Houston, PARAMOUNT Hudson Valley Theater, Peekskill, Theater Reviews, ThePeoplesCritic.com, Tommy Tune Awards, Tony Awards | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

Houston Symphony Presents THE BEST OF JOHN WILLIAMS

Posted on April 29, 2018 by

 

MICHAEL KRAJEWSKI Conducting the Houston Symphony
PHOTO: Anthony Rathbun – http://www.anthonyrathbun.com

Earlier this season the Houston Symphony returned from it first major European tour in two decades. There had been triumphant performances in such cities as Brussels, Warsaw, Vienna, Berlin, Munich and numerous others. Not long after returning to Houston from that sensational tour, the orchestra gave new meaning to the word triumphant with the dazzling Houston Symphony Pops performance of “The Best of John Williams,” under the baton of conductor, Michael Krajewski. Presented at Jones Hall, the recent concert was a very comprehensive sampling of the vast musical cinematic repertoire of the brilliant composer. The always good-humored Mr. Krajewski, who just last year had retired from his 16 years of service as the orchestra’s Principal Pops Conductor, arrived on stage with a flourish as the orchestra played the powerful theme from the motion picture, “Rocky.” He joked with the audience about returning for his “Second Annual Farewell Concert,” but then it was time to take the podium for what would be an absolutely thrilling program.

Under ruby-colored lighting that surrounded the orchestra, the program opened with the soothing, enchanting and majestic sweep of a selection from the Suite of “Harry Potter and the Sorcerer’s Stone.” Then followed the chilling, spooky and pounding pulsations of the “Shark Theme,” from the Oscar-winning film score of JAWS. Next, the audience was transported to the awakening dawn of a lush and tropical world via the “Theme from Jurassic Park.” The orchestra’s use of high-screen, close-up projections of the various soloists was particularly effective here. There would be a splendid air of mystery in the performance of “Excerpts from Close Encounters of the Third Kind,” and then came the warm, embracing magic of the “Flying Theme” from E.T. the Extra-Terrestrial, that accompanies the iconic scene of bicycling youngsters soaring skyward in silhouette across the full moon. If that wasn’t enough excitement, this first part of the program concluded with the thrilling “March” from Superman, but not before Krajewski could tease the audience a bit in musing about his amazement that “mild mannered reporter, Clark Kent,” was so easily rendered unrecognizable to his fellow journalists by simply removing his eyeglasses.

The second part of the program was focused on Mr. Willliams’ music from the many films in the Star Wars series. First up were two selections from “Star Wars,” beginning with the sweeping, spatial quality of the “Main Title: Maestoso.” Then, when introducing the delicate, “Leia’s Theme: Andante,” maestro Krajewski reflected on the recent passing of actress, Carrie Fisher, who had played the role of Princess Leia in several films of the Star Wars series. During that piece, the stunning solo moments on flute from Aralee Dorough were a particular delight. Another favorite from the Star Wars Saga was the “Parade of the Ewoks: À la Marcia.” From The Phantom Menace, the orchestra performed the thrilling, “Flag Parade: Maestoso,” that seemed somehow reminiscent of “The March of the Charioteers” from Ben-Hur. “Across the Stars,” from The Attack of the Clones, had an intensely romantic quality that seemed to wrap its arms around the audience before ending in a gentle whisper. For pure, thunderous power there was the “Imperial March,” perhaps better known as “Darth Vader’s Theme.” The shimmering conclusion of, “The Jedi Steps and Finale,” seemed a closing overture as it reprised many of the themes in the films. Finally, the much-anticipated encore of the “Theme” from Raiders of the Lost Ark, was no less thrilling than all that had gone before it. Clearly, it was a night to remember in Jones Hall. We all eagerly await Krajewski’s next “Annual Farewell Concert.”

Posted in BroadwayStars.com, Concert Reviews, Houston Chronicle online, John Williams, ThePeoplesCritic.com | Tagged , , , , , , , , , , | 1 Comment

ELEPHANT MAN a Courageous Departure for Crighton Theatre

Posted on April 24, 2018 by

(L-R) Brian Heaton as Treves with Caleb Glass as Merrick and Patrice Kentimenos as Mrs. Kendal
PHOTO by Denton Florian

Fans of the historic Crighton Theatre in Conroe, Texas, are well-acquainted with the high quality work of its resident company, STAGE RIGHT PRODUCTIONS, all under the guidance of producers, Carolyn & Steven Wong. As a general rule, the company often produces crowd-pleasing comedies and musicals, but that is not always the case. Consider the present exception to that rule with the current run of Bernard Pomerance’s, THE ELEPHANT MAN. Winner of the 1979 Tony Award for Best Play, this dark and very serious play is about as far from musical comedy as dramatic theatre can take us. But that fact did not dissuade the show’s courageous director, Craig Campobella, from taking on the task with his simply stated goal of creating a work of art that is, “…hopefully, worthwhile for our community.”

The disturbing plot is based on the sad but true story of Joseph Merrick. In this play he is named John Merrick (Caleb Glass), a man who lived during England’s Victorian period, and was cursed with a gruesomely disfigured body.

Michael Raabe as Ross, the promoter of The Elephant Man.
PHOTO by Denton Florian

As the play opens we find him being treated like some bizarre exhibit, and cruelly exploited as “The Elephant Man,” by his avaricious manager, Ross (Michael Raabe), who happily charges admission to curious onlookers who wish to view the pitiful soul trapped in such a wretched body. Raabe, by the way, gives an explosive, sometimes terrifying performance with the booming voice of some frightening Dickensian carnival barker.

Meanwhile, in a separate setting, we meet two medical professionals at London Hospital, a newly appointed young surgeon named Frederick Treves (Brian Heaton), and his new supervisor there, the hospital administrator, Carr-Gomm (Reid Self). Treves, learning of Merrick’s disturbing condition, brings him to the hospital for further investigation. While Merrick’s physical deformities are largely obscured by a shroud-like costume, only the hideously distorted face is visible to the audience. But conversations of the doctors reveal the horrifying details of an emotionless face, skin the texture of brown cauliflower, repulsive sacs of flesh hanging from the front and back of the body, and a head so enormous that Merrick must sleep sitting up. Nurse Sandwich (Marilyn Moore) is hired to attend to Merrick, but one look at his deformities sends her fleeing. Even in the hospital Merrick is put on display during lectures to other physicians, but a letter to The Times arouses both public sympathy and charity sufficient to create a fund for Merrick to be housed at the hospital for the remainder of his lifetime. He is given further comfort by the frequent visits of pious clergyman, Bishop How (Joshua Merillat), who endeavors to give Merrick spiritual guidance. Then Merrick is visited by Mrs. Kendal (Patrice Kentimenos), a kindly actress who stuns him by being the first woman to ever extend her hand in greeting. He shocks her by hoping that she might extend him more, but details of that encounter might give too much away. Nevertheless, Kendal brings some of her sympathetic and aristocratic friends to meet him. They are often surprised by his warmth and knowledge, and in one poignant scene the various visitors step forward singly to utter moments of self-examination, as they try to look at their own lives in relation to Merrick’s troubled circumstances. Clearly, the author is asking us to do the same.

It should be mentioned that Mr. Heaton, Mr. Self and Mr. Glass all displayed enviable skill as actors when passionately delivering several very lengthy monologues. Without going into too much detail on a production that serious local theatergoers may want to experience for themselves, it is important to note this is a very dark theater piece, and that darkness extends to storyline, sets (designer, Deanie Harmon Boy), lighting (Jim Murph), Victorian costumes (Denise Debold), hair designs by Adam Isbell, and mood (somber musical interludes). Gloomy blackness is everywhere, but there is an amusing break in the tension with the unusual freak show performance of the three singing Pinheads (Cameron Collins, Emili Stowe, Hannah Gilchriest). Their uniquely bizarre costumes and the make-up designs of Mr. Raabe, nicely accent their weird song, “We Are the Queens of the Congo.”


A number of minor supporting players add to the play’s success, and the cast summaries listed in the program had a notable comment from the talented 18 year-old Mr. Glass, who had so bravely accepted the title role in this complex piece of theatre. He expressed his gratitude to both director and cast for their support as he took on the, “…fantastic challenge that is THE ELEPHANT MAN.” Job well done by all concerned!

“The Elephant Man,” continues thru April 29th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Friday & Saturday, with a Sunday matinee at 2pm. For tickets and information call (936) 441-7469 or visit the website at http://www.stage-right.org/.

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