For Fascinating “BALLS,” There’s No Business Like Busy-Business

L-R: Ellen Tamaki, Richard Saudek, Danté Jeanfelix, Elisha Mudly, Alex J. Gould, Richard Saudek, and Donald Corren in BALLS at 59E59 Theaters.

[ Click any photo to enlarge. All photos by Russ Rowland. ]

As a modest player myself, and a frequent fan of the major tennis championships, I’ve been currently suffering my annual frustration at the elusive, wee-hours-of-the-morning, live telecasts of the Australian Open matches now underway in the distant time zone of “The Land Down Under.”

L-R: Ellen Tamaki and Donald Corren in BALLS at 59E59 Theaters

But relief has arrived right here in Manhattan, thanks to the fascinating production of BALLS, now gracing the stage of the 59E59 Theaters right here in the Big Apple. “BALLS” was recently developed and premiered by Houston’s famed Stages Repertory Theatre. The very unusual play undertakes to tell the tale of the famed 1973 Battle of the Sexes challenge match in the Houston Astrodome between the rising young tennis star, Billie Jean King, and the notorious braggart, blowhard, and former Wimbledon champion, Bobby Riggs. (Houston Technical Director, Joel Burkholder).

Cristina Pitter and Danny Bernardy in BALLS at 59E59 Theaters

With dazzling direction from Ianthe Demos & Nick Flint, the show’s format is really quite unique. It literally thrusts the audience right into the middle of the action, and even plants two of the event’s rowdy tennis “fans” (Cristina Pitter as Cherry, and Danny Bernardy as Terry) out among the noisy crowd, reinforcing the impression that we are all in this together as the full match is played out right before our eyes during a jam-packed ninety minutes with no intermission. When I say “jam-packed,” I am not kidding. There are times when there is so much going on so quickly, that it is hard to keep track of every point of the match and every tangential story line that punctuates the plot. I was amused when later exiting the theater upon hearing one gent ask the woman he was with, “What did you think of the show?” She responded with terse insight, “Well, it certainly was busy!” For that she may be a candidate for the Understatement of the Year Award. Having said that, this complex and eye-popping production, written by Kevin Armento & Bryony Lavery, is not just for tennis fans, but should have much to offer theater-goers in search of something thought-provoking and very different. As for who wins the match, if you don’t know I won’t give it away, but kudos certainly go to the production’s tennis coach, Richard Saudek, and Movement Director, Natalie Lomonte.

L-R: Olivia McGiff, Danté Jeanfelix, Ellen Tamaki in BALLS at 59E59 Theaters

Based on the real persons and events of the day, the play is highlighted by a cast of ten talented actors, including the very graceful and athletic Ellen Tamaki in the role of Billie.

L-R: Zakiya Iman Markland, Ellen Tamaki, Danté Jeanfelix in BALLS at 59E59 Theaters

Donald Corren delivers an amusing and raucous portrayal of Bobby, while attractive, statuesque Zakiya Iman Markland provides a touching and powerful performance as Billie’s lesbian lover and personal secretary, Marilyn Barnett. Danté Jeanfelix gives a solid and convincing portrayal as Billie’s husband, Larry King, (and he briefly doubles in a cameo as football star, Jim Brown, representing the many notables in the star-studded audience that had included such celebrities as Glen Campbell and George Foreman).

L-R: Alex J. Gould and Elisha Mudly in BALLS at 59E59 Theaters

A superfluous minor side plot as the match progresses, revolves around the imagined developing romance between the match Ballboy (Alex J. Gould) and the Ballgirl (Elisha Mudley). Miss Mudley also does double duty, occasionally appearing as another celebrity present for the match, tennis star, Chris Evert. Adding to the overall mayhem of the carnival atmosphere are the comic antics of the

L-R: Richard Saudek and Olivia McGiff in BALLS at 59E59 Theaters

Clownboy (Richard Saudek) and the Clowngirl (Olivia McGiff), as they amuse the crowd between games with their on-court shenanigans and colorfully outlandish costumes (Designer, Kenisha Kelly). Also between games are the continuing snatches of storylines that touch on Billie’s troubled marriage, her closeted gay relationship with Marilyn, and the less significant romance of the Ballboy & Ballgirl.

The play touches gently on issues of women’s rights, gay rights, and race, but in spite of all the related plot meanderings, I think the biggest star of this production is the brilliantly effective and three-dimensional scenic design of Kristen Robinson, with its uniquely rolling tennis net, affording the audience ever-changing depths and perspectives as it views the match. That set design, coupled with the terrific lighting of designer, Mike Riggs, and the amazingly synchronized sound designs of Brendan Aanes (that perfectly time the sound of every imaginary tennis ball struck), all combine to complete this fascinating illusion.

BALLS continues in New York for a limited engagement through Sunday, February 25th at the 59E59 Theaters (59 East 59th Street, between Madison and Park Avenues). The performance schedule is Tuesday – Friday at 7 PM; Saturday at 2 PM & 7 PM; and Sunday at 2 PM. Single tickets are $25-$70 ($25-$49 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or visit


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CROSS THAT RIVER Reveals a Little-Known Cowboy World

L-R: Carolyn Leonhart, Jeffery Lewis, Maya Azucena, and Allan Harris in CROSS THAT
RIVER at 59E59 Theaters. Photo by Carol Rosegg

[Click any photo to enlarge]

It is not at all unusual for something special to be going on at one of New York’s most sophisticated theatrical venues, the 59E59 Theatres.

Allan Harris in CROSS THAT RIVER at 59E59 Theaters. Photo by Carol Rosegg

That tradition is beautifully continued with the current run of the brilliant Allan Harris musical, CROSS THAT RIVER, directed by Regge Life. Subtitled “A Tale of the Black West,” it weaves a cowboy tale that some may find surprising. I spent two years of my early childhood in Sweetwater, Texas, and I well remember Saturdays at the neighborhood movie house when good white cowboys in white hats and bad white cowboys in black hats would provide plenty of action for us youngsters. In those days little thought was given to what we know now: About 25% of the American cowboys who moved the great western herds of cattle during the latter half of the 19th century were, in fact, black men.

Jeffery Lewis as the young Blue PHOTO: Carol Rosegg

In this well-crafted tale we learn of one such cowboy named Blue (Mr. Harris), a young  slave who ventures out from Louisiana to find the promise of hard work and freedom in the vast area of Texas.

A well-known jazz musician, composer and guitarist, Mr. Harris is a Harlem native and not new to the stages of 59E59. In 2014 I had the pleasure of reviewing his wonderful performance there in a production of CAFÉ SOCIETY SWING. At the time I commented on his “…smoky, rich and delightfully raspy voice,” and happily that gift continues here as it beautifully combines with his dazzling artistry on guitar and skill as narrator of Blue’s many adventures. In addition to composing the fine score, Harris collaborated with the show’s producer, Pat Harris, on the imaginative book that details those sometimes romantic adventures. The concert-style staging takes place on the simple but effective set design of Anne Patterson, crowned by a kind of driftwood chandelier, and warmly lit by lighting designer, Michael Giannitti. The four vocally gifted cast members (sometimes playing multiple roles) are up front on stools, with the fine musicians of the band on an elevated platform behind them. Those musicians would start things off with a kind of new age-flavored overture featuring interesting solo moments as it soon evolves into  rhythmic and infectious pulsations.

Carolyn Leonhart in CROSS THAT RIVER . Photo by Carol Rosegg

Harris picks it up with twanging guitar as Blue gently starts to tell the story of his younger self (smooth-voiced Jeffrey Lewis), a boy shoeing horses on the plantation while dreaming of a place “…where a man can spread his wings and soar above this life.” That dream is beautifully captured as the lad sings an “I’m Going to Soar” that is full of hope and optimism. As he helps the plantation master’s daughter, Courtney (lovely Carolyn Leonhart), with her horse, a dangerous affection sparks between them. Their longing for one another yields the dream-like duet, “Another Time, Another Place.”

Maya Azucena in CROSS THAT RIVER Photo by Carol Rosegg

Soon Courtney helps him escape to run “Cross That River,” as his beloved aunt, Mama Lila (Maya Azucena), is joined by young Blue and Courtney for the frightening title song that has the galloping power of a locomotive as it accompanies the lad’s terrifying escape, highlighted by the extraordinary and thunderous box-drumming display of percussionist, Shirazette Tinnin.

In “I Must Believe,” Miss Azucena brings focused passion to Mama Lila’s song of desperate prayer for the escape success of the young runaway she has cared for since his mother was sold away. Soon young Blue and his older story-telling self duet for “See This Land,” as the song celebrates the sun, wind, sky and joyous smells of his newfound freedom. Mr. Harris continues his skillful singing and narration of Blue’s ranch hand work with the delightful country music hoedown of, “Circle-T,” and then introduces us to the rowdy, rough and tumble ranch cook with the lusty tune, “Mule Skinner.” Of course racism was still a factor, and Courtney and young Blue duet a “Taught to Believe” that reminds one of the classic, “You’ve Got to Be Carefully Taught,” from South Pacific. Such prejudices even limited the bordellos black cowboys could visit, but there were exceptions as described in Blue’s song with Carolyn, “Dark Spanish Lady.” Harris delivers it with a mysterious whispering quality reminiscent of Nat King Cole. That devilish number set the stage for the Act II saloon hall opener, the sexy and sassy, “Welcome to Diamond Jim’s” where cowboys can indulge some forbidden pleasures after long trail rides. Then there are Indians, buffalo and more romance and mystery than can be described here, but I would make a suggestion about one Act II number in particular. It is titled, “My Dreams Were You.” If I were a record promoter, I would shoot for winning the Country Music Awards Song of the Year with that one. It’s a winner, and so is this show.

CROSS THAT RIVER begins performances on Thursday, November 30 for a limited engagement through Sunday, December 31. The performance schedule is Tuesday – Thursday at 7:15 PM; Friday at 8:15 PM; Saturday at 2:15 PM & 8:15 PM; and Sunday at 3:15 PM. Single tickets are $35 ($24.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or visit


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The Lambs Meet the Nighthawks at Iguana

Bandleader, Vince Giordano, stops by The Lambs’ table to chat with Jo Marie Triolo (left) and Patti Dey.


For members of America’s oldest theatrical club, THE LAMBS (, the evening would be a highlight of the summer season as members gathered at Manhattan’s chic IGUANA supper club for a night of fine dining, pleasantly accompanied by the big band music of the 1920’s &’30’s as splendidly performed by legendary band leader, Vince Giordano, and his sensational orchestra, The NIGHTHAWKS.

(L-R) Dow Bentley, Rita Hammer & Bob Tevis.

The Honey Taps

Well-known about town, the band has been blowing the roof off of assorted Big Apple venues for many years, but on Monday and Tuesday night’s they perform from 8-11 p.m. for those lucky enough to have reservations at Iguana. Better still, on the third Tuesday of each month, the group is joined by the HONEY TAPS dancers who spice up the evening with several sets of fun-filled and colorful tap dancing that really bring the Jazz Age and the Roaring Twenties to life. The Lambs had the good fortune to be there on just such an evening.

Bob Tevis (left) with Ron and Camille Savitz

(L-R) Guests Mary Ellen McGurty & Sally Bentley enjoy the show with Jo Marie Triolo

With excellent Mexican cuisine and fine dancing, one could hardly go wrong, but it would be the band’s exceptional performance of the many rarely heard vintage jazz selections that would rule the night. A fine musician who has led his band for nearly four decades, Giordano is also a celebrated musical scholar and historian. His vast collection of recordings and sheet music includes over 60,000 period band arrangements reflecting the musical age the Nighthawks bring to life with each performance. No wonder his incredibly talented orchestra was chosen to provide the Grammy award-winning soundtrack for HBO’s classic series, BOARDWALK EMPIRE.

Lambs take to the dance floor.

The Nighthawks’ youngest fan enjoys the music.

The Lambs not only enjoyed the music, fine food and tasty frozen Margaritas from the bar, but many enjoyed getting out on the dance floor to “cut a rug” accompanied by the magnificent sounds of the first-class orchestra.

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(L-R) Joyce “Trixie” Randolph, Bob Pizzitola, David Dow Bentley & Dow Pizzitola

Mingling with the friendly Pub staff.

[Click any photo to enlarge]

It was yet another recent weekly night of “Low Jinks” fun for America’s oldest theatrical club, The Lambs, established in 1874. ( It had been ten years earlier when your humble correspondent had first invited his best friend and 1960’s University of Texas college buddy, Bob

Ready for fine dining

Pizzitola, to be his guest for that same traditional weekly night of LAMBS frivolity, when members gather for dinner while enjoying spontaneous song performances from their fellow Lambs. On that occasion Bob, a Houston area financial consultant, was delighted to meet Lambs Club favorite, actress

“Big” welcome from Collie, Davida Rothberg

Joyce Randolph, who is perhaps best remembered for her iconic role as Trixie on the ever-popular TV program, “The Honeymooners.”

Lambs’ SCRIPT editor chats with Dow

Joyce graciously consented to be photographed with Bob back in those days when film still had to be developed. Sadly, the resulting picture was so blurred that no one in the photo was recognizable.

Night’s end farewell from Lamb, Vivienne Gilbert and husband Charlie

Bob’s disappointment lingered for a decade until a New York business trip brought him, and his handsome son and business partner, Dow Pizzitola, back from Texas several weeks ago. At that time, on a pleasant summer evening, The People’s Critic was proud to once again be host for a return visit to The Lambs, this time joined as well by his namesake, Dow. As luck would have it, Lambs Club regular, Miss Randolph, was again on hand and cheerfully willing to try again with the elusive photo. The result brought smiles all around.

Then the threesome was off to preview an upcoming Lambs big band event featuring Vince Giordano and the Nighthawks at the Iguana Supper Club

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SUTTON FOSTER Highlights Caramoor Summer Festival

It was my first visit to the elegant estate of CARAMOOR. This legacy of the original owners, Walter & Lucie Rosen, became what is now the Caramoor Center for Music and the Arts near Katonah, New York. Just an hour and a half from The Big Apple, the estate and its beautiful home now serve as a live music venue offering symphonic, opera, chamber, American roots, and jazz performances, in addition to various educational programs. So it was that I came to sample the Caramoor Summer Music Festival, on a soft, warm evening that many of the estate staff told me was the loveliest night of the season.

Photo: Courtesy of

The featured artist for the performance I attended was multi-talented Broadway star, Sutton Foster. Renowned for her Tony Award-winning triumphs in Anything Goes and Thoroughly Modern Millie, she also originated roles in the premiere productions of Little Women, Young Frankenstein, The Drowsy Chaperone, and Shrek The Musical. Already well-known to audiences at Carnegie Hall and Lincoln Center, her Caramoor program titled, An Evening with Sutton Foster, was a generous serving of Broadway musical hits, along with many memorable tunes from The Great American Songbook.

Under the soft, and ever-changing pastel lighting of Caramoor’s Venetian Theatre, the star set the tone for the evening, opening with a joyous rendition of Rogers & Hammerstein’s “A Cockeyed Optimist” that quickly displayed both the crisp clarity of her voice, and her considerable gifts as a vocal storyteller. Those gifts would be evident throughout the performance. There was a pure, clean delivery of Sondheim’s “Everybody Says Don’t,” from Anyone Can Whistle, and her rendition of “N.Y.C.” from Annie could have etched fine crystal. Always there was an intimate connection with the appreciative audience, paired with a splendid and theatrical sense of movement on the stage accented by the smooth gestures of the attractive singer’s slender arms. Clearly, this actress was a pro very much at ease on the stage. Promising the crowd a night of “new songs, old favorites and a few surprises,” she quickly launched into a warm and embracing, “The Nearness of You,” that seemed gently whimsical.

There was a jazzy transition for the amusing song, “Air Conditioner,” describing a gal with just one requirement of her summer lovers. The audience howled with delight. Next, with story-telling mastery in every syllable, she would glide through, “I Get a Kick Out of You,” from her Broadway triumph in Anything Goes. There was coy fun from Sondheim’s, “Don’t Look at Me,” and then a gentle, blissful and dreamlike love story during Cole Porter’s, “C’est Magnifique.” Miss Sutton’s onstage trio complemented every number without ever overwhelming the gifted vocalist. The perky, “Up on the Roof,” was nicely sprinkled with delicate accents on guitar (Kevin Kuhn), bass (Leo Huppert), and piano (Music Director, Michael Rafter). There was a glowing, “If I Were a Bell,” and her joyous “Singin’ in the Rain,” could easily rival that of Debbie Reynolds. And there was still more comic relief when Sutton sang about believing, “The Lies of Handsome Men.” She would demonstrate cheerful skill on ukulele for “Ain’t Misbehavin’,” and then shift gears amazingly for a sassy and lashing, “Down with Men.”

In keeping with her promise of “a few surprises,” Miss Sutton brought onstage her “best friend,” singer, Megan McGinnis. The two met when they originated the roles of Jo and Beth (respectively) for the 2005 Broadway musical, Little Women. On this occasion the pair blended their voices beautifully for several numbers, culminating in the skillful counterpoints of a magnificent acapella duet of Simon & Garfunkel’s classic, “Old Friends.” The audience roared its approval. I would like to do the same.

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GATLIN BROTHERS Concert to Benefit Hurricane Harvey Victims

Larry Gatlin & The Gatlin Brothers Band
Courtesy Photo

It has been more than a decade since my first enthusiastic comments about Houston’s multi-talented actor/singer/director, Steven Fenley, and the treasured Texas Repertory Theatre for which he would play such an important part. He would ultimately serve as Texas Rep’s Artistic Director for many years, before the Houston Chronicle announced the demise of the much-loved company in August of 2016. But there is doubly-good news for Houston now as Fenley not only launches his new non-profit theatrical company, Red Bird Productions, but does so with a special event to benefit the many victims of Hurricane Harvey.

Red Bird Productions is proud to announce its inaugural event, a recovery benefit concert for those hit hardest by hurricane Harvey. The show will be presented on Sunday, October 8th at 4:00pm, and will feature Grammy Award-winning musical artists, Larry Gatlin & the Gatlin Brothers Band.

Over 50 years ago Larry, Steve, and Rudy Gatlin started singing together in their hometown of Abilene, Texas, and from those humble beginnings they went on to make musical history that has often landed them at the top of the country music charts. The group’s four-decade career has taken The Gatlin Brothers from dusty Texas Stages to White House performances, from Broadway to the Grammy Awards, and always there has been one unifying element…music.

Now these legendary performers come to Houston’s Great Northwest to share their uniquely harmonic vocal style during a concert to benefit the Hurricane Harvey recovery efforts. Appearing in concert at Klein Cain High School’s brand new theater, The Gatlin Brothers will bring to the stage their patriotic and family-friendly brand of country and inspirational music with a special celebration of not only one of country music’s most beloved and harmonic families, but also of the character and spirit of one of Texas’ and America’s greatest cities.

Seating is reserved and tickets range from $45 to $85. Reserve tickets at or call the box office at 281-583-7575.

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:

E-mail may be directed to

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Theatrical Whirlwind for ATCA San Francisco

as viewed from the Hilton Union Square

[Click any photo to enlarge]

#ATCASF17         For members of the American Theatre Critics Association, (AMERICANTHEATRECRITICS.ORG) their recent national conference was a late-spring week overflowing with the delights of the San Francisco theatre scene. The annual convocation moves around the country from city to city.

Robert Sokol

This year’s choice of the City by the Bay was a major hit with all attendees, and won universal praise for the group’s Operations Manager, Robert Sokol, who had able assistance with the countless conference details from ATCA Executive Committee Chairman, Bill Hirschman, and members, Susan Cohn and Brad Hathaway. The San Francisco Hilton at Union Square served as the splendid headquarters, while members branched out to countless area theatrical venues and performances, which on the first day alone included, Grandeur (Magic Theatre), How to be a White Man (FaultLine Theatre), Kano and Abe (PlayGround), Shortlived VI: Round 1 (PianoFight), Sordid Lives and Warplay (both at New Conservatory Theatre Center), Sex and the City Live! (Oasis Theatre), and Kurt Vonnegut’s Mother Night (Custom Made Theatre). There was also a World Premiere of Christopher Chen’s new play, You Mean To Do Me Harm at the Sandbox Theatre of the San Francisco Playhouse (SFPLAYHOUSE.ORG). Crisply directed in theater-in the-round style by Bill English, and staged in the spacious, high-ceilinged cubicle space of the Sandbox, this intriguing drama for four players (James Asher, Lauren English, Don Castro & Charisse Loriaux), begins innocently enough as two young couples chat while sharing a bottle of wine. But the plot twists and relationships build in intensity from scene to scene, as one off-hand remark generates a succession of misunderstandings that make for compelling theatre from these four fine actors. Subtle lighting from designer, Wolfgang Lancelot Wachalovsky, provides fine scene transitions, and can even magically turn beds of woodchips into lush green lawns. It’s a thought-provoking production. There was similar intrigue from the San Francisco Playhouse production of Jen Silverman’s new play, The Roommate. Coyly directed by Becca Wolff, a prevailing air of mystery develops when Sharon (Susi Damilano), a middle-aged woman in Iowa, advertises a room for rent in her suburban home. Butch and free-thinking Robyn (Julia Brothers) answers the ad and moves in. She’s a gentle, gay, pot-smoking vegan who brings her own pots and pans and presents plenty of challenges to this simple Iowa homeowner during this attention-grabbing, seriocomic one-acter.

Between productions, ATCA  members enjoyed informative workshops and panel discussions that featured such notables from the theatre world as the aforementioned Mr. English, Artistic Director of San Francisco Playhouse, and Amy Mueller, Artistic Director of Playwrights Foundation ( Also featured were Bay area critics, Robert Hurwitt & Lily Janiak, as well as local playwrights, Stuart Bousel, Christopher Chen, Lauren M. Gunderson, Aaron Loeb, and Michael Gene Sullivan. Another series of popular presentations focused on how critics can expand their audience by mixing, “Theatre + Travel.” A “Theatre Design” workshop was of special interest with a panel of experts that included, Nina Ball (Scenic Design), Abra Berman (Costume Design), Cliff Caruthers (Sound Design), Sean Kana (Music Direction), York Kennedy (Lighting Design), Kimberly Richards (Choreography), Jacqueline Scott (Properties Design), and Wolfgang Lancelot Wachalovsky (Projection Design).


Grand Lobby of the Fox Theatre, Redwood City, CA
PHOTO by Sara Ann

With all of that, the focus continued to be on area performances as various members attended A Night with Janis Joplin (American Conservatory Theater), Brownsville Song (ShotgunPlayers.Org – Berkeley), and Monsoon Wedding (BerkeleyRep.Org). There were adventurous out-of-town pilgrimages that took the members to see the Palo Alto Players ( in a performance of The Graduate, and to the magnificent Fox Theatre in Redwood City, where the Broadway By the Bay Players ( presented a joyous rendition of the rollicking Stoller & Leiber musical, Smokey Joe’s Café.

Perhaps the group’s most satisfying journey was the trip out to the California Shakespeare Theatre in Orinda ( where they enjoyed theatre under the stars in the amphitheater for a merry production of Shakespeare’s As You Like It. Prior to the show the guests were treated to an informative panel titled, “Re-Viewing Shakespeare: The Second 400 Years.” Moderated by the company’s resident dramaturg, Dr. Philippa Kelly, the panel featured artistic directors of Bard-centric companies including William J. Brown III (Arabian Shakespeare Festival-, L. Peter Callender (African-American Shakespeare Company –, Lesley Shisgall Currier (Marin Shakespeare Company –, Rebecca Ennals (San Francisco Shakespeare Festival –, and Eric Ting, the artistic director there at the California Shakespeare Theater. If those informative discussions were not enough to delight the assembled critics, there was a lovely hillside picnic supper provided in the Upper Grove above the amphitheater. It was a night to remember, even before the talented cast took to the stage for a fine performance of As You Like It, directed by Desdemona Chiang.

An added and very delightful surprise for this critics’ caravan was a fascinating day trip to tour the facilities of the renowned TheaterWorks company in Redwood, CA. ( The organization was founded in 1970 by its creative Artistic Director, Robert Kelly, as a theatre workshop for college students and teens. Guests were generously treated to both breakfast and lunch. In between, the visitors were courteously toured around the amazingly vast home of this prestigious American theatre group that has produced such successes as the Tony Award-winning musical, Memphis. The company may very well be on its way to yet another triumph. Following introductory remarks from Mr. Kelly there was a preview presentation from the forthcoming musical, THE FOUR IMMIGRANTS An American Musical Manga, with Book, Music, & Lyrics by Min Kahng, and directed by Leslie Martinson. Set at the turn of the last century, the work is billed as, “…the adventures of four endearing Japanese immigrants in a world of possibility and prejudice.”

Photo by

With considerable esprit de corps, a youthful and vocally talented group of eight (4 guys and 4 gals) provided this energetic sampling of the lusty, joyful and appealing musical score, which seemed to be endearing as well. Both the opening number, “Meet the Four Immigrants,” and the closing reprise of “We’re the Four Immigrants,” had a captivating  quality that easily called to mind the infectious sounds of the earlier musical, Ragtime. If this is a hint of what lies ahead in full production, there is much to look forward to.

Finally, while theatre is definitely serious business for the hard-working journalists of ATCA, that did not preclude enjoying some of the lighthearted fun abundant in San Francisco. Perhaps the best example of that was found by members who enjoyed the absolute hilarity and campy fun of Steve Silver’s Beach Blanket Babylon, which claims to be “…the longest running musical revue in American history.” With one uproariously lavish musical number after another (and the colorfully outlandish costumes and HATS to match), the show is great fun from start to finish with delicious satire abundant. Don’t miss it when you’re in town. (

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