Frothy Fun from Off-Broadway’s MARVELOUS WONDERETTES

Cast of THE MARVELOUS WONDERETTES (Courtesy photo)

(Courtesy photo)

Wonderettes- Logo

When Christina Bianco (Missy), Diana Degarmo (Suzy), Jenna Leigh Green (Cindy Lou), and Sally Schwab (Betty Jean) come bouncing onto the stage of Off-Broadway’s intimate 100-seat Kirk Theatre at 42nd Street’s Theatre Row, their infectious and joyful energy quickly lights up the room as they begin a fun-filled musical romp through the hit pop tunes of the 1950’s & ‘60’s. Set in 1958, the Marvelous Wonderettes (written and created by Roger Bean/ Directed by Tom D’Angora & Michael D’Angora) focuses on four classmates who have been tapped to provide the entertainment for their Senior Prom at Springfield High School. The gals had already proved their talent as song cheerleaders for the Springfield Chipmunks teams at the school, and with direction from their teacher and squad sponsor, Mr. Lee, they had even proudly won Third Place in the state’s Song Leaders Competition. Now they are given the chance to shine again when Mr. Lee notifies them that the scheduled prom entertainers are unavailable and asks the girls to fill in for the Super Senior Prom with its theme of “Marvelous Dreams.” Thus begins this cheerful trip down a delightful memory lane of tunes from the era.

Courtesy Photo

Courtesy Photo

The attractive set design of William Davis sparkles in the lighting designs from Lois Catanzaro and has nicely captured the flavor of a decorated school gymnasiums that some of us might recall from Senior Proms of our own. The bright pastel dresses on the ladies (designer Bobby Pearce) had no shortage of crinoline petticoats, and they would have fit in nicely if this had been a show about square dancing. Throughout the show each of the characters has her own unique costume color: Missy – tangerine, Suzy – blue, Cindy Lou – pink, and Betty Jean – green. Adding to the fun are the deliciously outlandish beehive hairdos from wig designer, Jennifer Mooney Bullock. But on to the main event, the parade of innocent and memorable songs that ruled the airwaves and the music world at a time when loud drums and guitars had not yet combined with coarse language and political overtones to take the pop music scene in new directions.

Courtesy Photo (L-R) Jenna Leigh Green, Christina Bianco & Sally Schwab from the cast of The Marvelous Wonderettes

Courtesy Photo (L-R) Jenna Leigh Green, Christina Bianco & Sally Schwab from the cast of The Marvelous Wonderettes

The show’s virtual smorgasbord of hits (Musical Director, Benjamin Rauhala) opens with the smooth harmonies of, “Mr. Sandman,” and then some flamenco-flavored claps and taps for a very sweet, “Lollipop” that blends gently into, “Sugartime.” It is clear from the beginning that these performers have uniformly fine voices, and audio engineers would do well to avoid overwhelming those talents with excess volume from the recorded soundtrack. Miss Green has fine solo moments for, “Allegheny Moon,” and there is a dreamy quality when the ladies offer both, “All I Have to Do is Dream,” and “Dream Lover.” Miss Degarmo provides a peppy, “Stupid Cupid,” Miss Schwab a perky, “Lipstick on Your Collar,” and Miss Green delivers a rousing, “Lucky Lips.” The lightweight dialogue links these numbers together as the girls engage in some typical cat fighting about boys. There is a nice change of pace when Miss Bianco sings a soaring, “Secret Love,” that really delivers on the line, “Now I shout it from the highest hill.” A nice medley of, “Sincerely,” and “Goodnight Sweetheart, Goodnight,” rounds out the first part of the program.Wonderettes= banner

The show’s printed program failed to include either a song list (which would be helpful to younger audience members unfamiliar with the songs), or any reference to a planned intermission. But there would be a break between the Act One prom scene and the Act Two class reunion scene that takes place ten years later. In that scene the gals are dressed in more disco-flavored costumes with colorful and high-topped patent leather boots and pant suits of shimmering metallic fabrics that looked like something one might see on Star Trek. Act Two numbers include such hits as “Heat Wave,” “You Don’t Own Me,” “I Only Want to Be With You,” “It’s My Party,” “Leader of the Pack,” “Rescue Me,” and “R-E-S-P-E-C-T.” All of the action is punctuated by assorted silly rivalries among the girls, disputes about cheating boyfriends, voting for prom queen (with a zany talent competition), crushes on a teacher, etc. Speaking of teachers, one lucky audience member gets selected to come on stage in the role of Mr. Lee. He gets serenaded with the tunes, “Mr. Lee,” “Born Too Late,” and “Teacher’s Pet.” With lightweight choreography from designer, Alex Ringler, there is plenty of cutesy hand jive and assorted moments of movement like the gals alternately bouncing up and down to the beat like the pistons of an engine. Predictable and corny at times? Well yes, and that might have moved one woman seated near me to whisper to her friend, “This is like the Lawrence Welk Show.” Nevertheless, I will borrow a line from Rodgers & Hammerstein and tell you that, “June is busting out all over,” down at the Kirk Theatre. Why not head over there yourself and see why “marvelous” is the operative word?

MARVELOUS WONDERETTES continues at Theatre Row’s KIRK THEATRE, 410 West 42nd Street in Manhattan with performances Sundays at 3pm, Wednesdays at 2:30 & 8:15 pm, and Thursdays at 8:15pm.

Posted in, Kirk Theatre, Marvelous Wonderettes, Off Broadway, Theater Reviews, Theatre Row, | Tagged , , , | 3 Comments

Music and Youthful Enthusiasm Take Flight on Crighton Stage

Victor Vasquez performing with the Lone Star College-Montgomery JAZZ ENSEMBLE at Crighton Theatre PHOTO: Brad Meyer

Victor Vasquez performing with the Lone Star College-Montgomery JAZZ ENSEMBLE at Crighton Theatre
PHOTO: Brad Meyer

On a pleasant Conroe Saturday night last weekend a parade of young area talent was spotlighted at the Crighton Theatre in a show aptly titled, “Come Fly with Me.” Hosting the program was popular local singer/actor, Victor Suarez, who had worked since last December on assembling and developing this one-night-only showcase of area performers. Anchoring the enjoyable night of music was the impressive 17-piece onstage orchestra of the Lone Star College-Montgomery Jazz Ensemble, directed by Christina Mendoza, Director of Bands at the college.

With a cast made up largely of young people in the early stages of their performing careers, there may have been some backstage jitters that delayed the opening curtain by fifteen minutes. But Crighton Theatre regular, Carolyn Corsano Wong, was at the ready to warm up the crowd with a bit of fun as she humorously reprised her role as gossip columnist, Dora Bailey, from last year’s Crighton production of “Singin’ in the Rain.” Then it was curtain up and things got off to a sensational start with the four experienced pros making up the wonderful barber shop quartet known as Double Infinity. Dressed in handsome formal attire they would bring deliciously smooth, mellow harmonies and elegant tempo shifts to acapella renditions of the songs, “Cabaret,” “Nevertheless,” and “Yesterday.” The audience roared its approval.

The Jazz Ensemble was next to show its polished skill with a performance of “Infernal Jamnation” that was as glittering as the shimmering silver tinsel of the backdrop behind the orchestra. Fine solo moments from various members of the group during the evening would demonstrate the impressive musicianship produced at Lone Star.

Come Fly With Me - publicity photoMr. Suarez was next as he offered “Beyond the Sea,” and a number of Sinatra standards that included, the requisite, “Come Fly With Me,” a “Fly Me to the Moon,” that had some great interludes from the orchestra, and a Spanish version of, “My Way,” (in the style of the Gypsy Kings), that featured fine flamenco flair from guitarists, Magdiel Zuniga and Morgan Van Rensselaer. Gregory Broughton would join Suarez on stage as the handsome gents offered an earnest and passionate rendition of the Sam Smith song, “Lay Me Down.” One additional song on the bill, “What Do I Need with Love?” from the show, Thoroughly Modern Millie, seemed like a number that could have been easily cut from the show.

As the ladies in the cast began to appear, Suarez was joined by Sara Preisler for a perky version of, “You’re the Top.” With talented Richard Kazindzhidi on the eighty-eight, the ensemble followed with a brassy rendition of the tune, “Shirley,” that had fine solo moments from guitar, bass and piano. It is worth noting that Mr. Suarez won 2nd Prize in the recent Montgomery County’s Got Talent Contest. 1st Prize went to Miss Hillary Moore, so it was appropriate that here, the duo would pleasantly team up for the song, “Blue Skies.” A highlight of the evening followed as Lauren Salazar lent her lovely voice in duet with Suarez for the beautiful, “One Hand, One Heart,” from West Side Story.

Double Infinity returned to supply solid back-up as Suarez delivered a fine, “Runaround Sue,” and then the host for the evening had a special Mother’s Day Eve dedication that must have made his Mom & Dad very proud as he sang a, “You Raise Me Up,” that featured nice violin solo moments from Alexa Garza. It was nice to hear Mr. Suarez hopes to organize “Come Fly With Me” as an annual event, and it will be wonderful to see the growth of these young performers. If there were a few nervous moments of too-rapid tempos, fidgety movements or occasional drifting off-key, that just comes with the territory of growing as a young performer. I predict these talented youngsters will continue to grow in skill and self-confidence until one day they will own the stage like the polished old-timers of Double Infinity.

Posted in, Concert Reviews, Crighton Theatre, Frank Sinatra, Lone Star College-Montgomery, The Courier Columns, Theater Reviews,, | Tagged , | Leave a comment

Merry Mayhem from a “GENTLEMAN” at the Hobby Center

(L-R) Kristen Beth Williams as Sibella, Kevin Massey as Monty and Adrienne Eller as Phoebe. PHOTO: Joan Marcus.

(L-R) Kristen Beth Williams as Sibella, Kevin Massey as Monty and Adrienne Eller as Phoebe.
PHOTO: Joan Marcus.

[Click any photo to enlarge]

My recent trip to Houston’s Hobby Center to view the current national tour production of the Tony Award-winning Broadway musical, “A Gentleman’s Guide to Love & Murder,” somehow reminded me of the advertising slogan from years ago, “It’s not your father’s Oldsmobile.” I think in this case we might paraphrase a bit to say, “This is not your father’s Broadway musical.” The show is, in a word, unusual. With Book & Lyrics by Robert L. Freedman, Music & Lyrics by Steven Lutvak, and crisp direction from Darko Tresnjak, it is based on a 1907 novel by Roy Horniman, and its black-humored plot begins in England in that very year. With the tongue-in-cheek mischief of its opening number, we see a spooky group of mourners who look as though they just popped out of some ancient black & white photograph as they sing the playfully ominous, “A Warning to the Audience.” It cautions all present that there may be trouble ahead.

Kevin Massey as Monty Navarro and Mary VanArsdel as Miss Shingle PHOTO: Joan Marcus.

Kevin Massey as Monty Navarro and Mary VanArsdel as Miss Shingle
PHOTO: Joan Marcus.

And trouble there will be as we learn the tale of a poor young man named Monty Navarro (Kevin Massey), whose widowed mother has just passed away. His sadness is pleasantly interrupted when an ancient washerwoman named Miss Shingle (Mary VanArsdel) arrives to pay her respects. In her cheerful and tongue-twisting song, “You’re a D’Ysquith,” she reveals that Monty’s mother was actually highborn of the aristocratic House of D’Ysquith, although the family had long ago disowned and disinherited her for her scandalous elopement with the mere Spanish musician who would be her late husband. Armed with this knowledge, Monty realizes he is ninth in the line of succession to inherit the earldom of Highhurst. His quest to move up that ladder and become the earl is the mischievous device that propels the following merriment and mayhem alluded to in my title. Numerous elements make this journey a pleasant one, beginning with the eye appeal of the unique staging that plays out in a kind of sub-proscenium arch with Greco-Roman accents. Surrounded with its crimson velvet curtain and appropriately blood-red lighting, it embraces the action in a smaller, center-stage space than the usual full staging. Thus, it focuses each colorful scene to look a bit like an antique postcard of the period. (Scenic Design by Alexander Dodge, Lighting Design by Philip S. Rosenberg). Adding to the attractive look of the piece are the colorful period costumes of designer, Linda Cho, especially the elegant dresses and gowns for the ladies.

In addition to the smooth-voiced Mr. Massey, the vocally talented cast has two marvelous and very beautiful sopranos as Monty’s competing love interests, Sibella (Kristen Beth Williams) and Phoebe D’Ysquith (Adrienne Eller). That trio brings abundant slapstick hilarity to the Act Two number, “I’ve Decided to Marry You,” and I agree with audience member, Rick Wessells, who remarked after the show that scenes like that were reminiscent of the zany and frenetic comedies of the silent film era.

John Rapson as Lord Adalbert D’Ysquith PHOTO: Joan Marcus.

John Rapson as Lord Adalbert D’Ysquith
PHOTO: Joan Marcus.

But we cannot speak of hilarity without turning our full attention to the uproarious and wide-ranging performance of John Rapson, who anchors all this charming nonsense by alternately portraying each and every D’Ysquith family heir (of both genders) throughout the amusingly murderous efforts of Monty to rub them all out and claim the earldom for himself.

(L-R) Lesley McKinnell as Miss Barley, Kevin Massey as Monty Navarro and John Rapson as Asquith D’Ysquith, Jr. PHOTO: Joan Marcus

(L-R) Lesley McKinnell as Miss Barley, Kevin Massey as Monty
Navarro and John Rapson as Asquith D’Ysquith, Jr.
PHOTO: Joan Marcus

Whether heirs “accidentally” fall to their death from a bell tower or slip through the ice while skating on a pond, the laughs keep coming, with the exception perhaps of a dining room scene near play’s end that seemed disorganized with its lack of focus. Meanwhile, the music is pleasant enough with a cast and ensemble that at times seem almost operatic in their skill. (Music Director, Lawrence Goldberg). Phoebe’s song, “Inside Out,” is lovely from Miss Eller, and Massey delivers a richly romantic and resounding, “Sibella.” Other tunes remind one of the rapid-fire patter songs of Gilbert & Sullivan, but some lyrics do get lost amid the speed.

National Tour cast of “A Gentleman’s Guide to Love & Murder," with John Rapson (center) as Lord Adalbert D’Ysquith PHOTO: Joan Marcus.

National Tour cast of “A Gentleman’s Guide to Love & Murder,” with John Rapson (center) as Lord Adalbert D’Ysquith
PHOTO: Joan Marcus.

When I say, “this is not your father’s Broadway musical,” it is because we are not talking the infectious melodies of Rodgers & Hammerstein here. Audiences are unlikely to go home humming any of these songs from memory, but the tunes work very well to accompany the lighthearted action, and occasional delightful choreography from designer, Peggy Hickey. If folks don’t go home humming, they may at least go home happy.

A GENTLEMAN’S GUIDE TO LOVE & MURDER continues through May 15th 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. For tickets visit the website at, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

Posted in Broadway,, Gentleman's Guide to Love & Murder, Houston's Hobby Center, The Courier Columns, The Villager Columns, Theater Reviews,, | Tagged , , | Leave a comment

Houston “…roads take me home…” to the Music Box

PHOTO: Courtesy of Music box Theater (L-R) Brad Scarborough, Rebekah Dahl, Kristina Sullivan, Luke Wrobel

PHOTO: Courtesy of Music box Theater
(L-R) Brad Scarborough, Rebekah Dahl, Kristina Sullivan, Luke Wrobel

Yes, John Denver’s old country classic, “Country Roads,” is still buzzing around in my brain after last weekend’s pleasant opportunity to reacquaint myself with the popular Houston venue of the Music Box Theater. Now fast approaching recognition in the city’s “Top 25” favorite destinations at the popular Trip Advisor website, the increasingly popular nightclub is currently ranked #26 as it prepares to celebrate the club’s continuing success with a “Five Year Anniversary Show,” scheduled to begin next month from May 13-June 18. But no need to wait until then during the current run of the delightful show, “Travelsty,” a fun-filled romp chock full of popular songs selected to salute the upcoming summer travel season as the troupe reprises their 2012 show with the same theme. It was fun then and it’s fun now, with the added bonus that these four talented performers (Rebekah Dahl, Brad Scarborough, Kristina Sullivan and Luke Wrobel) seem even more polished, in both comedy and song, each time I see them. All four of the performers honed their sensational vocal skills during years as members of the memorable Masquerade Theatre at the Hobby Center.

The audience is told early on that the show will describe, “…the places we’ve been and the paths we took to get here.” As the cast delivers a rowdy and solid version of Bruce Springsteen’s, “Born to Run,” the show takes off like a rocket with great support from music director, Glenn Sharp, and his fine band. With the aid of two chairs and two stools, the gang creates the illusion of a crowded car for this amusing, musical cross-country trip. Rebekah laments the high cost of petrol saying, “Gas prices are higher than I was in the mid-nineties,” but they arrive safely at the first stop in Georgia where we hear the delights of, “Midnight Train to Georgia,” and the obligatory, “Georgia on My Mind.” As we move on to The Big Apple there is gentle fun depicting some loud-mouthed New Yorkers. But all is forgiven when Kristina launches into a beautiful, “New York State of Mind,” while under smoky red lighting, Rebekah weaves a sensational counterpoint with “Empire State of Mind.” Soon we find ourselves in Las Vegas as Luke provides a big, bold, Elvis-style, “Viva Las Vegas,” while his cast mates don feather boas to make a shabbily amusing chorus line. (“Downton Abbey” fans may be interested to know that Mr. Wrobel just completed several years as the droll butler, Mr. Rodgers, on the popular weekly PBS follow-up talk show, “Manor of Speaking.”)

Next, there’s a visit to Tennessee as Kristina carves out a lovely, “Walking in Memphis,” with a wistful conclusion. Summer beach lovers will enjoy a visit to the Coney Island Boardwalk as the group delivers a smoothly acapella, “Under the Boardwalk,” with gentle percussion accents from drummer, John Gremmion. Mr. Scarborough again displays his wide vocal range with his falsetto opening for the group’s mystical rendition of the mysterious Eagles hit, “Hotel California,” punctuated with some spooky slow motion strobe lighting. Kristina returns to guide the group for a sweetly mellow quartet of John Denver’s “Rocky Mountain High,” and a joyful version of the aforementioned, “Country Roads.”

Courtesy Photo: (L-R) Sullivan, Wrobel, Dahl & Scarborough

Courtesy Photo:
(L-R) Sullivan, Wrobel, Dahl & Scarborough

Wrobel opens Part Two of the program singing a, “Where the Streets Have No Name,” that is full of desperation. Then the devilishly good-looking Scarborough brings smooth naturalness and sassy country flavor to the tune, “Take it Easy,” before Kristina accompanies herself on harpsichord for a pleasant, “Leaving on a Jet Plane,” featuring fine banjo work from Long Le in the band. As the action moves to New Orleans, Rebekah brings some snappy sparkle to, “Hey, Lord!” and her husband, Brad, follows with dazzling vocal transitions during, “House of the Rising Sun.” Kristina winds up that segment with a wonderful, “Basin Street Blues,” as Luke adds a bit of Satchmo-style scat singing. Then it’s off to San Francisco, Detroit and of course a final return to Houston. If you’re in town, why not come see for yourself?

TRAVELSTY continues at the Music Box Theater, 2623 Colquitt-Houston, Texas through May 7th with performances Fridays and Saturdays at 7:30 pm. Reserved seating is $37 and General Admission is $27. For tickets and information call (713) 522-7722 or visit the website at

Posted in, Music Box Theater, The Courier Columns, | Tagged , , , , , | 1 Comment

“RUMORS” Leaves Farce Fans Laughing at Crighton

Cast of RUMORS Back (L-R) David Herman, Joey Hancock, Jonathan Rozas, Robert Faber, Allen Dorris, Stella Leland Front (L-R) Sherry Rozas, Melody Montez, Amy Sowers, Jen Watson

Cast of RUMORS
Back (L-R) David Herman, Joey Hancock, Jonathan Rozas, Robert Faber, Allen Dorris, Stella Leland
Front (L-R) Sherry Rozas, Melody Montez, Amy Sowers, Jen Watson

[Photos by David Clements-DWC Photography]

Followers of the comic genius of playwright, Neil Simon, have another chance to sample his oft-times hilarious repertoire with the current Stage Right production of the zany comedy, “Rumors,” now playing at Conroe’s historic Crighton Theatre. Those expecting to attend should plan on arriving early for an additional sampling of the work and wit of Mr. Simon. As has become the pleasant custom at Crighton, there is a cleverly assembled pre-show screening (during the half hour before curtain) of various videos, photos and sound bites related to the theatre’s current offering. In this case, there is a generous dose of movie trailers from Simon films such as “The Sunshine Boys,” and “Murder By Death,” along with hilarious outtakes from the TV series, “The Odd Couple,” and numerous interesting interview clips from Mr. Simon himself. Then, following a brief introduction by director, Travis Bryant, it was on with the show.

The plot of this very nutty farce involves the arrival, one by one, of four elegant couples (formal attire from costume designer, Sydney Elias), who are invited to the tenth wedding anniversary celebration of Charlie Brock and his wife Myra. The gathering is to be held at the Brock’s fashionable townhouse in New York City where Charlie serves as Deputy Mayor. The first couple to arrive, Chris & Ken Gorman (Jen Watson and Robert Faber), find the home apparently empty, but soon discover the host is upstairs recovering from an unexplained gunshot wound through his own earlobe, while his wife and the household servants are missing altogether. When Claire and Lenny Ganz are the next guests to arrive (Amy Sowers & Allen Doris), the Gormans try not to reveal what has happened for fear of a government scandal in the Mayor’s office. Attempts at secrecy get continually more complicated with the arrival of Ernie & Cookie Cusak (Joey Hancock and Melody Montez), and the final guests, Glenn and Cassie Cooper (portrayed by real life husband and wife, Jonathan & Sherry Rozas).

Deanie Harmon & Dennis O'Connor

Deanie Harmon & Dennis O’Connor

The ensuing hilarity involves everything from car accidents to marital spats, not to mention dinner guests having to figure out how to prepare their own dinner. With each silly twist and turn of the convoluted plot, everything is punctuated by a seemingly endless parade of comic entrances and exits, while the players come and go in rapid succession through the numerous doors of this attractive townhouse set that is a star in its own right. A collaborative effort from designer, Deanie Harmon, and Master Carpenter, Dennis O’Connor, the bi-level set is both attractively designed and functional for the action of the piece.

Dennis O'Connor proudly displays the attractive set.

Dennis O’Connor proudly displays the attractive set.

Now by way of way of full disclosure, as a matter of personal taste I sometimes find farce to be tedious. I most often react this way when actors seem intent on telegraphing (perhaps with rolling eyes or exaggerated body language and movement) what they think they must put across as funny. This can be a problem when a clever author like Neil Simon has already built “funny” into the script. It all works best when the characters seem almost unaware of the humor in the comical things they say and do, but we, the audience, can then have the pleasure of discovering what is ridiculous without having to be hit over the head with it. While we sometimes see these dangers played out in this production, it must be said that there was plenty of roaring laughter from the audience throughout the play, and much of it was my own. Happily the hilarity reached its most delicious levels as Act Two moved toward its hilarious conclusion. Special credit for that must go to the strong comic performance of David Herman as Police Officer Welch (with nice assistance from Stella Leland as Officer Pudney). Above all, the closing scene has a memorable and uproarious performance from Mr. Dorris who provides the play’s comic crescendo when he perfectly delivers one of the funniest (and longest) monologues in the comedy repertoire as his character, Lenny, tries to explain the nutty events of the evening to the police. Talk about “Leave ‘em laughing!” Bring along your laugh muscles for that one!

RUMORS posterRUMORS continues through May 1st, 2016 with Friday & Saturday performances at 8 p.m. and Sunday matinees at 2 p.m., all at the beautiful Crighton Theatre, 234 N. Main St. in Conroe, Texas. For tickets ($15-$20) and information, call 936-441-7469 or visit the website at

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

Posted in "Rumors", Broadway,, Crighton Theatre, Neil Simon, Stage Right Players, The Courier Columns, Theater Reviews,, | Tagged , , , , , | Leave a comment

Fine Voices Highlight TUTS “OLIVER!”

The Cast of OLIVER!

The Cast of OLIVER!

[All Photos by Christian Brown – Click any photo to enlarge]

Christopher Wolff as Oliver

Christopher Wolff as Oliver

There is a pivotal moment in the Charles Dickens classic tale, “Oliver Twist,” when the hungry and naïve young orphan, Oliver, finishes the humble bowl of gruel he has been given for breakfast, and then dares to ask, “Please sir, I want some more!” Thus begin the many adventures of this young rebel, which in 1960 were brilliantly converted into what would become the legendary musical, “Oliver!” With its music, lyrics and book all the creation of composer, Lionel Bart, the show would debut in London, and then move on to become a Tony Award-winner after arriving on Broadway in 1963.

Caleb Donahoe as The Artful Dodger with the cast of OLIVER!

Caleb Donahoe as The Artful Dodger with the cast of OLIVER!

With a fine orchestra and musical direction from conductor, Wayne Green, this current TUTS production serves the lovely music well as it draws its greatest strength from the considerable vocal talents of its well-chosen cast.

Frequent visitors to Houston’s Hobby Center may recall the fine performance of Christopher Wolff playing young Winthrop in last season’s TUTS production of The Music Man.

Christopher Wolff as OLIVER

Christopher Wolff as OLIVER

Here, even as we sense the beginnings of the voice change that will bring him to young manhood, Wolff again brings his fine boyish soprano to the title role of Oliver with lovely renditions of the memorable, “Where is Love,” and fine solo moments during the show’s splashy number, “Who Will Buy?” Oliver is one of the many abused young orphans in a workhouse overseen by the pompous and cruel Mr. Bumble (a sinister performance from Brian Ray Norris).

Brian Ray Norris as Mr. Bumble and Barbara Marineau as the Widow Corney

Brian Ray Norris as Mr. Bumble and Barbara Marineau as the Widow Corney

Bumble is assisted by the equally sinister Widow Corney (Barbara Marineau), but at least the two find gleeful pleasure in each other’s company during the flirtatious fun of, “I Shall Scream.” Mr. Norris brings a deep rich voice to the ominous, “Boy For Sale,” when it is determined that troublesome young Oliver must be sold. Thus the boy faces still more cruelty when sold into the custody of the mean local undertaker, Mr. Sowerberry and his wife (Dylan Godwin & Gayton Scott).

When Oliver happily escapes their clutches he finds himself falling in with some unsavory young pickpockets led by an older boy named Dodger (Caleb Donahoe), who welcomes Oliver to the group as they all join in for the lively and cheerful, “Consider Yourself.”

Christopher Wolff as Oliver and James Leo Ryan as Fagin

Christopher Wolff as Oliver and James Leo Ryan as Fagin

A sly old man named Fagin (James Leo Ryan) houses the boys in his hideout and instructs them in the art of thievery during the amusingly devilish, “You’ve Got to Pick a Pocket or Two.” Mr. Ryan brings a captivating sense of mystery to this number, and more especially to his Act Two performance of the thought-provoking, “Reviewing the Situation,” which finds him analyzing whether he should reform or continue as a thief.

Caleb Donahoe as The Artful Dodger, Kathryn Porterfield as Nancy, James Leo Ryan as Fagin, and Nathaniel Hackmann as Bill Sykes.

Caleb Donahoe as The Artful Dodger, Kathryn Porterfield as Nancy, James Leo Ryan as Fagin, and Nathaniel Hackmann as Bill Sykes.

An older girl named Nancy (Kathryn Porterfield) is part of Fagin’s suspicious family, and she has the misfortune to be married to the abusive Bill Sykes (an appropriately ominous performance from Nathaniel Hackmann who could scare you to death singing the frightening, “My Name!”) Miss Porterfield, fresh off her recent success in the TUTS Underground production of “The Sweet Potato Queens,” brings a glorious voice to songs like, “It’s a Fine Life,” “I’d Do Anything,” and her thrilling pledge of devotion to her cruel husband during, “As Long as He Needs Me.”

Kathryn Porterfield as Nancy and the cast of OLIVER!

Kathryn Porterfield as Nancy and the cast of OLIVER!

The latter, it could be noted, is not really politically correct in a modern world that scorns toleration of spousal abuse. But Porterfield and the full company joyfully open up the second act with the infectious and melodic charms of the lusty and lively beer hall song, “Oom-Pah-Pah.” It is an ensemble delight, much like both the show’s opening number, “Food, Glorious Food,” and the first act closer, “Be Back Soon.” The well-guided cast (Director, Bruce Lumpkin) features a great many youngsters from the Humphreys School of Musical Theatre at TUTS, and they have learned their lessons well. Choreographer, Dana Lewis, has both young and old members of the cast dancing beautifully, and the period costumes of designer, Colleen Graddy, nicely capture the atmosphere of this Dickensian world.

A rousing "Oom-Pah-Pah" from the Cast of OLIVER!

A rousing “Oom-Pah-Pah” from the Cast of OLIVER!

The scenic designs of Dennis Hassan are both effective and versatile, as minor set adjustments and the lighting designs from Charlie Morrison create varied scenes within the same essential structure. While production problems were few, there were occasional moments when orchestra levels overwhelmed audibility of the dialogue and lyrics. The show does have some dark moments surrounding Bill’s cruelty toward Nancy, but overall it would not be a surprise if we heard some in the audience echo young Oliver as the final curtain comes down: “Please, sir, I want some more!”

OLIVER! Continues through April 17th at Houston’s Hobby Center main stage with performances Wednesday & Thursday at 7:30 pm, Friday & Saturday evenings at 8pm, Saturday and Sunday matinees at 2pm, and a final performance next Sunday evening at 7:30 pm. For tickets visit the website at, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

Posted in Broadway,, Charles Dickens, Conroe Courier, HERE HOUSTON-Lifestyle & Entertainment, Houston Community Newspapers online, Houston's Hobby Center, Lionel Bart, Oliver!, The Courier Columns, The Villager Columns, Theater Under the Stars, | Tagged , , | 1 Comment

A “CABARET” Miracle for Houston

Randy Harrison as the Emcee and the 2016 National Touring cast of Roundabout Theatre Company’s CABARET.  Photo by Joan Marcus.

Randy Harrison as the Emcee and the 2016 National Touring cast of Roundabout Theatre Company’s CABARET.
Photo by Joan Marcus.

The Kit Kat Band

The Kit Kat Band

 All photos by Joan Marcus from the 2016 National Touring cast of Roundabout Theatre Company’s CABARET.

[Click any photo to enlarge]

It is the early 1930’s in Berlin and the powerful rise of the Nazi party is not far off. Before the curtain rises on this absolutely stunning revival of the 1998 Roundabout Theatre Company production of Broadway’s 1967 Tony Award-winning, CABARET, the arriving audience finds itself part of the clever illusion of being in the dimly lit backstage of the seedy Kit Kat Club. The performers slowly assemble on stage to warm up while tuning instruments and doing pre-performance stretches. Those will be the last quiet moments before this sensational edition of the classic John Kander & Fred Ebb musical takes off like a rocket at Houston’s Hobby Center with able direction from BT McNicholl.

Randy Harrison (center) as the  Emcee

Randy Harrison (center) as the

Randy Harrison and the CABARET cast

Randy Harrison and the CABARET cast

Guiding the action at the nightclub in the role of the Emcee is Randy Harrison in an electrifying performance that could simply not be topped. He literally owns the stage from the moment he welcomes the audience with the memorable “Willkommen,” to the final shocking twist that comes at show’s end. That opening number, with its fine ensemble of Kit Kat Girls and Kit Kat Boys, immediately sets the standard for the visually and musically splendid night of theatre that will follow as the Emcee leads the merry madness of songs like, “Money,” “Two Ladies,” or the satirical attack on Nazism, “If You Could See Her?” The captivating score makes it easy to understand why, after 50 years, this musical can still pack the house. But the staging here, the perfect casting, the extraordinary dancing and the enormous onstage orchestra of some two-dozen fine musicians (director, Robert Cookman) all combine to approach theatrical perfection. It would be worth the price of admission just to hear this Kit Kat Band in concert. The sexy and raunchy original Rob Marshall choreography of the 1998 revival is skillfully recreated here by Associate Choreographer, Cynthia Onrubia, and her ensemble cast of incredible dancers. Meanwhile, the lighting designs of Peggy Eisenhauer and Mike Baldassari mysteriously illuminate the tacky desperation of this pre-war world, beautifully realized in the set designs of Robert Brill.

  Andrea Goss as  Sally Bowles  and Lee Aaron Rosen as Clifford Bradshaw

Andrea Goss as
Sally Bowles
and Lee Aaron Rosen as Clifford Bradshaw

Andrea Goss as Sally Bowles

Andrea Goss as Sally Bowles

Central to the story is the character of the nightclub’s struggling star, Sally Bowles, beautifully performed by lovely and velvet-voiced Andrea Goss, looking a bit like a cute cross between Clara Bow and Betty Boop. Her performances of the title song and the tender, “Maybe This Time,” are sensational. Sally soon finds romance with handsome American writer, Cliff Bradshaw (Lee Aaron Rosen), who has come to Berlin to work on his novel and is helped in finding an apartment by a suspicious Nazi sympathizer named Ernst Ludwig (Ned Noyes). Rosen has a deep, rich voice for both dialogue and song that is well-displayed in his fine duet of “Perfectly Marvelous” with Miss Goss.

Shannon Cochran as  Fräulein Schneider  and Mark Nelson as  Herr Schultz

Shannon Cochran as
Fräulein Schneider
and Mark Nelson as
Herr Schultz

Also marvelous is the sweet relationship that develops between Cliff’s cautious landlady, Fräulein Schneider (Shannon Cochran), and a local Jewish fruit merchant, Herr Schultz (an affectionate portrayal by Mark Nelson). In spite of numerous amusing interruptions from a woman of ill repute living in Schneider’s apartment building (Alison Ewing as the comical Fräulein Kost), Schneider and Schultz have an innocent and darling love affair that is beautifully captured in tender songs like, “It Couldn’t Please Me More,” and “Married.” Alas, the rising tide of Nazi anti-Semitism puts that relationship at risk as Miss Cochran sings the chilling, “What Would You Do?” Chilling as well, at the close of Act One, is the full company’s frenzied and anthem-like, “Tomorrow Belongs to Me,” led by Fräulein Kost and Ernst Ludwig.

Cliff sizes up this time in Berlin very well when he remarks, “It’s all tawdry and terrible, and everyone’s having a wonderful time.” But the audience knows this era in Germany does not end well, even as the Emcee declares, “Life is disappointing, but we have no troubles here!”

CABARET posterCABARET continues at Houston’s Hobby Center with final performances today at 2 pm & 7:30 pm. For tickets and information call 855-660-7034 or visit the website at‎ .

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