FARCE OF NATURE Honors Military & Local Law Enforcement at Crighton

FARCE OF NATURE Cast
PHOTO: Michael Pittman Images

[Click any photo to enlarge]

It’s ShowTime again for the cheerful band of Stage Right Players at Conroe’s Crighton Theatre as they present another of the numerous comedies from Jessie Jones, Nicholas Hope, & Jamie Wooten. This one declares its style up front with the title, “FARCE OF NATURE.” Directed by Melody Montez, it’s a breezy, lightweight bit of comedy fluff, which in its current form seems to alternate in producing both audience laughs, as well as uncomfortably long periods of audience silence during some of the less amusing antics presented in this zany romp.

Todd Brady as D. Gene and Amy Sowers as Wanelle
PHOTO: Michael Pittman Images

The action revolves around a rustic and struggling old fishing lodge in the Ozarks with the amusing name of the Reel ‘Em Inn. (Cozy set design by Ms. Montez & Johnny Barton). D. Gene Wilburn (Todd Brady) is the proprietor of this tired vacation spot, and his amorous wife, Wanelle (Amy Sowers), seems to think that when it comes to love making, her husband is just as tired as their ailing business. In fact, in desperation she has had him visit a hypnotist, where, unbeknownst to D. Gene, she has obtained a hypnotic suggestion to use on her husband when she is hoping for some long-denied intimacy. That running gag brings some of the best laughs of the evening. I will say no more, and simply add that everything is good clean fun.

Calvin Dabrowski as Ty and Jessica Bearden as Jenna
PHOTO: Michael Pittman Images

As the plot progresses we meet Wilburn’s young son, Ty (Calvin Dabrowski), and his pretty girlfriend, Jenna (Jessica Bearden). Jenna has been waiting impatiently for Ty’s return, but now that he’s back home nothing goes smoothly with the arrival of a high-strung and near hysterical guest in the witness protection program. His name is Carmine DeLuca (Robert Faber), and he is in constant fear of being found by the gangland figure, Sonny Barbosa (burly Johnny Barton), who is now out of jail after being fingered by DeLuca some time earlier.

Robert Faber as Carmine and Carolyn Wong as Maxie
PHOTO: Michael Pittman Images

Trying to bring some order to the chaos that follows, trusty Stage Right regular (and founder), Carolyn Wong, is back in another of the feisty comic roles with which she has become pleasantly identified. Here she plays D. Gene’s sister, Maxie Wilburn Suggs, a gun-toting, one-time police officer hoping to get back in the game, but never quite sure where she’s kept her bullets. With her southern drawl and swagger, she hopes to regain her place in law enforcement by successfully protecting the nervous and ever-fidgety DeLuca.

Bre Jatzlau as Lola and Johnny Barton as Sonny
PHOTO: Michael Pittman Images

Adding to the mayhem, Sonny’s sassy and sexy wife, Lola (Bre Jatzlau), has a crush on young Ty and has pursued him here to the inn. Before long Sonny himself arrives to intercede and discovers the added bonus that his nemesis, Carmine, is present as well. If all this sounds like a prescription for lunacy, you don’t know the half of it. Characters run on and off stage, doors slam, silly disguises appear and misunderstandings abound. Even a possible real estate buyer for the inn arrives to add to the confusion with the entrance of last-minute character, Roxanne Thorne (Stella Leland).

The time and effort put in by a cast of local players such as Stage Right must be appreciated by the community blessed with their productions year after year. On the downside, if this particular show has one notable flaw, it’s that this hard-working cast is often working too hard. Comedy is fun when comical characters are BELIEVABLE, and that is not always the case here. Fans of I Love Lucy know that Lucy and Ethel aren’t really working in a factory and shoving chocolate bonbons into their clothes, but we believe it because those gifted actors believe it. That wonderful magic is very hard to do. All of that said, it is worth noting that Mr. Brady’s low key and understated performance as D. Gene was a very convincing one. His was an easy going, confident, and endearing portrayal, and with his gentle sense of comedy and effortlessly resonant voice for the stage, he struck me as a potential character actor who might do very well in a running sitcom if just the right part came along.

FARCE OF NATURE continues weekends thru April 30th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Fridays & Saturdays, with Sunday matinees at 2pm. Members of law enforcement and the military presenting I.D. are offered a special $15.00 admission for themselves and guests by calling in advance. For general tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

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Posted in BroadwayStars.com, Crighton Theatre, Stage Right Productions, The Courier Columns, ThePeoplesCritic.com | Tagged , , , | 1 Comment

A Soaring DREAMGIRLS Triumphs in Houston

Zonya Love as Effie White, Phoenix Best as Deena Jones and Ta’Nika Gibson as Lorrell Robinson
_PHOTO- Os Galindo

[Click any photo to enlarge.]

When I first saw the musical, DREAMGIRLS, back in 1982, the Broadway blockbuster was at the beginning of what would become a four-year run on The Great White Way. With the often-thrilling music of Henry Krieger, complemented by Tom Eyen’s story-telling skill for the book & lyrics, all that was needed was a stellar group of fine actors with powerful voices. That latter requirement was nicely filled with a talented original cast headed up by legendary vocal powerhouse, Jennifer Holliday. Ironically, I recall being a bit overwhelmed at the time by the over-the-top volume of many of this show’s soaring numbers. Perhaps that’s because 35 years ago I was still in the grip of the many still-familiar hit tunes of gentler composers like Rodgers & Hammerstein, and Lerner & Lowe. But time has been kind to me, and I think I’m ready now to handle what was then the pioneering of an explosive and very different kind of musical mentality.

DREAMGIRLS_E. Clayton Cornelious as Jimmy ‘Thunder’ Early
PHOTO – Os Galindo

Now, these many years later, Houston theatergoers have the opportunity to see this wonderful show performed on the Theatre Under the Stars main stage of the Hobby Center. It’s a trip well worth taking as it follows the ups and downs in the careers of three talented young black women who begin their show business adventure in the early 1960’s as the vocal group, The Dreamettes. Full-voiced and full-figured Effie (Zonya Love) is the trio’s lead singer, and in the eye-popping opening scenes she is joined by her friends, Deena (Phoenix Best) and Lorrell (Ta’Nika Gibson), as the gals compete in the famed Apollo Theatre talent show performing a song written by Effie’s brother “C.C.” (Wonza Johnson).

Jacques C. Smith as Marty, E. Clayton Cornelious as Jimmy ‘Thunder’ Early, Thomas Hobson as Curtis Taylor Jr., and Wonza Johnson as CC White

Though the ladies fail to win the contest, they have a backstage encounter with a slick, sometime car salesman named Curtis (Thomas Hobson), who knows how to spot talent and soon becomes their manager. He works a deal with pop singer, Jimmy “Thunder” Early (E. Clayton Cornelious), and his manager Marty (Jacques C. Smith) to hire the Dreamettes as back-up singers. I could go on and on about the complicated romantic and professional clashes and jealousies that ensue, but all of that pales in importance to the often thrilling music and equally thrilling performances that make this visual feast a must-see for local theatre fans.

Kerissa Arrington as Michelle Morris, Phoenix Best as Deena Jones and Ta’Nika Gibson as Lorrell Robinson_
PHOTO: Os Galindo

Right out of the box, in the opening Apollo Theatre scene, director Sheldon Epps’ glamorous staging is a total winner, with its towering scenic design (Kevin Depinet), brilliant lighting (designer, Jack Jacobs), elegant costumes (designer, Colleen Grady), and crisp, well-modulated sound from designer, Andrew Harper, and musical director, Abdul Hamid’s fine orchestra. Pulsing under crimson light, dramatic twin rising staircases are topped by a stage-wide ramp, and these elements beautifully frame the action and terrific dancing from these gifted performers throughout the show. (Choreographer, Jeffrey Polk, based on the original production designs of Michael Bennett).

When Mr. Cornelious joins the ladies for the electrifying, “Fake Your Way to the Top,” one could swear it was the grand finale. Impressive vocal excitement continues when the gents combine forces for a tongue-in-cheek salute to the American Dream during “Cadillac Car.” The shadowy and haunting, “Steppin’ to the Bad Side,” punctuates the backroom payola scandals that bedeviled the recording industry of the time. A nightclub atmosphere takes over the stage for the full company’s dance fun in “Party, Party,” before Cornelious delivers an amusing and pants-dropping, “I Want You Baby.”

Phoenix Best as Deena Jones, Thomas Hobson as Curtis Taylor Jr and Zonya Love as Effie White_
PHOTO: Os Galindo

Conflicts arise when manager, Curtis, gives Effie the bad news that he is elevating Deena to lead singer, but everyone encourages Effie to remain during the poignant and lovely, “Family.” As their career continues, the gals open in the Crystal Room singing their hit single of the title tune, “Dreamgirls,” and bring rockin’ excitement to the song, “Heavy,” while dazzling the audience with rapid-fire costume changes. The passion of grand opera permeates the drama of Effie’s exile from the group during the explosive, “It’s All Over.” She counters as Miss Love provides one of the show’s great highlights during the desperation of Effie’s heart-wrenching, “And I am Telling You I’m Not Going.” The director should have dropped the Act One curtain right then so the audience could explode in a deserved standing ovation.

Ta’Nika Gibson as Lorrell Robinson, Phoenix Best as Deena Jones, Kerissa Arrington as Michelle Morris
PHOTO: Os Galindo

But there is so much more to enjoy in the stratospheric excitement of Act Two that begins with the sassy, sexy and sensational, “Dreams Medley,” and goes on to include the classic, “One Night Only.” Maybe it was just one night, but those of us in attendance will not soon forget it!

DREAMGIRLS continues through April 16th 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 http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

Posted in BroadwayStars.com, HERE Lifestyle & Entertainment, Houston Chronicle, The Villager Columns, Theatre Under the Stars, ThePeoplesCritic.com | Tagged , , , , , , , , | 2 Comments

‘Greater Tuna’ Rendition Takes a Tumble at Crighton

Many years ago in New York I reviewed the opening night of a new musical titled, “The Devil of Delancey Street. I opened my report with these lines:

Richard Nixon famously remarked, “I am not a crook!” Let me paraphrase that and say, “I am not a crank!” I don’t go to the theatre looking for trouble, but like all critics, I do occasionally find it.

That sentiment is worth repeating here as I reflect on last Friday night’s Montgomery County Performing Arts Society offering of “Greater Tuna” at the Crighton Theatre. In the half hour before curtain, the arriving “full-house” audience had an excited buzz of eager anticipation that Dickens might have termed, “Great Expectations.” I shared that anticipation, because back in 1982 I had seen the hilarious original edition of this zany comedy by Jaston Williams, Joe Sears, & Ed Howard, when it had its Off-Broadway premier in New York. Part of the amusing magic of that production derived from the fact that Mr. Williams and Mr. Sears franticly portrayed all of the show’s near two-dozen odd ball characters of varying ages and genders. Set in the fictional redneck Texas town of Greater Tuna, each member of the town’s screwy population is nuttier than the next. The town slogan is, “Where the Lion’s Club is too liberal and Patsy Cline never dies.” Extreme southern accents and Texas twangs would abound. While I did not write a review at that time, in the years that followed I have enjoyed reviewing two of the three spin-off productions authored by those same three gentlemen. In 2003, right here in Montgomery County’s Nancy Bock Performing Arts Center, I joined an audience that roared with laughter as Sears and Williams performed “A Tuna Christmas,” with its cast of small town lunatics helping to make the season merry. Then in 2005 the boys were at it again, bringing as much fun as ever to the Crighton Theatre with “Red, White and Tuna.” I wonder how many members of last Friday’s audience had attended those earlier uproarious productions with the original stars, and therefore hoped, as I did, to re-experience the corny fun that has kept this show on the road for over thirty years?

Alas, recreating that fun was not to be. The bare bones staging, with just a few chairs and tables suggesting both a family home and a town radio station, served to keep the simplicity of the original Michael Krause scenic design. Likewise, the hayseed hilarity of Linda Fisher’s playfully outrageous costume designs was kept intact as well. Except for a few brief and pleasant interludes of Patsy Cline recordings during scene and costume changes, that would be about as far as this latest disappointing edition of “Greater Tuna” was prepared to go in preserving the delightfully innocent flavor of the original. The cause of this theatrical downfall was clear from the beginning: After more than three decades of touring in the various incarnations they created, Mr. Sears and Mr. Williams no longer star in the piece. With all due respect to the countless costume changes of this hardworking new cast including Ryan H. Bailey, Tim Leavon & Will Mercer, the magic was simply not there. The characters they portrayed here became more like cartoons than the hilarious and endearingly believable townsfolk of the original production. Gifted comic timing and the art of pantomime are among the most difficult dramatic arts to master, and both were sadly lacking here as cast members chased after imaginary dogs (endlessly), and tried to convince us they were mixing, or chopping, (or something) while moving around in the imaginary kitchen.

The addition of the third cast member in this version seemed to further diminish the very unique original concept. The town’s conservative values flourish with local suspicions being raised about Huckleberry Finn dressing in women’s clothing, while the winning essay in the local high school contest is titled, “Human Rights: Why Bother?” A budget-strapped local production of “My Fair Lady” is in the works, but will have to use the costumes from last year’s, “South Pacific.” Blacks and Mexicans are invited to audition for the chorus, but are advised they must bring identification. Meanwhile, one town committee is pressing for “less Spanish speaking on the airwaves.” At times it seemed as though we were watching an episode of the delightful long-running TV variety show, “Hee-Haw,” with all the music and witty humor removed. Now don’t get me wrong, I laughed a few times myself, and there were audience chuckles, some laughter and a few guffaws here and there. There was even one couple, seated not far from me, who got their money’s worth howling at the slightest provocation from this heavy-handed attempt at comedy. My greatest happiness was glancing around the theater from time to time to note the numbed expressions of fellow laugh-free audience members who looked as though they had o.d.’d on dental Novocain.

Well, there you have it: My own special version of Shakespeare’s, “Much Ado About Nothing.” Maybe I am a crank, — but I’m definitely not a crook.

Posted in A Tuna Christmas, BroadwayStars.com, Conroe Courier, Crighton Theatre, Greater Tuna, Jaston Williams, Joe Sears, The Courier Columns, ThePeoplesCritic.com, White & Tuna | Tagged , , , , , , | 2 Comments

Musical Artistry Prevails on Night of YTA Gala and Concert of Finalists

Young Texas Artists Competition Finalists 2017
PHOTO: Dave Clements
DWC Photography

[Click Any Photo to Enlarge] 

Jim and Susie Pokorski, founder, and chair and executive director of Young Texas Artists Inc., respectively, with Grand Prize winner violinist Douglas Kwon, who took home Gold in the Strings Division.
PHOTO: Brad Meyer

There was an atmosphere of celebration last weekend here in Texas. As folks looked forward to the end of winter’s dark days and the arrival of Daylight Savings Time, students and families prepared to welcome the holiday respite of this week’s Spring Break. If an Overture for this happy time were required, we certainly had it in last Saturday night’s Concert of Finalists, the culmination of this year’s exciting 33rd Annual YOUNG TEXAS ARTISTS Classical Music Competition. With the endlessly energetic Susie Pokorski once again serving as Chair for the event, there was great support from Co-Chairs, Geraldine & Emmett Kelly, and Mimi & Alan “Barb” Sadler.

Performing Arts columnist, Peggie Miller (second from right) joins fellow revelers at the Gala.
COURTESY PHOTO

The evening began once more with the popular Bach, Beethoven and Barbecue Dinner Dance Gala, held this year at Conroe’s beautiful Martin’s Hall, where beer, wine and champagne flowed freely, and guests enjoyed a traditional Texas-style barbecue dinner, along with the popular country sounds of Bill Mock & the Highway 105 Band.

Gala guest, Paulie McDade, joins David Dow Bentley to admire the Martin’s Hall mural of Musical Legends.
COURTESY PHOTO

Emmett Kelly served as Gala Emcee, and guests had the opportunity to bid on assorted gifts, vacation getaways and gourmet dinners, during a live auction conducted by Lady Lyn Howard. That success would raise over six-thousand dollars for YTA. After the formal music competition at the Crighton Theatre across the street, guests would return to the hall to mingle with the contestants while enjoying coffee, dessert, champagne and dancing.

The competition itself was impressive as always, with St. John Flynn serving beautifully as Master of Ceremonies, and Emelyne Bingham again serving as YTA Artistic Director. From around the nation, the esteemed panel of music world luminaries serving as judges included Elizabeth Buccheri, Miyoko Lotto, Maria Schleuning, William Florescu, and Cynthia Estill.

Always a crowd favorite, best-selling author and concert pianist, Jade Simmons, returned to the competition to interview the finalists on stage.
PHOTO: Brad Meyer

Another highlight of the evening would be the revealing on-stage interviews of the contestants by renowned concert pianist and motivational speaker, Jade Simmons. Performing first in the Voice division was soprano, Hanna Lee. Dressed in a soft and flowing charcoal gown topped in shimmering silver, she brought well-controlled and soaring vocal purity to Handel’s “Tornami a vagheggiar” from Alcina. That performance would win her the silver medal 2nd Prize of $1,000. Taking the gold medal 1st Prize of $3,000 in that same division would be mezzo soprano, Brennan Blankenship. Adorned in a rich, cranberry gown with lace shoulders, she connected well with the audience during an amusing and theatrical performance of the pleasantly melodic, “Noble seigneurs, salut!” from Giacomo Meyerbeer’s Les Huguenots. She skillfully demonstrated both her wide vocal range and her flair for comedy.

Saxophonist, Harrison Clarke, would win the silver medal 2nd Prize of $1000 in the Winds category, for the jazzy elegance and crisp performance of Lars-Erik Larsson’s “Allegro molto moderato,” from the Concerto for Saxophone and String Orchestra. While navigating the many unexpected twists and turns of the perky and playful piece with smooth transitions, Clarke created moments of distinct intimacy and touched on some of the highest notes ever heard from that instrument. Also in the Winds category, flutist, Charles Gibb, beautifully performed Jacques Ibert’s “Pièce pour flute seule.” Opening with the enchantment of a Pied Piper, the calmly focused Gibb captured all the dreamily whimsical, and melodically wistful qualities of the haunting piece, demonstrating great technical skill during fluid runs across the instrument. That skill would win him the gold medal 1st Prize of $3000 in that division.

Contestants in the Piano division would share some impressive honors. Cascading up and down the keys, Lizhen Wu dazzled the audience during the rapturous opening of the third movement (Allegro Scherzo) from Rachmaninoff’s Piano Concerto No. 2. The work may have sounded familiar to fans of the film, “The Seven Year Itch,” wherein Tom Ewell plays the Concerto while hilariously fantasizing about seducing Marilyn Monroe. With his crisp and fluid performance, Mr. Wu wove a delicate musical tapestry of romantic excitement that must have seduced his audience, for he would win not only the silver medal 2nd Prize of $1000 in the Piano division, but also the additional $1000 Audience Choice Award. Not to be outdone, pianist, Kyle Orth, delivered a thunderous and thrilling performance of Franz Liszt’s “Totentanz for Piano and Orchestra,” which rippled with prancing excitement, raging passion and violent attack. It would deservedly win him the Piano division’s gold medal 1st Prize of $3000.

In the Strings division, competition was fierce. Violinist, Likai He, brought seductive gypsy flair to Maurice Ravel’s, “Tzigane,” a warmly romantic work that slowly draws us in with increasing intensity. Mr. He’s fine performance captured thrilling frenzy one minute, and quiet delicacy the next, but perhaps it was the galloping passages displaying his mesmerizing skill that brought him the silver medal 2nd Prize of $1000. Meanwhile violinist, Douglas Kwon, bravely tackled Bela Bartok’s “Allegro Molto” from the Violin Concerto No. 2. With savage skill that was immediately apparent, the artist displayed a visibly warm affection for the instrument he plays so well. He brought high-speed virtuosity to a piece that seemed to always turn in unexpected directions before landing Mr. Kwon both the gold medal 1st Prize of $3000 and the evening’s Grand Prize of an additional $3000, capping yet another successful year for YTA.

Posted in Bela Bartok, BroadwayStars.com, Concert Reviews, Franz Liszt, George Frideric Handel, Jacques Ibert, Jade Simmons, Jim Pokorski, Maurice Ravel, Sergei Rachmaninoff, St. John Flynn, Susie Pokorski, The Courier Columns, The TICKET, ThePeoplesCritic.com, Young Texas Artists | Tagged , , , , | Leave a comment

A “DREAMCOAT” Dream Come True from Class Act

Cast members of Class Act’s JOSEPH & the AMAZING TECHNICOLOR DREAMCOAT
Photo: By Len Bates

[Click any photo to enlarge.]

It’s that time again. Now entering its 20th season with this 60th production, it seems that every six or seven years Class Act Productions mounts another brilliant staging of the Andrew Lloyd Webber (Music) & Tim Rice (Lyrics) classic musical, JOSEPH and the AMAZING TECHNICOLOR DREAMCOAT. The lead role has brought good fortune to stars of the earlier Class Act editions. Lance Kramer starred in 2003 and headed to Hollywood to pursue both theatre and the culinary arts. As a chef known for his Texas-style barbeque (@ChefLanceKramer), Lance paired with his wife to win Runner-Up Champions on television’s “Great Food Truck Race,” in 2014. Meanwhile, Aaron Boudreaux, star of the 2009 edition, went on to New York, gained his Actor’s Equity card, and is now performing in a South Korea production of “Phantom of the Opera.”

Peter McPoland (center) stars as Joseph
PHOTO: by Len Bates

With his warm and soothing voice and stage presence, it would not surprise me if the current production’s star, Peter McPoland, should find future adventures in professional theatre for himself. The handsome lad is every inch the All-American Boy, and in last weekend’s performance at the Nancy Bock Center for the Performing Arts, beams of light seemed to radiate from his joyful performance as the biblical Joseph, a young man greatly loved by his father, Jacob (Collin Rue), but envied by his jealous brothers who cart him off and sell him into slavery. Skillfully directed by Keith Brumfield, the delightful musical adventures that follow find Joseph ultimately becoming ruler of Egypt, second only to the Pharaoh himself.

With lovely voices, both Maddie Bergeron and Payton Russell beautifully guided the unfolding story. They headed what Hollywood used to call, “a cast of thousands,” or so it seemed, with well over a hundred young actors filling the stage in scene after opulent scene. (Set Designer, Jonathan Shelledy, Scenic Designers, Jamie Bautista, Heather Brown & Madison Crisp). A first taste of the pleasant melodies to follow was nicely captured by the “Joseph Orchestra,” beautifully conducted by Music Director, Rae Moses, from the bandstand cleverly mounted high atop the stunning Egyptian palace set.

The Children’s Choir
PHOTO: Len Bates

The opening “Prologue/Any Dream Will Do,” featured not only vocally talented Mr. Poland, but also a superb 22-voice children’s chorus (Director, Debra Moses), that was as thrilling as the exquisite period costumes of designer, Laurie Lewis, that would dazzle the audience throughout the show. Topping that costume list would be the magnificent and colorful coat Jacob gives his son, and proud Joseph eagerly flaunts it during the whirling and joyful song, “Joseph’s Coat.”

Cast of JOSEPH & the AMAZING TECHNICOLOR DREAMCOAT
Photo: By Len Bates

With the dancing and singing of the talented Ensemble, that number was so spectacular it could have been a grand finale. Next came the multi-talented cast of Joseph’s eleven rowdy and rebellious brothers during the fine dancing of both the “Joseph’s Dreams” number, and the “Poor, Poor Joseph” that again included the gifted Ensemble and Children’s Chorus. The dance fun then exploded with foot-stomping excitement when the brothers join their wives for the country-style hoedown of “One More Angel in Heaven.” (Choreographer, Mieka Phillips). With the jazzy song, “Potiphar,” the cast brings campy hilarity to celebrating the zoot-suit adorned arrival of Potiphar, the captain of the palace guard (Nidal Wadi). Taylor Parsley plays Potiphar’s wife, as the amusingly unsuccessful seductress of young Joseph, who then finds himself imprisoned during the haunting, “Close Every Door.” The stage is filled with wonder as Act One closes with the colorful splendor and go-go dancing of “Go, Go, Go Joseph,” featuring Joseph and his fellow prisoners, the Butler (Mercer Sadlier) and the Baker (Bill Nowlin).

Peter McPoland as Joseph & Garrett Newlun as Pharaoh.
PHOTO by Len Bates

In spite of a few body-mike audio failures, Act Two was delightful as well. Amid the mystical, ruby-colored lighting of the splendid royal palace and the authentic ancient Egyptian costume designs for the cast, we meet the Pharaoh, played by Garrett Newlun. He delivers a regal and hip-swiveling performance of “Song of the King,” that hilariously echoes the Las Vegas persona of another well-known king named Elvis, while causing Pharaoh’s pretty, dancing followers to faint in their enthusiasm. Joseph gains release from prison when his gift for discerning the meaning of dreams finds favor with the Pharaoh, who rewards him with appointment as second in command of the kingdom.

A Full Cast Rehearsal
PHOTO: Len Bates

Before all ends well with family unity, the brothers light up the stage with the infectious melodies of, “Those Canaan Days,” (led by Brandon Brown), and “Benjamin Calypso” (led by Brandon Brumfield). There was so much more from this enormous and talented cast, but what lingers is the finale reprise of “Any Dream Will Do.” For director Brumfield, however, only dreams of musical theatre excellence will suffice. That dream has clearly come true.

CLASS ACT’s next production will be THE WIZARD OF OZ on July 8, 9, 14, 15 & 16. For details visit the website at http://www.ClassActProductions.org.

Posted in Andrew Lloyd Webber, Broadway, BroadwayStars.com, Class Act Productions, Joseph & the Amazing Technicolor Dreamcoat, Keith Brumfield, The Courier Columns, ThePeoplesCritic.com, Tim Rice | Tagged , , , | Leave a comment

BROADWAY returns to Houston via The Music Box Theatre

Courtesy Photo (L-R) Cay Taylor, Luke Wrobel, Kristina Sullivan, Brad Scarborough, Rebekah Dahl

Courtesy Photo (L-R) Cay Taylor, Luke Wrobel, Kristina Sullivan, Brad Scarborough, Rebekah Dahl

I was just beginning to experience withdrawal symptoms after my recent out-of-town travels, but all is well now following my recent return to The Music Box Theatre for the current delightful production of The Music Box Does Broadway. As soon as I entered the cozy club for a Sunday matinee, I overheard one woman saying to another, “You’re gonna love it here! This place is like a party. It feels like a family!” This is one critic who couldn’t agree more. With the popular nightclub now in its sixth successful season, its five talented stars are a family indeed. Founders, Brad Scarborough and Rebekah Dahl are husband and wife, co-stars Luke Wrobel and Katrina Sullivan are married as well. Meanwhile, the group has fun teasing their talented “fifth wheel,” Cay Taylor, about perhaps tying-the-knot with one of the members of the club’s fine G-Sharp Band, under the able direction of Glenn Sharp.

The cast always links their fine vocal numbers with bits of humor and nonsense, and I have to say this edition does that better than ever. I’d say they must have top-notch comedy writers, but I’m sure they do it all themselves. Encouraging visits to the house wine bar, Miss Dahl cautioned first-timers in the audience that, “We’re better when you’re drinking!” (I recommend the tasty available cheese & cracker plate.) Next, with Mr. Wrobel leading the way, the fearless performers brilliantly took on the opening number of Broadway’s challenging blockbuster, HAMILTON, before joking at song’s end, “We are probably the whitest performers that ever sang that song!” Dahl then moved to center stage for a joyful and thrilling rendition of “Defying Gravity” from WICKED. From the show ONE TOUCH OF VENUS, Miss Taylor offered a fragile and delicate, “Speak Low” that was nicely enhanced by the seductive rhythms of the band. Returning to HAMILTON, Wrobel began the gentle wanderings of “Wait for It,” that soon evolved into the song’s exciting and explosive core, with solid back-up from the ensemble. He then joined Scarborough for the raucous fun of a lusty and fun filled “There is Nothing Like a Dame,” from SOUTH PACIFIC.

From the currently running Broadway show, WAITRESS, Miss Sullivan delivered a poignant, “She Used to Be Mine,” that was at once dreamy, visual and wrenching. Scarborough’s “Bring Him Home,” from LES MISÉRABLES was the perfect showcase for an elegant display of the actor’s awesome vocal range and sense of theatre. The cast closed Act One with an uproarious 7-Minute version of the entire musical, GREASE. With clever construction, goofy fun and nicely choreographed antics, it would have worked well as a sketch on the old Carol Burnett Show. Hilarious!

music-box-does-broadway-posterThe band followed intermission with a solid “There’s No Business Like Show Business,” and the cast opened Act Two with counterpoint skill for the mellow harmonies of “Skid Row (Downtown)” from the show, LITTLE SHOP OF HORRORS. From The Carol King Musical, BEAUTIFUL, Dahl offers a wistful, “So Far Away,” that is full of loneliness and longing. Her husband followed with an exciting, “Keeping the Faith,” from Billy Joel’s, MOVIN’ OUT, and Miss Taylor seemed to take flight while bringing bird-like sweetness to the song, “Meadowlark,” from THE BAKER’S WIFE. She would have another Act Two winner with her, “ ’Til There Was You,” from THE MUSIC MAN. Wrobel’s title song from CAMELOT was resounding, as was his thrilling, “What Kind of Fool Am I,” from STOP THE WORLD I WANT TO GET OFF. Miss Dahl’s “I Got the Sun in the Morning” from ANNIE GET YOUR GUN was sassy. Sullivan could have etched fine crystal with her joyous, “I Could Have Danced All Night,” from MY FAIR LADY, and Scarborough was suitably brash and cocky delivering, “Gaston,” from BEAUTY & THE BEAST. Of course there would be a feel-good finale, and then it was easy to see the audience had realized the truth of those immortal words: “This place is like a party. It feels like a family.”

THE MUSIC BOX DOES BROADWAY continues through April 1st at the Music Box Theater, 2623 Colquitt, Houston, Texas, with 7:30 p.m. performances on Fridays & Saturdays. There will be 2 p.m. matinees on Sundays March 12th and 26th. Reserved seating for all shows is $37 and General Admission is $27. For tickets and information call 713-522-7722 or visit the website at www.themusicboxtheater.com.

Posted in Broadway, BroadwayStars.com, Concert Reviews, HERE Lifestyle & Entertainment, Music Box Theater, The Villager Columns, Theater Reviews, ThePeoplesCritic.com, Uncategorized, YourHoustonNews.com | Tagged , , , , | Leave a comment

Splendid Music & Dance Highlight “AN AMERICAN IN PARIS” at TUTS

AMERICAN IN PARIS Touring Company PHOTO by Matthew Murphy

AMERICAN IN PARIS Touring Company
PHOTO by Matthew Murphy

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It comes as no surprise that the treasured music and lyrics of George & Ira Gershwin can still produce a winner for Broadway. That fact is made abundantly clear in the Broadway national tour of AN AMERICAN IN PARIS, now being presented by Theatre Under the Stars at Houston’s Hobby Center. The musical is based on the classic 1951 MGM film of the same name, and if the show’s somewhat wandering book (author, Craig Lucas) is a shortcoming, it really doesn’t matter. The Gershwin’s sublime score combines with the dazzling dancing to nicely rescue any weaknesses in the plot (Director and Choreographer, Christopher Wheeldon). Adding to the glow are the lighting designs of Natasha Katz, which pair creatively with the imaginative projection designs from 59 Productions.

The lightweight plot finds us in 1940’s Paris at the end of World War II. Jerry Mulligan is an American soldier and aspiring artist who decides to remain in the post-war City of Light to hone his craft. In the performance I attended, that part was played by Ryan Steele, who alternates in the role with Garen Scribner.

Neil Spangler, Garen Scribner and Etai Benson with the An American in Paris touring company. PHOTO by Matthew Murphy

Neil Spangler, Garen Scribner and Etai Benson with the An American in Paris touring company.
PHOTO by Matthew Murphy

Before long Jerry is palling around Paree with new chums, Adam Hochberg (Etai Benson) and Frenchman, Henri Baurel (Nick Spangler). Adam is a composer and fellow veteran, while Henri is the son of wealthy industrialists, M. & Mme. Baurel (Don Noble and Gayton Scott). The parents, generous patrons of the arts, expect their son to take his place in the family business. Henri’s domineering mother is determined her son will marry a promising young ballerina named Lise Dassin (Sara Esty). Henri prefers to envision a life as a song-and-dance man. Conflicts arise when Jerry encounters Lise and quickly falls in love with her, not realizing Henri’s mother has already engineered her son’s reluctant engagement to the ballerina. It complicates the love triangle a bit more when pretty American philanthropist, Milo Davenport (Emily Ferranti), encounters handsome Jerry and is struck by his talent as a painter. Soon she has him doing scenic designs for the ballet that Adam is composing, and in which Lise will star. Of course all will end well, but enough about the often far-fetched story line, and on to the main course, the music, which is beautifully performed throughout by the vocally talented cast and ensemble, and with the fine orchestra conducted by Music Director, David Andrews Rogers.

This jazzy Parisian world is first revealed to us in the full company’s shadowy opening ballet set to George Gershwin’s lovely “Concerto in F.” Traditional set designers must be panicking as scenes like this one, looking like an antique postcard with its soft, sepia tones, consist of fleeting phantom images created almost wholly by the increasingly popular projection technology. The enchanting dancing of the cast beautifully fills the scene. Next, our buddy threesome and the ensemble light up the stage with a breezy and infectious, “I Got Rhythm.” We have our first look at the graceful elegance of the petite Miss Esty during the delicacy of the lovely “Second Prelude” ballet.

AN AMERICAN IN PARIS Touring Company. Photo by Matthew Murphy

AN AMERICAN IN PARIS Touring Company.
Photo by Matthew Murphy

A few easily mobile set pieces (from Set/Costume Designer, Bob Crowley), quickly transport us to the perfume shop where Lise works. Mr. Steele is an athletic whirling dervish as the smitten Jerry woos her there while dancing, “I’ve Got Beginner’s Luck.” Crowley’s lovely pleated pastel dresses for the ladies brighten the scene. There is a lush, warm, “The Man I Love” from the velvet-voiced Esty, and then a joyfully simple and romantic dance duet from her and Steele. He sings the cheerful, “Liza,” and is shortly joined by Benson and Spangler as they blend their voices for a delightfully mellow, “’S Wonderful.” Two more treats close out Act One as Milo flirts with Jerry. Dressed in smashing emerald green satin, Miss Ferranti delivers a vocally excellent, “Shall We Dance,” while the graceful twosome does just that. The full company’s “Second Rhapsody/Cuban Overture” number begins with dreamy sensuousness under an Eiffel Tower skyline, and then becomes a crimson explosion with eye-popping excitement in the fire and smoke of the erotic and richly colorful dancing at the Beaux Arts Ball.

As Act Two gets underway the excitement is building for completion of Adam’s ballet score, set to feature Jerry’s scenic art designs with Lise in the production’s starring role. Henri and his family host them all at a Ballet Board of Director’s meeting in their palatial home. A rather droll entertainment is provided the guests, with the unintended comedy of the clumsy Eclipse of Uranus ballet, which might remind one of the Grecian Urns scene in The Music Man. Jerry is so bored by it that he gets “Fidgety Feet,” that soon have the entire room on its feet and abandoning the classics to embrace the jazzy contemporary dance style Adam is planning for the new production. Ferranti and Spangler offer a haunting, “Who Cares,” and are quickly joined by Steele and Esty in a wonderful counterpoint quartet of, “For You, For Me, For Evermore.” The poignant, “But Not For Me,” from Ferranti and Benson is a whimsical calm before the storm of the two sensational full-company showstoppers that follow. Spangler and Benson lead an “I’ll Build a Stairway to Paradise,” that’s a knockout, with glittering showgirls and the top hat/tap dance triumph of its Radio City Music Hall-style chorus line.

Sara Esty & Garen Scribner in An American in Paris PHOTO by Matthew Murphy

Sara Esty & Garen Scribner in An American in Paris
PHOTO by Matthew Murphy

Then we finally see the finished product of the ballet these characters have all been working toward: “An American in Paris.” Brilliantly staged to create the illusion we are watching the production from backstage, it is an epic and lengthy dance piece full of colorful, unexpected and avant garde dance sequences, all beautifully performed by this amazing cast, and by handsome Barton Cowperthwaite as Lise’s partner in the new ballet. After all of that happiness, there was still one more delightful song I won’t reveal, but will pleasantly remember. Let me just say they can’t take that away from me.

AN AMERICAN IN PARIS continues through March 5th at Houston’s Hobby Center main stage with performances 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 http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

 

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