In Spite of the Crisis, Broadway Bows to “The King” Once More

By DAVID DOW BENTLEY III     “The People’s Critic”

On this National Day of Prayer, please allow me to answer one prayer of my own, that this pandemic crisis currently circling the globe would not forever silence Let me first express my thanks to all of my readers who have so kindly sent messages of concern and appreciation for the more than two decades of service to the performing arts that this column has provided to readers across our nation, and beyond. For those finding themselves homebound with a shortage of reading material, the many hundreds of TPC columns can be readily accessed at by simply scrolling down the main page, or perhaps occasionally clicking on the “forward”  or “back” arrows that may be indicated at the close of individual stories. But now, on to the good news.

Tomorrow night (May 8, 2020), and throughout the upcoming weekend, Lincoln Center Theatre will combine forces with to stream LCT’s Tony Award-winning 2015 production of Rogers & Hammerstein’s THE KING & I. The show will be presented without cost to viewers, as the usual subscription fees will be waived on those three days. Why not take a Corona-break and gather the family (six feet apart), to enjoy one of Broadway’s most loved and legendary musicals. Together, WE WILL GET THROUGH THIS!

[Readers wishing more information on the production may visit]:

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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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An Icy and Magical Wonderland in Class Act’s FROZEN


Cast members of the Class Act Production of FROZEN JR.

[Special Thanks to Class Act’s  Kristi Tabor for the photo above, and for the six additional new cast photos we now include at the end of this report. Click any photo to enlarge.]

By DAVID DOW BENTLEY III     “The People’s Critic”

I’m sure I am not alone in recalling the childhood wonder of curling up with a beautifully illustrated book of Grimm’s Fairytales and the like. There was a special enchantment in being transported to magical kingdoms in the far-off lands of our imagination. So it was that last weekend was the perfect opportunity to revisit such mysterious and wondrous places, right on the stage of the Nancy Bock Center for the Performing Arts here in The Woodlands, Texas. And it was no surprise that such magic would be created by producer, Keith Brumfield’s legendary Class Act Productions youth theatre company, now in its 23rd season of making musical theatre magic several times each year. The vehicle for this latest success is the already very popular story of Disney’s FROZEN, presented here in the “JR.” edition designed especially for young performers. The enormous and talented cast of fifty-five singing and dancing youngsters was beautifully directed by Stacy Jones, with outstanding Musical Direction from Debra Moses, and sensational dance designs from Choreographer, Mieka Phillips. The elegant and very magical costumes of designer, Romy McCloskey were the “icing on the cake” of this beautiful production.

With the Music and Lyrics of Kristen Anderson-Lopez & Robert Lopez, and a Book by Jennifer Lee, the story of FROZEN takes place in the kingdom of Arendelle, ruled by Queen Iduna (Arden Blake) and King Agnarr (Henry McCloskey). The show opens splendidly with the beautifully staged, “Let the Sun Shine On,” and we see the first of many scenes in no need of extensive scenic design because the Disney package includes amazing and colorful projections of the scene on a full back wall the equal of a theater movie screen. That gloriously costumed opening number was full of lovely singing and charming ribbon dancing. Based on the 2013 Disney film of the same name, the real magic here enters the picture when we meet the royal couple’s two daughters, Young Elsa (Fiona Monreal), and Young Anna (Tori Rouswell). It is with their appearance that dangerous magical powers begin to complicate the plot, because the older princess, Elsa, has the frightening ability to freeze anything or anyone that comes under her magic spell. A sweet duet of, “A Little Bit of You,” offers a delicate snowflake ballet with Featured Dancers including Tiffany Twellman (Captain), Arden Blake, Shea McLeod, Addyson Phillips, and Lindsey Twellman. Mischievous Anna coaxes her sister into making snow, and they create a very animated snowman named Olaf (spryly played by Peyton Jones). But the magic backfires as Anna is seriously injured and the sisters are separated in the palace. Events move so quickly that the girls age right before us, as Grace Ann Jones plays “Middle Elsa,” and Cassidy Buday plays “Middle Anna.” The king and queen are tragically lost in a shipwreck at sea before we finally meet the grown Anna (Coral Petillo), and the grown Elsa (Mady Tozer), now reaching her 21st birthday when she can be crowned as queen. Coronation Day is celebrated with “For the First Time in Forever.” The cheerful singing and dancing of the palace staff, and more stunning projection magic creates the convincing illusion of the ceremonial chapel. Anna is smitten with the arrival of handsome Prince Hans (Oliver Tipler), and their sweet song, “Love is an Open Door,” is perfected by the gorgeous surrounding dancing of the ensemble. Before the first act concludes, a bright-eyed and beaming young actor named Matthew Hernandez arrived looking very at home in the amusing role of Kristoff, an ice merchant with a friendly reindeer named Sven. (Delightfully played by Luke Tabor). The pair’s charming duet is a silly delight, followed by a sudden transition from the frozen world as Olaf, the snowman, imagines a tropical world “In Summer.” That world explodes with colorful costumes, gay parasols, and splendid singing from Miss Jones and the great Show Chorus Singers anchoring the production, and nicely closing out Act One on a high note.

Act Two would immediately be full of pleasures of its own, beginning with the Germanic folk dance flavors of the merry and dazzling opening number, “Hygge,” deliciously led by Oliver Tipler in the role of Oaken, the owner of Wandering Oaken’s Trading Post & Sauna. The catchy tune featuring the complex choreography of the dancers whirling concentric circles, and an emerging high-kick line calling to mind the Rockettes, was simply a pure joy to witness. If that was not enough happiness, it was quickly followed by Miss Tozer’s splendid delivery of the show’s iconic and best-know tune, “Let It Go,” which was beautifully embraced by stardust, snow showers, Northern Lights and the graceful ballet dancing of the cast. With that in mind I would like to dedicate this review to my favorite dreamy and beautiful little ballerina, my soon-to-be five year-old niece, “A.J.” As I thought back to the Act One song, “Dangerous to Dream,” I realized  how that notion has never been a problem for Class Act founder, Keith Brumfield. He’s clearly in his 23rd year of fearlessly making dreams come true. BRAVO!

[Click any photo to enlarge.]

King Agnarr (Henry McCloskey) and Queen Iduna (Arden Blake) watch over the young princesses and thee Royal Court.

Members of Class Act’s production of FROZEN JR.

Mady Tozer in the role of Elsa

Prince Hans (Oliver Tipler) proposes to Anna (Coral Petillo)

Elsa (Mady Tozer) delivers the show’s hit song, “Let It Go”

The Reindeer (Luke Tabor) looks on as Peyton Jones animates Olaf, the snowman when greeting Anna (Coral Petillo) and Kristoff (Matthew Hernandez)

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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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Swing Into Spring with BROADWAY AT THE BOX!

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

By DAVID DOW BENTLEY III   “The People’s Critic”

It seems that each year at this time I am confronted with the daunting task of trying to summarize the countless delights of the MUSIC BOX THEATER’S latest creative tribute to Broadway musical theatre. This year’s edition, “BROADWAY AT THE BOX 2020,” is perhaps even more difficult to capture in words because the vocal prowess and comedic skill displayed during the two hours of numerous clever sketches seems better than ever. For years I have wondered when this talented little troupe would run out of brilliant ideas, but that just hasn’t happened. Of course the usual suspects are once again on hand with company founders, Rebekah Dahl & Brad Scarborough, ably assisted by Kristina Sullivan, Luke Wrobel and Cay Taylor. They combine forces for two hours of great music and great fun, (nicely supported by the four-member house band), and the result has been the group’s continued dominance in the listings of Concerts & Shows for Houston.

Brad Scarborough

Rebekah Dahl

With Brad and Rebekah presiding, the lively and fun-filled opening number, “Road to Hell,” from the Broadway hit, HADESTOWN, featured the prancing and merry gyrations of the cast, and the infectious melody of the instantly likable tune. Next, from the show, DEAR EVAN HANSEN, Mr. Scarborough brought fierce vocal focus to the song, “Waving Through a Window,” as he skillfully carved out the varied complexities of the powerful number. With a bluesy, gliding and silken voice, Kristina followed with a warm and thoughtful, “Can’t Help Lovin’ Dat Man,” from SHOWBOAT, that was full of tender longing.

Kristina Sullivan

Cay Taylor

Rebekah pairs with Luke for the hilarious, “Sue Me,” from GUYS & DOLLS, and she hits a real homerun beautifully delivering Miss Adelaide’s rapid-fire and tongue-twisting vocal. Miss Taylor was next, offering a beautiful story of dreams not realized with the lovely, “Stars and the Moon,” from SONGS FOR A NEW WORLD. Rebekah then livens up the room entering from the rear of the theater making a slinky, sensuous and seductive trip through the audience singing a raucous, “Turn Back O Man” from GODSPELL, and then joining Brad’s calming Jesus on the stage for the number’s full-cast finale.

Luke Wrobel

Luke Wrobel (left) and Mark McCain

Next, Luke is joined on stage by gifted lead guitarist and band member, Mark McCain, as the two combine forces for the haunting delicacy of Cole Porter’s, “So in Love,” from KISS ME KATE.

Now dear readers I must ask you to trust me on this. Act One concludes with an annual event the Music Box has aptly titled the 7-MINUTE MUSICAL. This year’s offering of the “complete” WEST SIDE STORY is so totally brilliant and so endlessly clever, (for exactly seven minutes anyway), that the racing hilarity of its joys must really be seen to be believed. If you survive all of that, stop by the refreshment bar for beer, wine, cheese, snacks, or “Bottomless Mimosas” during intermission. Then settle down for the jam-packed second half of the show featuring a joyful medley of Jerry Herman songs, and numerous other hits from such shows as ANNIE, WICKED, BOOK OF MORMON, COMPANY, and many others. You are bound to come away realizing that old adage is true, “There’s no business like show business!”

BROADWAY AT THE BOX 2020 continues at the Music Box Theater, 2623 Colquitt, Houston, Texas, through APRIL 18th with performances at 7:30p.m. Fridays & Saturdays, (Except March 20th & 21st), and there will be two Sunday matinees at 2 pm on March 29th and April 5th. Reserved seating for all shows is $41, and General Admission is $31. For tickets and information call 713-522-7722 or visit the website at, where you can also find information about the upcoming show, MOTOWN 2020 AND BEYOND.

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 American Theatre Critics Association, AMERICANTHEATRECRITICS.ORG, ATCA, Broadway,, Houston Chronicle online, Music Box Theater, The Courier Columns, The Lambs Club, The Lambs Inc.,, | Tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Unforgettable Celebration of a “KING,” from Houston Symphony

Steven Reineke with the Houston Symphony Orchestra

By David Dow Bentley III   “The People’s Critic”

Of the countless hit recordings left to us by legendary vocalist, NAT KING COLE, the song “Unforgettable” would certainly rank high on that list. The concert is aptly titled, “UNFORGETTABLE: Celebrating the Nat King Cole Centennial,” and it beautifully describes this weekend’s triumphant performance of the late, great singer’s astonishing body of work, that got under way with Friday’s sensational opening night at Jones Hall. Presiding on the podium was the Houston Symphony’s popular and very high-energy Pops conductor, Steven Reineke, the always enthusiastic and animated maestro, who seems to endlessly appear as the person having the most fun of anyone in the hall. That fact was quickly evident as the tall and handsome conductor sprang into action leading his musicians in a lively arrangement of the explosive big band classic, “One O’clock Jump,” that was notable for the finely woven counterpoints from different sections of the orchestra.

Ryan Shaw

Then it was time to introduce the first special guest performer of the evening with the arrival on stage of sensational vocalist, Ryan Shaw, who immediately captured the flair and easy cool of Mr. Cole with his smooth performance of “Straighten Up and fly Right.” His black jacket and black bowtie combined with an artsy golden shirt that looked a bit like a jigsaw puzzle, and it all seemed to complement his black and gold dreadlocks tied neatly in a bun. (In addition to three Grammy nominations, Shaw has countless stage and concert credits, including starring as Stevie Wonder in the original Broadway production of Motown the Musical). Next, he demonstrated his richly resonant voice and skill as a storyteller, while beautifully capturing the haunting mystery of the Eden Ahbez song, “Nature Boy.”

Then conductor Reineke introduced the second featured performer, Josette Newsam. A native New Yorker, some may have recognized her from her appearances as solo and background vocalist on Today, Live! With Regis and Kelly, or Live! With Kelly and Michael.

Josette Newsam

In a smooth black gown with flared sleeves edged in silver, and beaming with a joyful countenance, she opened with a fierce and feisty, “Orange Colored Sky,” that rocked the room. There was mention of Nat King Cole having been the first black entertainer to have both his own radio and television programs, and it was there that the brilliant Ella Fitzgerald had performed Gershwin’s beautiful, “Embraceable You.” With a voice that could etch fine crystal, Miss Newsam then performed the song herself, and with all due respect to Ella, I have never heard a better performance of that song. It was, indeed, a warm embrace, a tender balm for the soul. With equally marvelous interludes from the orchestra, the result was simply sensational! Then under the warm glow of red-orange lighting, the orchestra would follow with Nelson Riddle’s infectious, “I’ve Got You Under My Skin,” nicely decorated with seductive accents from both brassy trombone and sax. Following intermission the orchestra would again excel during a multi-layered and ever escalating performance of the “Theme from Route 66.” Shaw followed that with the “Route 66” song, as he demonstrated his extraordinary ability to shift gears while soaring into upper vocal ranges. Other delights in the second half of the program would include a lushly beautiful, “Smile,” and a chic, nightclub-worthy, “Tangerine,” from the orchestra’s fine rhythm section quartet. Josette returned in a stunning cardinal red gown and glittering golden slippers for a poignant and whimsical, “What’ll I Do?” and she would glide through a rendition of Natalie Cole’s hit, “Avalon.” Shaw would provide a sparkling, “Just One of Those Things,” that he may have over-stylized a bit, and then the conductor challenged the audience to identify five King Cole tunes in a lovely medley. (I got 4 out of 5, but couldn’t name the familiar, “Ramblin’ Rose”). There would be several encores, but of course the standout would have our co-stars pairing for “Unforgettable,” lest we forget what a memorable evening it was.

Unforgettable: Celebrating the Nat King Cole Centennial takes place at Jones Hall for the Performing Arts, 615 Louisiana Street, in Houston’s Theater District. For tickets and information, please call 713.224.7575 or visit Final performance is today at 2:30 p.m.

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 American Theatre Critics Association, ATCA,, Concert Reviews, Houston Chronicle online, Houston Symphony, Houston Symphony Pops, The Courier Columns, The Lambs Club, The Lambs Inc., | Tagged , , , , , , , | Leave a comment

TUTS Offers an Unusual Trip with Its Tropical “ISLAND”

The company of the North American tour of “Once on This Island” PHOTO: Joan Marcus

By DAVID DOW BENTLEY III     “The People’s Critic”

[Click any photo to enlarge]

I don’t usually assign my readers “homework” in advance of seeing a show, but it seems appropriate in connection with Theater Under the Stars’ current offering of the 1990 Broadway musical, “Once on This Island.” Directed by Michael Arden and featuring the music of Stephen Flaherty, with book and lyrics by Lynn Ahrens, I would suggest that prospective audience members prepare a bit before attending this somewhat unusual, one-act production. (No intermission). I make this recommendation because there is quite a lot going on during this compact and complex 90 minutes on a very crowded stage, and depicting the modest beach-hut world of the lower class on an island in the French Antilles. (Scenic designer, Dane Laffrey). It is a world where the fair-skinned and wealthier descendants of earlier aristocratic French settlers (known as the Grand Hommes) live separately from the island’s darker native peasants.

Mariama Diop as “Little Girl” PHOTO: Joan Marcus

As the play opens, a little girl (Mimi Crossland & Mariama Diop alternate in the role) is terrified by a well-staged and frightening storm that crosses the island. The action that follows is musically guided by a chorus of local Storytellers portrayed by McKynleigh Alden Abraham, Briana Brooks, George L. Brown, Michael Ivan Carrier, Jay Donnell, Alex Joseph Grayson, Phyre Hawkins, Savy Jackson, Tatiana Lofton and Robert Zelaya. They undertake to calm the frightened child by singing the mythical tale of another young island girl named Ti Moune (Courtnee Carter), who according to legend was once caught in a similar storm brought about by Agwe, the god of the sea (Jahmaul Bakare). The raging storm left Ti Moune clinging to a tree to survive the flooding. Because much of this tale is sung rapidly and with distinct island accents, some of the lyrics were not clearly audible for the audience, as was the case in the vibrant and undulating full-company opening number, “We Dance.”

Cassondra James as ‘Erzulie,’ Tamyra Gray as ‘Papa Ge,’ Jahmaul Bakare as ‘Agwe,’ Kyle Ramar Freeman as ‘Asaka,’ & cast of Once on this Island. PHOTO: Joan Marcus

(Choreographer, Camille A. Brown, Music Director, Steven Cuevas). For these reasons I suggest serious readers go online in advance of attendance to become familiar with the plot structure, and perhaps some of the music itself.

That being said, there is a certain mystery and enchantment surrounding this musical folktale that plays out under the glow of dreamlike lighting (designers, Jules Fisher & Peggy Eisenhauer). Orphaned Ti Moune is adopted by Mama Euralie (Danielle Lee Greaves) and Tonton Julian (Phillip Boykin), and their haunting song, “One Small Girl,” celebrates Ti Moune’s rescue. Soon she has grown to be a lovely young woman. It is then that we first hear the beautiful voice of Miss Carter, with her lashing vocal power for the prayerful song, “Waiting for Life.” Ti Moune imagines what it would be like to mingle with the wealthy and fast-driving grand hommes who crisscross the island in their fine cars.

Kyle Ramar Freeman as Asaka & Courtnee Carter as Ti Moune PHOTO: Joan Marcus

The gods hear her prayer, and Erzulie, the Goddess of Love (Cassondra James), wishes to give Ti Moune the gift of love, while the sinister Demon of Death called Papa Ge (Tamyra Gray) proposes a challenge to see which is more powerful, love or death. Asaka, the Goddess of Mother Earth (Kyle Ramar Freeman) joins the other gods for the torch-lit and whirling excitement of “And the Gods Heard Her Prayer.” Agwe then creates a storm that causes the car crash of a handsome young grand hommes gentleman named Daniel Beauxhommes (Tyler Hardwick). Ti Moune witnesses the accident and runs to his aid singing the beautiful and haunting, “Finding Daniel.” Miss Carter joins forces with Mr. Boykin and Miss Greaves as Ti Moune and her adoptive parents sing both the tender, “Pray,” and the song titled, “Ti Moune,” which cautions us to, “…choose your dreams with care.” There is also a fascinating shadow play as we hear, “The Sad Tale of the Beauxhommes,” but there is great fun ahead as gaily dressed Mr. Freeman (with a fruit-laden headdress that would be the envy of Carmen Miranda), literally lights up the stage as the explosive Mother Earth. Singing, “Mama Will Provide,” he is surrounded by the joyous and whirling chorus of the ensemble.

The company of Once on this Island. PHOTO: Joan Marcus

Unaware that since childhood Daniel has been betrothed to Andrea (Briana Brooks) among his people on the other side of the island, Ti Moune falls in love him. She has saved his life by making a kind of deal with the devil in the person of evil Papa Ge. But for the complicated details of those final chapters you will need to buy a ticket. Don’t forget to do your homework.

ONCE ON THIS ISLAND* continues through Sunday March 1st at Houston’s Hobby Center main stage with performances Tuesday, Wednesday & Thursday at 7:30 pm, Friday & Saturday at 8pm, and 2pm matinee performances on both Saturday and Sunday. For tickets visit the website at, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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

*For a Production preview visit:

Posted in American Theatre Critics Association, AMERICANTHEATRECRITICS.ORG, ATCA, Broadway,, Houston Chronicle online, The Courier Columns, The Lambs Club, The Lambs Inc., Theater Under the Stars,, TUTS | Tagged , , | Leave a comment

Crighton’s Pleasant “MILLIE” Avoids Near Calamity

Cast of Crighton Theater’s THOROUGHLY MODERN MILLIE

                      By DAVID DOW BENTLEY III     “The People’s Critic”

[Click any photo to enlarge]

Lizzie Camp as Millie & Cain Hamilton as Jimmy

It was not your normal Saturday night at the beautiful Crighton Theater last weekend in downtown Conroe, Texas. As might be expected, the current Broadway musical revival of “Thoroughly Modern Millie,” from the resident Stage Right Productions Company, was full of many charms from the eager cast of local talent, with lively direction from Manny Cafeo.

Millie leads the flappers

That’s the good news, so let me be more specific. The cheerful musical has Music by Jeanine Tesori & Lyrics by Dick Scanlan (and the latter also collaborated with Richard Morris on the Book). The Roaring Twenties period plotline surrounds the arrival in New York City of young Millie Dillmount (Lizzie Camp) from her native Kansas.

The Priscilla Hotel Girls

She is eager to conquer the Big Apple with her secretarial skills while hopefully finding the well-to-do man of her dreams.

Millie (Left) welcomes new friend, Dorothy (Madison Mapes)

Her bright optimism is quickly challenged as she is robbed on the street, and then suddenly bumps into (literally) a young man named Jimmy (Cain Hamilton), who abruptly advises that she first spend the night at the cheesy Hotel Priscilla that caters to struggling young career girls, and then head back to Kansas where she came from.

Chinese fun from (L-R) Ara Hollyday, Carolyn Wong and Steven Wong

The hotel owner is the conniving and sinister, Mrs. Meers (coyly played for plenty of laughs by Carolyn Corsano Wong). Meers likes nothing better than to capture young girls with no family and ship them off to the Chinese white slavery trade. She has two bumbling Chinese laundry boys (amusingly played by Ara Hollyday and Steven Wong) who want nothing more than to bring their aging mother to America from Hong Kong. (Don’t miss their uproarious Chinese rendition of the song “Mammy,” and the sur titles projecting English translations of their silly banter above the stage).

Millie’s secretarial speed test with Mr. Graydon (Michael Martin).

Meanwhile, during a terrific and tongue-twisting duet of “The Speed Test,” Millie lands a job as personal secretary to the man she hopes to marry, wealthy Trevor Graydon III (Michael Martin), the boss of Sincere Trust Co. Millie’s marriage plan is complicated with the arrival at the hotel of a classy ingénue named Dorothy (Madison Mapes).

Love at first sight for Mr. Graydon & Miss Dorothy

Dorothy soon catches the eye of Mr. Graydon herself during their hilarious first-meeting duet spoofing the style of Nelson Eddy & Jeanette Mac Donald with a medley of “Ah! Sweet Mystery of Life”/”I’m Falling in Love with Someone.” It must be mentioned that the secretarial pool of talented young gals in this cast is clearly one of the stars of the show as they bring absolutely wonderful singing and tap dancing to the show, even when rolling around on their office chairs.

The tapping secretaries

Similarly, the many-talented ensemble cast of characters from the hotel light up the show repeatedly with great song and dance for the production’s many lovely tunes. (Choreographer, Dinah Mahlman, Musical Director, Ana Guirola-Ladd).

White tie & tails at the elegant home of Muzzy Van Hossmere (Chrisina Sato)

Also stars of the production were the fabulous costume designs from Abby Cleverly and Denise Schmidt-Debold, giving us a virtual fashion show of Roaring Twenties designs, including sensational fringed flapper dresses for the great Charleston dances, and fabulous evening gowns for chic party scenes at the elegant home of socialite, Muzzy Van Hossmere (Chrisina Sato). Scenic design was sometimes modest with a near-bare stage, excepting the painted backdrop of Manhattan’s skyline.

Another show stopping number and glamorous gown for Muzzy

But on the other hand, Set Designer, Ms. Schmidt-Debold, and her team, have created a very fine, two-tiered Hotel Priscilla, complete with functioning elevator at center stage. Both Mr. Hamilton and Mr. Martin deliver solid vocals, as do Miss Mapes, Miss Sato, and of course, Miss Camp in the title role. Having said that, I would caution that there were some moments when vocalists seemed to come on too strong with lovely lyrics that could be enhanced by the singers simply relaxing a bit to let the song do the work without unnecessary antics.

Now for the promised bad news that could have been much worse. Toward the end of Act One there was a sudden flash of light with a frightening and thunderous crash from somewhere in the theater, and at that same moment a solid object fell from the balcony, landing directly on the head of Woodlands resident, Debbie Little, one of my guests, who was seated right beside me.

Crighton front-house manager, Phil Clarke, took quick action during intermission to re-secure the balcony spotlight.

We soon discovered it was a sizable and solid screw knob that had failed in securing to an upstairs tripod, the enormous long spotlight that was at the edge of the balcony directly above the seats where I and my friends were sitting. By the grace of God we would soon learn that the crash we all heard was the collapse of that heavy spotlight which thankfully fell sideways against the balcony wall and not over the edge of the balcony where it could very well have killed one or more of us below. The show continued, along with a buzz of alarm that circulated among the audience. As Act One ended, two teen-aged youngsters who had been associated with the operation of that spotlight came downstairs in search of the missing screw knob that had struck Miss Little on the head. She was stunned and frightened, but thankfully not seriously injured. Front house manager, Phil Clarke, member of Stage Right’s Board of Directors, quickly came to assist us, and then went upstairs to stabilize that dangerous spotlight situation. Needless to say, we changed our seats for Act Two, and as I write these lines I have just received profuse apologies from Stage Right founder, Carolyn Wong, with the good news that the newly installed balcony spotlights have been repositioned for safety to the rear of the balcony. Perhaps Shakespeare said it best: ALL’S WELL THAT ENDS WELL!

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 American Theatre Critics Association, AMERICANTHEATRECRITICS.ORG, ATCA, Broadway,, Crighton Theatre, Houston Chronicle online, The Courier Columns,, | Tagged , , , , , , | 2 Comments

A Holiday Appetizer from Lone Star Lyric at Ovations

By DAVID DOW BENTLEY III   “The People’s Critic”

[All photos by Click any photo to enlarge]

KELLI ESTES takes center stage at Ovations Night Club

No, it wasn’t a Christmas show. Not yet. That treat is just around the corner for Houston’s popular Lone Star Lyric cabaret, and more about that later. This month’s offering, titled “‘Round Midnight,” was a lush showcase of classic standards from the American Songbook, paired with some of the finest vocal and instrumental talent ever to set foot on the stage at Houston’s chic and cozy nightclub, Ovations.

For this, the group’s 14th Anniversary year, company Artistic Director & Co-founder, Kelli Estes was in fine vocal form, and just as glittering as the stunning necklace she wore about her neck. But on this occasion she was not the lone golden voice on the stage, as she was joined by two Broadway-caliber gents, Lee Gregory and Stephonne Smith.

The LSL Band

But before sampling any of those talents, we first meet LSL’s gifted musicians as the instrumental trio took to the stage to offer the show’s jazzy title tune. Music Director, Rob Hunt, opened the number literally dancing across the keys with a crisp and delightful intro on piano. He was quickly joined by the simmering percussion of drummer, Ben Atkinson, and the solid bass work of Steve Martin. All of that played out under the ever evolving pastel lighting from designer, Jim Elliott.

Lee Gregory

Stephonne Smith

But on to the great musical selections that followed, opening with a unique (and very successful) arrangement for the guys, as Stephonne and Lee performed a most unusual counterpoint duet of, “One for My Baby.” Their deep and powerful baritone voices blended so smoothly I wondered if we should go home right then after such a “tough act to follow.” But not to worry as the band transitioned to seductive Latin rhythms for Kelli’s sparkling, “A Night Like This,” and then handsome Mr. Gregory’s resonant baritone produced a very solid, “Let’s Face the Music and Dance.” It really did make you want to head to the ballroom, and perhaps it could only have been improved if he had a steamer to smooth his rumpled white suit.

Estes has an intermission chat with The People’s Critic and Bob Pizzitola of LaPorte

Stephonne’s resounding, “All By Myself,” was peppered by playful and wide-eyed flirtations with audience members, but he wasn’t by himself for long as Kelli soon joined the number with a cheerful, “Can’t We Be Friends?”

A tender, “The Girl Next Door” from Mr. Gregory.

Lee returns with a true voice for musical theatre that reminded one of Howard Keel during the, “The Girl Next Door,” adaptation of the original, “Boy Next Door,” more familiar to Judy Garland fans.

Estes goes “blue” for MOOD INDIGO

With spotlights highlighting her lush crown of red hair, Kelli returned with bird-like vocal purity for a restful, “In the Wee Small Hours of the Morning,” that featured a relaxing interlude from the trio. Stephonne shows his story-telling skill with a thoughtful, “Say It Isn’t So,” that ends in a soft vocal whisper, and Lee follows with a vocal laser beam for the fun of “Lulu’s Back in Town.” There’s a nice reflection on the Cotton Club era stars like Ellington, Armstrong & Fitzgerald, as Stephonne offers a memorable, “Don’t Get Around Much Anymore.” The stars would close out Act One with a merry trio of Cole Porter’s, “Let’s Fall in Love.”

The fun would continue following Intermission as Ms. Estes called a talented friend to the stage.

Special Guest:

Audience member, Brooks Christensen, was celebrating his birthday, and proceeded to cheerfully prove his worth as a ragtime pianist with a dazzling and joyous performance of the “Pickles & Peppers Rag.” The cheering audience jumped to its feet. Then it was on to the countless Act Two delights that included the band’s wonderful take on, “Green Dolphin Street,” Stephonne’s prancing, “Pennies From Heaven,” and his smooth as silk, “Satin Doll,” Lee’s sassy and playfully aggressive, “All of Me,” his powerful pairing of, “Impossible,” with “I Don’t Stand a Ghost of a Chance,” and his deliciously outlandish and flamboyant, “Just a Gigolo.” Kelli renewed her diva credentials with a feisty, scat-singing of, “My Man,” and a haunting, “In My Solitude,” that smoothly transitioned to a rich, “Mood Indigo” that was bathed in very blue lighting. Then she hit a stunning home run with a masterful, “If You Go Away” that even embraced some of the original French lyrics of “Ne me quitte pas.”

The threesome united for the joyful closing medley of “Why Can’t You Behave,” “Let’s Misbehave,” and “Always True to You.” But they plan more seasonal joy for the fans on December 14th with their upcoming show, HOLIDAY FRUITCAKE, described as a “…decadent dish of holiday hilarity…like any good fruitcake, sweet with plenty of nuts…a classy swingin’ affair full of holiday tunes.” The Ovations Night Club is located in Houston’s Rice Village neighborhood at 2536 Times Blvd. For LSL tickets or information call 917-414-9577, or visit the website at (Email:

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 ATCA,, Concert Reviews, Houston Chronicle online, Houston Community Newspapers online, Ovations Night Club, The American Theatre Critics Association, The Courier Columns,, | 2 Comments

YTA Event Brings Music and Elegance to THE GLADE

Grammy Award-Winning Soprano, JESSICA E. JONES, entertained YTA guests at The Glade.

By David Dow Bentley III     “The People’s Critic”

[All Photos by Click any photo to enlarge]

YTA President, Susie Pokorski, opened the program.

For the many Montgomery County supporters of the annual Young Texas Artists Music Competition (, the last Friday of October was a splendid opportunity for an elegant night out in celebration of some of the brilliant young talents the organization has encouraged. Under the skillful direction of YTA President and CEO, Susie Pokorski, the gala event was titled, CLASSICS AT THE GLADE, and featured a champagne reception, cocktail buffet, and renowned concert classics performed by three of YTA’s former winners.

Glade Cultural Center

The affair was held at The Woodlands’ stunning new arts venue, The Glade Cultural Center ( The center is perfect for private events and receptions, and also provides a unique and accessible fine arts experience for visitors, with a hosted fine art gallery and antiquities.

Valet parking was provided, and as YTA guests stepped from their cars they were warmly greeted at the door by Mrs. Pokorski and her husband Jim. Once inside, visitors were surrounded by lovely artwork and photography on the many walls that surrounded the open bar, the numerous hot and cold buffet areas and a tasty dessert table.

Craig Stephan

The hot Shrimp & Grits station was a favorite of many, and all the while guests enjoyed fine dinner music from accompanist and pianist for the evening, Craig Stephan.

Jade Simmons

Then, once the visitors had time to eat, drink and tour around the art displays,

THE INTERVIEWS: (L-R) Jade Smmons, Zhi-Yuan Luo, Artem Kuznetsov, Jessica E. Jones

Pokorski welcomed the crowd to be seated for the featured performances as she introduced the host for the evening, familiar YTA favorite, Jade Simmons, the CEO of Jade Media Global, and also host of the hit American Public Media podcast, “Decomposed.”

The YTA Video

A talented performer herself, Simmons has entertained at both the White House and Supreme Court, and in recent years has also hosted many of the YTA Competitions of Finalists at Conroe’s Crighton Theatre. Before this evening would end she would share a short video about the YTA organization, and then again show her skill as an interviewer by calling the three featured soloists on stage for a delightful exchange about their lives as professional performers.

Zhi-Yuan Luo

Zhi-Yuan Luo

Simmons then introduced 25 year-old Zhi-Yuan Luo, who began playing clarinet at age 12. Currently studying for his master’s degree in Austin at The University of Texas, he was winner of both the Silver Medal and Audience Choice Award during the 2019 Young Texas Artists Music Competition last March. On this occasion, he would dazzle the audience with “Untitled Work for Clarinet and Electronics”, an unusual composition by S. Greene. Performed under smoky blue lighting, the piece involved accompaniment for his skillful clarinet performance from a small, neon bordered speaker system, synchronizing an unusual digital electronic score to the artist’s solo performance. Generous with his talent, when the regular program concluded, he stepped mid-room, clarinet in hand, and provided after-dinner music while guests mingled and enjoyed the artwork on display.

Artem Kuznetsov

Next up was gifted concert pianist, Artem Kuznetsov. Russian by birth, in 2004 he was featured in “Gifted Children of Russia.” A successful veteran of many music competitions, he was winner of both the Piano Division Gold Medal and the Grand Prize in this year’s aforementioned Young Texas Artists Music Competition. Currently studying at Rice University, he volunteers in musical outreach to under-served communities, has a debut album slated for release this fall, and will soon perform with the Allen Philharmonic and the Texas Medical Center Orchestra. On this occasion his superb piano skill was on full display as he performed Bach’s “Toccata and Fugue in D Minor”, brilliantly capturing all the subtle nuances and transitions of the complex work.

Jessica E. Jones

The final guest performer was soprano, Jessica E. Jones, a veteran of the 2012 Young Texas Artists competition. With a wide repertoire and a master’s degree in performance from the prestigious Moore’s School of Music at the University of Houston, she has gone on to perform with opera companies in Texas, Florida, New Mexico, Utah, Idaho and Montana. More recently she became a Grammy Award winner for her performance on the Best Opera Recording of 2019:            The(R)evolution of Steve Jobs. At this YTA gala she easily validated her stellar reputation with a joyous performance of Puccini’s “O Mio Babbino Caro,” from Gianni Schicchi, and a wondrous rendition of Andrew Lloyd Webber’s, “Think of Me,” from Phantom of the Opera. The rousing audience reception precipitated her radiant and theatrical encore of Lerner & Lowe’s delightful, “I Could Have Danced All Night” from My Fair Lady. A more joyful conclusion could not have been hoped for.

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 American Theatre Critics Association, ATCA,, Concert Reviews, Houston Chronicle online, Houston Community Newspapers online, The Courier Columns, The Lambs Inc., | Tagged , , , , , , , , , , , | Leave a comment

Costumes and Sets Crown Crighton’s Joyful CINDERELLA

The Cast of Stage Right’s CINDERELLA –
All Photos: Dave W Clements & DWC Photography
[Click any photo to enlarge]

By DAVID DOW BENTLEY III    “The People’s Critic”

Kathleen Baker as CINDERELLA

Lucas Olivarez as the Prince

Conroe’s wonderful Crighton Theatre has, for many years, continued to send me personal invitations to the shows mounted by the much-loved STAGE RIGHT PRODUCTIONS Company. The group has as its longstanding motto: “A Community for the Entire Family.” That motto has perhaps never been more appropriate than for the very cute current offering of Rodgers & Hammerstein’s musical, CINDERELLA, cheerfully directed by Stage Right veteran, Sara Preisler.

(L-R) Alexandra Casey, Christina Sato, Madison Mapes

Rob Baker as King & Martha Davis as Queen

A show full of adorable, local young children, this is clearly a community gem that should bring out a crowd full of friends, neighbors and the families of all the children involved. Other folks, who have ever enjoyed a really well-done elementary school program full of creative sets and sweet kids dressed in beautifully designed costumes, may want to consider joining in the fun with upcoming audiences.

Fairy Godmother (Shananda Poulos) casts her magic spell.

The Magic Coach Arrives

These youngsters sing and dance beautifully while playing the parts Cinderella’s mice, her birds, and her mischievous black cat. They are scene stealers at every bend in the road. (Set design and choreography by director Preisler & Cricket Pepper, Costume designer, Debbie Preisler, and Musical Direction by Layne Roberts).

Cinderella’s Cat

Whether in throne rooms or royal ballrooms, the adults in this cast are regally costumed as well. They give it their all in performing the several charming R&H songs, that for more than half a century have made their way from the earliest TV version of the show (with Julie Andrews), and on to national tours, and even Broadway. And speaking of those charming songs, my only complaint would be the absence of a running song list in the printed program. I’m surprised that omission was permitted by the vendor, R&H Theatricals.

I assume there is no need to detail the familiar tale of pretty young Cinderella (Kathleen Baker), who is horribly abused by her vain and sinister Stepmother (Christina Sato), and her whining, cackling and uproariously annoying stepsisters, Grace (Madison Mapes), and Joy (Alexandra Casey). But of course, relief is on the way in the person of the handsome Prince Christopher (Lucas Olivarez). His parents (Rob Baker as the King, and Martha Davis as the Queen) have a plan to get their son married, but meanwhile, they keep a close eye on him with the help of Lionel, the Royal Steward (an amusingly droll performance from Todd Brady).

Miss Poulos lights up the stage.

Adding to the fun is the kooky and explosive performance of vocally talented Shananda Poulos in the role of of the Fairy Godmother. Poulos really ignites the stage with fine singing and a zany characterization that somehow reminded me of Queen Latifah. She brings magic to the stage in more ways than one, and I’m still wondering how Cinderella was instantly changed from her rags to her ball gown! Mapes and Casey bring jealous hilarity to their over-the-top “Stepsisters Lament,” while wondering, ”Why would a fellow want a girl like that?” as the Prince shows romantic interest in Cinderella.

Dancing at the Royal Ball

Other song delights include, “The Prince is Giving a Ball,” Cinderella’s very sweet, “In My Own Little Corner,” the exciting ensemble number,” The Prince is Giving a Ball,” and the equally exciting, “Impossible; It’s Possible,” duet from Cinderella and her Fairy Godmother. The elegant “Gavotte,” and charming “Waltz for a Ball,” were beautifully danced by the cast in the palace, and other melodic treats include, “Ten Minutes Ago,” “A Lovely Night,” and “Do I Love You Because You’re Beautiful?”

Come and see if the shoe fits.

As you might imagine, after some difficulty Cinderella does get her Prince and the wedding scene climax is an opulent dandy that brought the cheering crowd to its feet. Audience member, Renée La Fleur, was a first-time visitor to the Crighton, and smiled widely as she told me, “This is really bringing me back to my childhood.” Why not come see for yourself this weekend?

CINDERELLA runs thru Nov. 3rd with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on both Saturday and Sunday. Tickets range $17-$26, according to age, with discounts for groups. Reservations are available at, or call 936-441-7469 weekdays between 3 and 6 p.m. The Crighton Theatre is at 234 N. Main in downtown Conroe, Texas.

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 AMERICANTHEATRECRITICS.ORG, ATCA,, Cinderella, Crighton Theatre, Houston Chronicle online, Houston Community Newspapers online, Stage Right Productions, The Courier Columns, The Lambs Inc.,, Uncategorized | Leave a comment

A Symphonic Tour of Europe from Rick Steves & Houston Symphony


All photos courtesy of Rick Steves & Houston Symphony

It was like an exquisite fairytale tour of the continent for lucky audiences at last weekend’s Houston Symphony concert titled, “Rick Steves’ Europe: A Symphonic Journey.” A full house packed Jones Hall, and with top ticket prices above one hundred dollars it was not exactly a poor man’s trip to Europe.

MICHAEL KRAJEWSKI & The Houston Symphony

But what a fabulous trip it would be, especially with the return of the orchestra’s retired and much-loved Pops Conductor Emeritus, Michael Krajewski, who playfully referred to this appearance as his 4th Annual Farewell Concert. The European theme notwithstanding, Krajewski quickly had the audience in the palm of his hand beginning the program with a tour of America launched, of course, with a rousing “Star Spangled Banner.” The ensuing trip would open with the racing strings, thundering kettle drums, and thrilling brass during Jerome Moss’ vision of the American West in the Main Title music from “The Big Country.” That piece was a perfect lead-in to Grofé’s gently trotting “On the Trail” mule ride from the 3rd movement of his visual epic, “Grand Canyon Suite,” and featuring a stunning opening violin solo passage from Co-Concertmaster, Eric Halen. The sweetly delicate opening phrases of the R.A. Bass arrangement of, “Shenandoah,” would then set the stage for the symphonic grandeur that would follow from this masterwork. It was lightly decorated by soft chimes and bells from percussion, and featured a stunning trumpet solo. This first half of the program concluded beautifully with the clever R. Wendel arrangement, “From Sea to Shining Sea.” Opening with “America the Beautiful,” that piece took the audience on a musical cross-country tour from west to east, featuring such familiar tunes as, “San Francisco,” “Meet Me in St. Louis,” “Chicago,” “My Old Kentucky Home,” “Georgia on My Mind,” “Carolina in the Morning,” and then closing with a joyful, “New York, New York.” But somewhere in between, it seemed the hand-clapping Houston audience favorite was clearly, “Deep in the Heart of Texas.”

Rick Steves in Germany

Beginning the featured Part Two of the concert, Maestro Krajewski, looking fit and trim as ever, stepped forward to introduce the man he called, “America’s foremost authority on European travel.” With that, the attention shifted to a gentleman well known to PBS viewers, the amiable and knowledgeable travel expert, Rick Steves, who explained that the musical organization of the project was designed to focus on the music of what he called the Romantic Era of the late 1800’s, a time when the seeds of freedom inspired by our own American Revolution across the sea, were then taking root in countries all across Europe as the common man sought liberty from the ruling class of the nobility. Steves then began a series of narrations that would accompany the splendid travelogue videos screened above the brilliant orchestra, while he guided one and all through countries and composers that included Austria (J. Strauss Jr.), Germany (Wagner), the Czech Republic (Smetana), Italy (Verdi), Great Britain (Elgar), Norway (Grieg), and France (Saint-Saëns).

Rick Steves in Norway

The orchestral delights that accompanied each nation spotlighted included “On the Beautiful Blue Danube” (Strauss), the “Prelude to Act III of Lohengrin,” (Wagner), “The Moldau” from Smetana’s “My Fatherland,” Verdi’s “Triumphal March from Aida,” Elgar’s familiar, “Pomp and Circumstance,” and Grieg’s “Morning Mood” from the “Suite No.1 of Peer Gynt.” As the splendid orchestra performed the works associated with each country, the audience was treated to sublime travelogue views across Europe that captured magnificent landscapes, rivers, streams, villages, churches, traditional costumes, castles, dancers, plazas, parks, mountain climbers, paintings, murals, frescos, statues, fountains, street scenes and cafes, exquisite architecture, Roman ruins and aqueducts, canals, vineyards, knights in armor, rainbows, misty fiords, traditional foods, and lush gardens at every turn.

Rick Steves in Switzerland

This memorable feast for the eye and ear was brought to a fine conclusion with a celebration of the present day European Union as the orchestra played the E.U.’s adopted “Anthem of Europe,” based on Beethoven’s final movement of the 9th Symphony, “Ode to Joy.” Not surprisingly, there appeared to be universal joy on the faces of the departing audience. BRAVO!

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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 American Theatre Critics Association, ATCA, Beethoven,, Concert Reviews, Conroe Courier, Elgar, Houston Chronicle online, Houston Community Newspapers online, Houston Symphony Pops, Jones Hall, Michael Krajewski, The Courier Columns,, Travel, Uncategorized, Wagner | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment