Newest articles on The Sacramento Press tagged as "broadway"

"Make Em Laugh" Mines the Humor of Musicals at STC Cabaret

2012-01-28T21:01:32Z

Sacramento Theatre Company associate producer Michael Laun shakes up the STC Cabaret format with some good surprises. SacPress community contributor writer/photographer Barry Wisdom has a great preview of the latest show.

Changes included the type of theme. Many previous shows have centered around specific composers. “Make Em Laugh” which runs for a short four show run this weekend on the STC Cabaret Stage, is centered around the title subject. It is a collection of songs, many of which are very well known songs by extremely well known composers from timeless shows.

Many of the songs are also from “who wrote that”? Great song, but “what show”? Never heard of it. And it all works well together to create a fun musical look at what Broadway and pop culture has seen as humorous in our lives. No surprise, much of the humor revolved around relationships.

Much of the success of “Make Em Laugh” is due to the performance of this ensemble. They are excellent at turning a good song into a whole story. Each STC Cabaret show has a mix of performers familiar to the core audience and new performers. This show has a larger mix of new faces.

Leading off with Laun is Jessica Crouch fresh off her staring role in “Bingo” at the Cosmopolitan Cabaret, a role that caused this reviewer to use the “F” word: Fabulous! She sounds so beautiful while being so downright funny. She is especially great on “What Happened to My Song” from “Monty Python’s Spamalot.”

Laun is great on a very funny song called “Hawaiian Wedding Song” from a musical called, of all things, “When Pigs Fly.”

Joining Laun and Crouch from the STC Young Professionals Conservatory for “Make Em Laugh” is 14 year old first year student Devon Hayakawa. She gives a sophisticated performance beyond her years, starting with “Shy” from the tv musical “Princess and the Pea” made famous by Carol Burnett.

New to the ensemble are Robert Irvin, Christine Nicholson, and Madeleine Wieland.

Irvin is great on the Cole Porter hit “Miss Otis” and teams with Crouch on “Sue Me” from “Guys and Dolls” and Laun on “Honest Man.”

Nicholson is a hoot on “April in Fairbanks” and “When Your Lover Says Goodbye.”

Wieland opens with “The Boy From” a Sondheim song with a mouth full of words that she readily handles.

Since a lot of the songs are about relationships and the cast is heavily tilted to those interested in men a lot of the songs are about relationships with men such as “The Boy From,” “What Do You Do About Men?,” and “100 Easy Ways to Loose a Man.”

Also new to STC Cabaret is Sam Schieber, musical director and pianist playing with frequent performer, Kellen Garcia on bass.

Love clever lyrics from Broadway shows, both popular and obscure, performed by some great talent? Check out the remaining shows today at 2:00 and 8:00 pm of “Make Em Laugh.”

“Make Em Laugh.” Sacramento Theatre Company Cabaret
Last shows today
Information and Tickets

Photo Essay: The Wedding Singer Musical

2012-01-14T23:06:52Z

On Friday, 13 January, Runaway Stage Productions began its 2012 season with the Broadway rendition of "The Wedding Singer," at the 24th Street Theater in downtown Sacramento. The adaptation of Adam Sandler's 1998 film tells of a romantic comedy set in the 80's where wedding singer, Robbie Hart attempts to win the heart of Julie who is to marry the wrong man.

The musical adaptation is rife with dedications to the 80's: from style to pop-culture references as well as the dancing and the music to help illustrate the era for the audience.

The production runs through February 5 with tickets available through Runaway Stage Productions, contact: (916) 207-1226 or go to www.runawaystage.com for more information.

Beatlemainia Strikes Sacramento With “Rain: A Tribute to The Beatles” at Broadway Sacramento

2011-12-29T05:40:16Z

The latest Broadway Sacramento show “Rain: A Tribute to The Beatles” opened to a nearly sold out house at the Sacramento Community Theater Tuesday evening.

“Rain: A Tribute to The Beatles” opens with archival film of the Beatles’ first appearance on “The Ed Sullivan Show” projected on two large screens flanking the stage. As the curtain rises, the band breaks into a set of the earliest Beatles music. The audience breaks into screams.

This is followed by a set of more early music timed to the Beatles’ Aug. 15, 1965, Shea Stadium concert. The two large screens, plus a much larger screen at the back of the stage, and some props and lighting effects set the scene very well. It is still interesting after all these years to see the effect the Beatles had on their fans with large numbers of girls fainting and being carried off.

The curtain drops for each scene change while programming on the big screens set the tone for the following scene. As the show moves into “Sgt. Pepper’s Lonely Hearts Club Band” and the psychedelic period that followed it, everything becomes, well, incredibly colorful, including the great reproduction costumes of Sgt. Pepper and the psychedelic light show.

While modern video and lighting play a big role in recreating the feeling of Beatles concerts, “Rain” is all about the music. The creative team and cast are all about recreating the music to as exacting precision as possible.

The band Rain, or Reign as they were originally known, started out as a cover band in Southern California that loved doing covers of the Beatles more than anything. They evolved into doing nothing but Beatles covers. They may have remained a simple cover band if not for the success of “Beatlemania” on Broadway. When that show closed, several cast members joined “Rain” and it eventually it became an official spin off of “Beatlemania.”

The current cast consists of Steve Landes as John Lennon, Joey Curatolo as Paul McCartney, Joe Bithorn as George Harrison and Ralph Castelli as Ringo Starr, along with Mark Beyer on additional keyboard and percussion. It is nearly impossible to single out any one of these American-born cast members. Besides having to perform vocals sounding exactly like their Beatle counterpart, they each have to play the full range of instruments played by that Beatle. Oh, and they have to speak with correct British accents when they speak to the audience. On songs that featured Lennon, Landes sounded hauntingly like him.

How much each performer looked like their counterpart varied from scene to scene, but Curatolo as McCartney really looked like him throughout the show. He has, in fact, won Paul McCartney look-alike contests over the years.

The “Rain” tribute runs through “Abbey Road,” the last album recorded by the Beatles. They perform over 30 Beatles songs, including some that were never performed live by the Beatles. The Beatles ceased to be a group on Dec. 31, 1970.

For much of the audience, “Rain” was a trip down memory lane. To the younger generations, it is a musical history lesson. Interaction with the audience between songs by the band made it clear that there were at least three generations or more in the audience. We were invited to sing and clap along. We were invited to dance in our seats. It was great fun to watch Boomers now in their 60s acting like they were still in their 20s.

“Rain” is a theatrical spectacle just as much as it is a concert of some of the the best music ever written and performed in the last century. There have been countless covers of Beatles music by performers of great stature over the years, but no one does their music as perfectly as the cast of “Rain.” If you never got to see the Beatles live, here is your chance. You will get a feeling of what the shows looked like, and you will get a perfect sound of what they were like to hear (probably better given the acoustics of today’s venues).

If you love the music of the Beatles, want a look back at another time or just want to know what all the fuss was about, don’t miss “Rain: A Tribute to The Beatles.” But do act quickly. The whole run is heavily sold and there is limited ticket availability.

“Rain: A Tribute to The Beatles” Broadway Sacramento
Sacramento Community Center Theater
Through January 1, 2012
More Information and Tickets

The Beatles are in town! Broadway Sacramento's "Rain" delights--for one week only.

2011-12-28T18:27:09Z

Travel back through time with Broadway Sacramento's Rain, a Beatles tribute show that began as an offshoot of the Broadway production of Beatlemania. Rain ran on Broadway for 300 shows and 8 preview performances at the Brooks Atkinson Theatre in New York City and has also been a hugely successful national tour for years. Together longer than the Beatles, Rain has mastered every song, gesture and nuance of the legendary foursome, delivering a totally live, note-for-note performance.

This multi-media show begins by taking us away to a time when four young men stepped on stage at the Ed Sullivan show and changed music as we knew it. Rain chronicles the journey America took with the Beatles, showing us footage of screaming fans, interviews, and historical happenings that changed us all.

Looking around the room, I saw three generations of Beatles fans, all singing along, dancing, and screaming like it was 1964. When it came time for the last number to be performed, I didn’t want the show to end. And neither did anyone else, Rain went on to perform two encores.

This show is the next best thing to seeing the Beatles. Who knows, you might just learn a new song or two!

Rain: A Tribute to the Beatles continues at the Community Center Theater through January 1. Show times: Wed 8pm; Thurs 2pm & 8pm; Fri 3pm & 8pm; Sat 2pm & 8pm; Sun 2pm.

The Broadway Sacramento season continues with West Side Story (Jan 24-Jan 29), Mamma Mia! (March 13-March 18), Million Dollar Quartet (April 17-April 22), and Wicked (May 23-June 17).

------------------------------------------------------------------------
Written by Sacramento365.com Intern, Aimee Steffen
------------------------------------------------------------------------

New Texas barbecue spot on Broadway

2011-12-22T08:57:49Z

T & R Taste of Texas opened on Broadway near 36th Street in late October, and Chef Rodney Ray said he thinks the barbecue restaurant will be able to last in the spot that has seen several businesses come and go in past years.

“It’s simple, good, home-cooked food,” he said Wednesday. “It’s great barbecue, and we don’t grill it – we smoke it.”

All meats are smoked a minimum of five hours in an on-site smoker, and four types of wood are used: apple, hickory, mesquite and cherry, Ray said. Meats and other ingredients come from local restaurant suppliers, and he added that he wants to work with farmers markets to bring in local produce during harvest season.

Ray, who is a longtime friend of owner Clarence Pughsley Jr., said he got much of his experience with barbecue cooking as a freelance chef – including time on cruise ships.

“I travel all over, and Sacramento has been my home base for the past 10 years,” he said. “I really like going to the Caribbean. They’ve got a lot of great barbecue there.”

Both Pughsley and Ray have Texas roots, and Ray said he likes the Texas style of barbecuing, with a heavy emphasis on ribs.

“Our pork ribs are our most popular,” he said. “We’re working on a boneless beef rib, too, and tri tip is really popular here.”

The 1,300-square-foot restaurant holds 30 people, and there are plans to build a patio starting in March or April. Prices range from $6 - $10 for meals, with a combination platter of two meat types with two sides for $7.99 available from 11 a.m. - 1 p.m.

Before T & R, the space was briefly Johnny Broadway’s, another barbecue restaurant, Ray said.

Sides include coleslaw, barbecue beans, potato salad and tater tots.

In addition to walk-in dining, T & R also caters, and Ray said he can cook a multitude of types of food – not limited to barbecue.

“We’re a barbecue restaurant, but we can do a lot more,” he said.

Sandra VanHook, owner of the Images & Beyond sign-making and silk-screening business a block away, said she has eaten at T & R several times since its opening nine weeks ago.

“When I tasted their pulled-pork sandwich for the first time, it was really good,” she said. “I think it’s the first time I’ve tasted it done right, with coleslaw on top.”

She said she has liked all the food she has tried, including the pulled pork, fried wings and hot links.

“The hot-link sandwich is unusual, but delicious,” she said.

She added that the restaurant is a good addition to the area, with food options predominantly being fast food.

Norma Henderson, owner of the Norma J’s Place beauty salon less than a block away, said she thinks that once the restaurant gets established, it will help draw business to the area.

“It’s very good, and the hospitality is really nice,” she said. “I’m glad to see a business there.”

T & R Taste of Texas is located at 3621 Broadway. It is open from 11 a.m. - 9 p.m. Monday through Saturday and on Sunday from noon until the customers stop coming in, Ray said.

Brandon Darnell is a staff reporter for The Sacramento Press. Follow him on Twitter @Brandon_Darnell.

El Dorado Musical Theatre holds auditions for '42nd Street'

2011-11-15T04:49:58Z

El Dorado Musical Theatre held auditions Monday night for the classic Broadway musical, "42nd Street". Set in 1933, "42nd Street" tells the story of a chorus girl, Peggy Sawyer, who gets the chance to become a leading lady after the fading diva, Dorothy Brock, is injured before opening night of her Broadway show.

Fresh off their multiple Elly Award wins and their critically acclaimed production of "Disney's Beauty and the Beast", El Dorado Musical Theatre drew a crowd of 53 local actors and actress, all between the ages of 13 and 22.

Don't let age fool you. El Dorado Musical Theatre is far from your run-of-the-mill youth theatre group. Many of the performers are seasoned professionals, who even have a couple of Elly Awards under their belts. Whether they were belting out a showtune or tap dancing flawlessly, the talent of many auditionees was apparent. The feeling within the audition room was serious and professional. Even those not auditioning could feel the tension, as well as the focus of the performers.

El Dorado Musical Theatre director and choreographer Debbie Wilson and music director Jennifer Martin will have a large selection of talented teens and young adults to choose from. Luckily for them, callbacks on Tuesday will help them narrow the search for their leading characters. Till then, those called back will no doubt be running scenes, brushing up on their tap combinations, and learning their music in the hopes of being the one to get the part.

Disclosure: The author has performed with El Dorado Musical Theatre in past productions, but is no way affiliated with their production of "42nd Street". Opinions expressed in article do not reflect those held by El Dorado Musical Theatre.

“Superior Donuts” Gets Capital Stage Off To A Great Start At Its New Home

2011-10-28T05:51:56Z

Capital Stage’s move from the Delta King to the heart of Midtown, while a great deal of work, seems to have gone smoothly. The new theater certainly fulfills the part of Capital Stage’s mission about performing “in an intimate, close up setting.”

Capital Stage chose “Superior Donuts” by Tracy Letts to open its seventh season. It is the first in a theater designed by them to produce the type of shows they like to do. Letts is now best known for “August: Osage County” a major Broadway hit bigger than life in every way.

“Superior Donuts” tells the story of Arthur Przybyszewski a classic hippy from the 60s. Arthur now runs the rundown North Chicago donut shop inherited from his Polish emigrant parents. We see two months of his life: December 2009 and January 2010.

Arthur's life is coasting along, slowly but surely down hill. He comes to the namesake donut shop to find the police and the Russian emigrant that owns the store next door. Someone broke in during the night and vandalized the shop and tagged it. The Russian continually pressures Arthur to sell so that he can expand his business as an electronics mega store.

Into Arthur's life comes Franco, who, pulling the help wanted sign from the front window, insists that Arthur is going to hire him. After much persistence on Franco’s part, Arthur gives in. Little does he know how much this young man will change his life in a short period of time.

The wonderful Matt K Miller plays Arthur. It is always a great experience to watch Miller act and “Superior Donuts” is an excellent vehicle for him to work his craft. He is especially good in the soliloquies where the action in the play stops and Arthur reflects on his life.

Franco Wicks, a young black man from the neighborhood with a troubled not too distant past, is played by a terrific Jammy K. Bulaya. He is especially good in the very funny patter that goes on between Franco and Arthur. Franco to Arthur disparaging his hippy ways: “Let me tell you who looks good in a ponytail: girls----and ponies.”

Lady Boyle the alcoholic elderly street person rolls in and out of the donut shop on a daily basis. Capital Stage associate artist Janis Stevens who was so great as Maria Callas in last season’s “Master Class” at Cap Stage plays Lady who is not so drunk that she does’t have wry observations and pertinent comments to make.

Debuting at Cap Stage, Lori Russo plays Officer Randy Osteen who everyone except Arthur knows is stuck on Arthur. She is paired up on the beat with fellow officer James Bailey played by Sacramento actor, stage/film director and playwright Anthony D’Juan. Officer Bailey and his wife have a secret of their own.

The Russian entrepreneur next door Max Tarasov is played by local actor Gary Pannullo with Jeffrey Lloyd Heatherly as his nephew Kiril Ivakin

Barry Hubbard plays the not so nice bookie Luther Flynn with Shane Edward Turner as his nasty enforcer.

Capital Stage artistic director Stephanie Gularte directs. She makes good use of the new theater space to strongly connect the actors and audience.

Producing director Jonathan Williams has created a set design that makes full use of the new space. Williams always creates great, interesting sets. Here audience members can feel like they are sitting at a table back in the corner of a real donut shop. He also co-ordinated the fight scenes.

Capital Stage is off to a great start at its new location. The new space opens up the possibility for an even stronger connection between the performers and the audience. “Superior Donuts” is a good choice for the premier show. It is very funny yet has lots to say to the audience. It is also written by someone who is being recognized as a major contributor to the American stage. The casting from revered veterans such as Matt K. Miller and Janis Stevens to bright new actors like Jammy K. Bulaya is a treat.

"Superior Donuts" Capital Stage through November 13, 2011
More info and tickets

Catch "Little Fish" at the New Helvetia Theatre Before It Is Gone

2011-10-27T06:25:39Z

New Helvetia Theatre ends its three-weekend run of Michael John Lachiusa’s off-Broadway show “Little Fish” this weekend. While Lachiusa is known for two Broadway shows, "Marie Christine" and "The Wild Party," he has written several smaller-scale off-Broadway shows. Most of these have a reputation of being very serious. “Little Fish” is one of his lighter works and was suggested from the short stories of Deborah Eisenburg.

“Little Fish” is New York City-centric. It is the setting of the play, and some of the interactions of the characters can be described as very “New York.” The play itself is part of a genre of musicals, many by Lachiusa, that are specifically written for off-Broadway with a more contemporary style. Lachiusa is also known for an ongoing feud in print with the creators of more traditional Broadway musicals. Nevertheless, “Little Fish” deals with universal themes of the human condition and relationships.

Charlotte, a writer living in New York City, is the center of the play. Her decision to stop smoking results in a clear look at herself and her relationships. She comes to realizes that she has low self-esteem and that her past and present relationships don’t help. This is especially true of Charlotte’s relationship with Robert in Buffalo, her first live-together relationship. He has no difficulty putting her down, telling her how untalented, dumb and uninteresting she is.

Charlotte’s way of dealing with Robert is to run off to New York City, where, moving in with a wild roommate, Cinder, she first takes up smoking. Being off cigarettes, Charlotte also discovers that running away is her usual reaction to issues she doesn’t want to deal with.

Maggie Hollinbeck is perfectly cast as Charlotte. She plays Charlotte with a vulnerability that makes her seem like she is going to break. The role has similarities to that of “The Wife” that she did such a great performance of at Graham-A-Rama’s staged concert of “In Trousers.” Yet Charlotte continues to find her strength. It is always a pleasure to hear Hollinbeck sing, and this is no exception.

Robert is performed by Craig Howard. Howard has a wonderful voice, and his Robert puts down Charlotte with such relish that some of the audience hissed at him. Howard teaches theater arts at Sheldon High School, where he has been nominated for and won numerous Elly Awards for his work. He has also has won or been nominated for Elly Awards for his performances in diverse musical theater productions on several regional stages.

Cinder the crazy roommate is performed by well-known Sacramento actor Nanci Zoppi. This is her fourth production at New Helvetia, along with several shows on other stages including Cosmopolitan Cabaret and B Street Theatre. Zoppi displays both her great singing and comic talent here.

Rosemary Babich (“They’re Playing Our Song”), Danielle Hansen (“In Trousers In Concert”), Steve Minow (“The Drowsy Chaperone”), Andrew J. Perez (“Junie B. Jones, Jingle Bells Batman Smells) and Tristan Rumery (“tick...tick...BOOM!”) are great as the friends who surround Charlotte.

While there is dialogue in the show, much of the story is told through the music. There are over two dozen songs in “Little Fish,” allowing each performer to show off their musical skills, whether as a solo, duet or singing with the whole company.

The music is so central to the show that the single set designed by Pat Farragher and Tim Mickiewicz incorporates the band as part of the set. The set also incorporates lots of storage for the props and is mostly representative of the “Y” where Charlotte swims and runs.

The band consists of Graham Sobelman on keyboard and conducting, Erik Daniels on keyboard, Kellen Garcia on bass, Ryan Harbert and James Lohman rotating on reeds and Jim Nakayama on percussion. There is a strong Graham-A-Rama influence here. It is, in some ways, as enjoyable to watch the band perform as it is to watch the actors. Speaking with Garcia after the show, he confirmed that the band members really enjoy performing the score.

New Helvetia artistic director Connor Mickiewicz directs, demonstrating his usual flare for this style of musical. Working with choreographer Michael Jenkison, the production numbers work well for both their visual impact and the balance of the singers’ voices.

Mickiewicz and New Helvetia are drawn to musicals that appeal to a younger audience. “Little Fish” is certainly one of those shows, but it is appealing to much wider audience. This show has a definite date-night feel to it, but not just a young-romantic-couple date-night feel. There is also the feel of friends, family, coworkers and longtime couples on a theater date night.

“Little Fish” enters its third and final weekend run Wednesday night. Make a date for an entertaining couple of hours.

“Little Fish” New Helvetia Theatre Through October 29, 2011
More info and tickets

Tony Award Winning Actress and Sacramento Resident to Start Teaching Here

2011-10-12T21:00:01Z

Just before hitting the big time on Broadway, winning a Tony Award for best actress in a musical for her role as Adelaide in “Guys and Dolls” opposite Nathan Lane, Faith Prince made a major connection in Sacramento.

Prince was appearing in “On a Clear Day” with Jack Jones at Music Circus. Little did she know that the man playing trumpet in the pit, Larry Lunetta, would become her husband and father of their son, Henry. Eventually, Prince and Lunetta decided that Sacramento would be the best place to raise their child and relocated here.

Prince has continued to expand her performance world with more Broadway shows, notable roles include “The Bells are Ringing” and Ursula in “The Little Mermaid,” and on television on many series with reoccurring roles. Prince is currently featured on “Drop Dead Diva.”

With her beautiful voice and talent, Prince has also appeared in her one woman shows, with symphonies and as a recording artist.

Her last major role was as Mrs. Wilkerson in the national tour of “Billy Elliot.” When “Billy Elliot” closed in San Francisco, she returned to Sacramento.

Locally, Prince performed in a special show this year with the Sacramento Philharmonic. The show was performed at both The Community Center Theater and Folsom’s Three Stages.

Though she continues to travel here, there and nearly everywhere performing, Prince definitely considers Sacramento home.

Increasing her connection to Sacramento this Monday, Prince will start holding ongoing evening classes and workshops for teens and adults.

To do this Prince has joined forces with Natasha Burr, who holds a MA and started her theater career as an actress. Burr found she much more enjoyed the teaching and operations side of acting. A lot of her experience was gained working for talent agencies that represented high level talent.

Both Prince and Burr worked on “Billy Elliott.” The two women came to the realization that the kinds of workshops and classes they had done successfully elsewhere would work very well in Sacramento.

Given the wide range of skills and experience that they have, they could be great for Sacramento too. A lot of those skills and experiences overlap and include everything from Broadway to voicing animation.

An interesting part of this project is who they see as their students and what they feel they can provide these students.

They look forward to working with the young person that has risen through the wonderful programs throughout the Sacramento region. That actor may be looking for a leg up with their acting career. The other end of the spectrum is the adult, or senior even, that is questioning what kind of acting skills they could develop.

To read more of their bios and find information about their classes and workshops, click here for Minimoon Productions.

Everybody Wins at this Bingo-"Bingo the Winning Musical" Cosmo Cabaret

2011-10-05T22:28:08Z

Some Bingo players are notorious for not letting anything get in the way of their Bingo night. That is definitely the case of Vern, Patsy and Honey, the trio of women at the center of “Bingo the Winning Musical,” which opened this last weekend at the Cosmopolitan Cabaret.

The show begins with our trio of bingo addicted ladies listening to emergency weather reports describing a major storm raging outside.

No one should leave their home except in the most dire emergency, but does this faze our intrepid gang? Not in the least. Besides, this is not just any Bingo night. This is the anniversary of the local bingo parlor featuring a double prize! No little storm is going to keep our girls away.

But there is another anniversary tonight that is just as significant. The trio used to be a foursome. On this night fifteen years ago, Bernice, the fourth player, committed a Bingo faux pas so great that it broke up the foursome. Vern believes herself to be the victim of the act and has not forgiven Bernice after all these years.

Naturally, they make it to the Bingo parlor where Minnie the hostess and Sam who calls the numbers are busy revving up the crowd.

Who is the crowd that made it to Bingo this dark and stormy night? Well, it is the audience.

Each audience member gets multiple Bingo cards with daubers to use to mark the cards.

A stranger walks into the Bingo parlor this night. Hesitant at first, she is seated with our trio. Little do they know that this young lady, Allison, is the daughter of the long estranged Bernice.

Eydie Alyson plays Patsy, the extremely superstitious one, hysterically so. Alyson has a long stage, television and recording resume. She was last seen at Cosmopolitan Cabaret in “Suds the Musical” as Dee Dee.

Nikki D’Amico plays Honey who makes little effort to hide the fact that she has the hots for Sam and would do anything to make him hers. D’Amico has appeared in numerous regional and national tours of major Broadway musicals. In Sacramento she appeared in Music Circus productions of “A Chorus Line,” “The Boyfriend” and “Nunsense.”

Lisa Raggio does a great job of portraying the still bitter Vern while keeping Vern a sympathetic character. It might help that Raggio has an MA in Psychology and counseling along with her extensive experience in musical theater and voicing animation.

Bonnie Bailey-Reed plays both Minnie the Bingo parlor hostess and Bernice, mostly in flashbacks. She has acted in a number of musical and dramatic stage roles along with extensive television work including roles as a series regular. Her television work includes many roles in commercials that bring you those shows. The fact that she is having a great deal of fun with these roles is obvious.

Michael Stevenson at his hunkiest and sexiest plays Sam, the object of Honey’s lust and affection, also as Frank, the man who pulled the numbers 15 years ago. His portrayal of Sam runs from sexy to silly or goofy. An MFA graduate of the American Conservatory Theatre, Stevenson is best known for appearing in numerous shows at the B Street Theatre where he is a member of the acting company. He and his wife, Jamie Jones, are co-directors of the B Street Conservatory.

The mysterious Alison is played by Sacramento native and graduate of the prestigious NYU Tisch School of the Arts, Jessica Crouch. She was most recently seen on the Cosmopolitan Cabaret stage in a reprise of Graham-A-Rama’s concert version of William Finn’s, “In Trousers,” playing Miss Goldberg. That role was a portend of her – yes, I am going to use the “F” word here, fabulous performance as Alison.

Everyone in the show is a really great singer-actor-dancer with years of experience, but when Crouch walks onto the stage and begins to sing, the whole place just lights up.

While having a fairly simple and straight forward plot, the book by Michael Heitzman and Ilene Reid is sweet and endearing. The sequences where the audience plays bingo helps create the excitement and the addictive quality of bingo while actually being fun.

The music and lyrics by Heitzman and Reid along with David Holcenberg run from fun and silly to sad and hopeful. The songs allow the talented cast to show off their best performances.

All the creative talent for “Bingo the Winning Musical” have strong ties to Cosmopolitan Cabaret and its sister series, Music Circus.

Music director Michael Paternostro, while an experienced musical director, is usually out on stage performing. He has appeared in over a dozen roles on Broadway, touring and regionally. This season he was the wonderfully over the top Carmen Ghia in the Music Circus opener, “The Producers,” and the sweet Eddie Ryan in last year’s, “Funny Girl.”

Sound designer Robert Sereno did the original sound design and engineering for the Cosmopolitan Cabaret.

Scenic designer Michael Peters is the prop designer for Music Circus and did set design for “Suds” at the Cosmo as well as the great props for “Forever Plaid,” the first production at the Cosmopolitan Cabaret.

Peters’ set design is enhanced by lighting design by Sally Slocum who did the Cosmo productions of “Shear Madness” and “A Grand Night for Singing.

Angela Enos, who did costumes, also designed for “Miss Saigon,” “The Producers” and “Camelot” this season at Music Circus.

Hair, wig and makeup design, so important in a show like “Bingo” is by Christine Conklin who did “Oliver!” “Camelot” and “I Do! I Do!” at Music Circus this season.

The biggest Music Circus and Cosmopolitan Cabaret connection here is the director, Glenn Casale.

Casale is the artistic director of California Musical Theatre, the parent company for Music Circus and Cosmopolitan Cabaret, along with Broadway Sacramento. He is a theatre icon as well as a treasure in Sacramento. He makes the most of a talented cast with a good musical show. His staging and choreography really make “Bingo” come alive.

“Bingo the Winning Musical” is easily the best show Cosmopolitan Cabaret has produced since “Forever Plaid.”

Like “Plaid,” “Bingo” will easily hold up to repeat viewings. The talented cast is a joy to watch. It is fun, funny and good time, and who knows, you may win an actual Bingo prize! Even if you don’t, you will have had a winning night at the theatre.

"Shrek the Musical" Kicks Off the Broadway Sacramento 2011-2012 Season

2011-09-29T06:57:14Z

“Shrek the Musical” kicked off the Broadway Sacramento 2011-2012 season with a Technicolor extravaganza.

Based on the characters and story of the book “Shrek!” by William Steig, DreamWorks adapted the book into its blockbuster hit animated movie ”Shrek” in 2001. With a cast of major film actors voicing the characters the movie became the first of a major film and product franchise.

DreamWorks expanded that franchise into their first foray into live productions with the opening of “Shrek the Musical” on Broadway in December 2008. After a very successful run on Broadway “Shrek the Musical” went on a US national tour and a London West End production with continuing changes to the production. The show that opened in the Sacramento Community Theater on Tuesday night is a new non-Equity US national tour. Happily this change has not seemed to reduce the production values of the show.

David Lindsay-Abaire (“Rabbit Hole”, “Good People”) wrote the book and lyrics that tell what is now a well known story of the young ogre kicked out into the world at the age of seven, which seems to be the custom of ogres. A couple of decades pass and Shrek’s quiet life in a swamp is disturbed by a host of fairy tale characters booted out of Duloc by its clearly disturbed and vertically challenged ruler Lord Farquaad.

At the same time Shrek is being sent into the world, seven year old Princess Fiona is sent by her parents to a solitary life in a high castle tower, again as was customary.

The two lives intersect when Shrek is sent on a mission by Lord Farquaad to rescue the princess and bring her back to marry him so that he can be officially the king of Duloc. Naturally there are lots of complications including a dragon guarding the princess and the not always cooperative princess herself.

Jeanine Tesori (“Thoroughly Modern Millie”, “Caroline or Change”) composed the music. The score is very much what one would expect for a Broadway musical with soaring interludes, while also being matched well with Lindsay-Albaire’s lyrics. While one may not leave the theatre humming one of the songs, the music and lyrics are a large part of what makes the evening so pleasant.

A nine piece orchestra conducted by Kevin Casey performed the score with gusto.

The star of “Shrek the Musical” is without a doubt the fantastic staging of the production by DreamWorks Theatricals formed by Dream Works Animation SKG, Inc. in 2007 to produce live productions along with NETworks Presentations LLC (“Mary Poppins, ”War Horse”) which has produced over 80 national and international touring productions. Their creative team created the visually stunning look and movement of the show that dazzled both the children and adults in the audience given the buzz leaving the theater.

A big part is due to Tim Hatley who did the original scenic, costume, and puppet designs. Hatley has used a whole spectrum of colors found in animation in his designs that along with Paul Miller’s lighting tie “Shrek” to its comic book roots.

All of this color is set in motion by the choreography of Josh Price recreated by Chris Bailey and the direction of Stephen Sposito. In the now prerequisite Broadway Musical tap number the twist here is that what begins as something like tap dancing rat slippers in a flash become human size tap dancing rats that accompany some fancy footwork by Princess Fiona.

All the actors are performing in major costuming along with heavy makeup designed by Naomi Donne. Some including Lord Farquaad are acting while being part of a puppet. The actors still need to bring out the inner life of the characters for the show to be successful. This cast succeeds at this.

Lukas Poost, performing under a lot of green makeup and prosthesis, succeeds in having the audience care about what happens to the ogre.

Liz Shivener with her beautiful voice and her dancing skill stood out during her musical solos as Princess Fiona.

The donkey, arguably the most popular character in the show, is played by André Jordan who received a lot of the laughs and applause for his performance. Jordan also did a nice job on the donkey’s songs that were surprisingly good songs.

Another character that had surprisingly good songs was Lord Farquaad, played by Merritt David Janes. Janes has a nice musical voice and did a great job on Farquaad’s songs. He also has great comic timing. Janes should win some sort of award for the athletic performance he does moving the puppet of the approximately four foot tall Lord Farquaad around in such a believable way with only his head visible.

There is also a large number of cast members that play the outcast fairytale characters who overall do a good job singing, dancing and speaking while in a whole gamut of costumes.

Not to be left out is the huge dragon which was moved by four puppeteers in black and voiced off stage. It was fascinating to watch the dragon came to life.

With “Shrek the Musical” California Musical Theatre has started off its new season with a show that not only entertains and appeals to children but also highly entertains the adults in the audience. The color, movement, and music built around a funny, sweet, affirming story makes ogres, fairy tale princesses, talking donkeys, dragons and all the rest become real and believable if only for a couple of hours.

“Shrek the Musical” Community Center Theater Through October 2, 2011
More info and tickets

"The Pillowman" amazes audience on opening night

2011-09-24T06:16:25Z

Big Idea Theatre’s production of “The Pillowman” opened Thursday night and led its viewers through a dark and sometimes painful statement about the importance of storytelling and art. The play, directed by Kirk Blackinton, is an adaptation of the 2005 Broadway hit by the same name.

Set in a totalitarian police state, the dark play chronicles the interrogation of Katurian Katurian, a brilliant writer with a tortured past. He and his older brother, Michal, who suffers from a form of mental retardation, are being held on charge of the murder of several young children.

The two cops, Tupolski and Ariel, are attempting to tie Katurian’s stories to the killings. Many of his stories portray gruesome descriptions of children being murdered.

The cast did an outstanding job at bringing life to the play. Scott Divine and Brian Harrower, who portrayed Ariel and Tupolski, respectively, had incredible chemistry and brought real depth to their characters.

Ariel, a hardened brute of a policeman who frequently beats Katurian, becomes surprisingly empathetic as the play progresses. In a final conversation with Katurian, Divine’s acting shone as his character’s abusive past is slowly unravelled.

Harrower also brought much to the stage. His character’s relaxed demeanor contrasted the intensity of Divine’s, and the communication between the two was often hilarious. During several scenes, Tupolski would repeatedly click his pen, adding a kind of background music that built energy and suspense.

“The acting was superb,” said Gregory Smith, an audience member. “I was blown away by how powerful it was.”

Shawn B. O’Neal, who played the older brother, Michal, was perhaps the highlight of the night. His performance as a mentally-challenged individual was deeply moving.

The character’s innocence in light of his terrible predicament was powerful enough to elicit laughs and tears from the audience. While locked up with his brother, Katurian, Michal frequently complains of his “itchy butt.” Then, without missing a beat, the character begins to describe terrible acts of murder, which shocked the audience.

“My emotions were all over the place,” said Justine Romeo, who said she enjoyed the show.

Benjamin T. Ismail, who played Katurian, was brilliant in his performance. In the beginning of the interrogations, his fear seemed genuine as he worriedly begged to know the reason for his arrest.

The chemistry he shared with O’Neal was very touching. When Katurian and Michal were locked in prison together, the realization of Michael’s wrongdoings starts a feud between the brothers.

But despite their argument, Katurian ends up telling Michal a story as he falls asleep in his brother’s lap for what may be the last time. When the tender moment between the two brothers took a dark and unexpected twist, several audience members were wiping away tears.

The play also featured Ruby Sketchley as the mother, Jes Gonzales as the father, and Josephine Longo playing all of the children.

After the show, many audience members raved about the play.

“It has everything you want to see in a play,” said Eric Orosco, who attended the play. “It will make you laugh, it will make you feel awkward, it will pull your heartstrings and make you want to look away.”

C. Quinn, another attendee, agreed. “I was quite taken aback by how it was portrayed,” she said. “I’m still feeling a bit high (from it).”

“This theatre is definitely worth looking into if you’re into having your mind blown,” added Quinn.

“The Pillowman” will be playing at Big Idea Theatre through Oct. 15. The theatre is located at 1616 Del Paso Blvd. Admission is $15 and discounts are available for seniors, students and children.

The Big Idea Theatre’s website states that the show is “intended for mature audiences only.”

Great Performances by David Silberman and Jason Kuykendall in "Freud's Last Session"

2011-09-10T16:43:40Z

Sigmund Freud, the creator of psychoanalysis, held many controversial views and theories. His staunch atheism is one of the strongest and most controversial.

The great English writer C. S. Lewis, best known for “The Chronicles of Narnia,” also a staunch atheist as a young man, embraced Christianity as a professor at Oxford. Much credit for his conversion is given to long conversations with “The Hobbit” and “The Lord of the Rings” author J. R. R. Tolkien.

Award-winning playwright Mark St. Germain’s current off-Broadway hit “Freud’s Last Session” imagines a conversation between the two brilliant men very near the end of Freud’s life, while Lewis is a young Oxford professor and little-known author outside intellectual circles. B Street Theatre is currently staging “Freud’s Last Session” as part of its B3 series.

The play is set against the background of the rise of Nazi German power on the day England declared war on Germany after the invasion of Poland. Freud and his family have recently relocated to London having barely escaped Vienna after the Nazi takeover of Austria.

St. Germain based the play on a report of Freud meeting with an unnamed Oxford professor shortly before Freud’s death by suicide, suffering from late stage oral cancer. St. Germain imagines that the professor is C. S. Lewis. Lewis believes that Freud has summoned him to discuss negative comments that Lewis has made in print regarding a recent publication by Freud. To Lewis’ surprise, Freud wants to talk about a larger issue: Lewis’ belief in the existence of God.

Given the intellect of the two subjects, St. Germain’s dialog is sometimes brilliant and often to the point. What may be surprising is how witty and often very funny it is.

All the action takes place in Freud’s London study, beautifully realized by B Street set designer Cat Frye. Yes, there is a couch. Some of the audience in the intimate B3 theatre are nearly on the couch.

Sound design by B Street staff realistically brings the war into the play both through the radio and from the skies outside the study.

The most compelling reason to see “Freud’s Last Session,” besides the script, is the actors’ performances. David Silberman as Freud and Jason Kuykendall as Lewis are perfectly cast. Both are B Street company members and are very well known to Sacramento theatergoers.

Silberman has appeared on stages throughout the country in his 40-plus-year career. At B Street he appeared in last season’s “Old Love” along with numerous other shows over several years. His performance as Morrie in “Tuesdays with Morrie” at the Sacramento Theatre Company won strong critical acclaim and favorable audience reaction.

Silberman bears a fair physical resemblance to Freud, especially with the iconic glasses. He does a nice German accent. But as with “Morrie,” it his performance as a man near death but with a mission that shines. His Freud, though weakened by end stage cancer and in great pain, continues to rally, interested in the conversation with the much younger man whose intellect he respects.

Kuykendall is one of Sacramento’s most popular actors, primarily for his roles in comedies such as “The 39 Steps” and “Searching for Eden,” recently at B Street, and as Earnest in STC’s opener “The Importance of Being Earnest” last season. He is also a member of B Street’s new B Street Sketch Comedy Group.

Kuykendall is a revelation as Lewis. While there is a lot of wit and humor, there is a great deal of more serious issues which he deftly handles. While Kuykendall bears little physical resemblance to Lewis, he is quite believable as a young academic. What is really amazing is how little his Lewis resembles any other character he has played before or Kuykendall himself. With little makeup and a simple change in hair style, this performance is a great example of how an actor can physically embody a character.

B Street associate producer Jerry Montoya directs with a deft hand giving a comfortable reality to the staging and bringing out the great performances of his actors.

With “Freud’s Last Session,” B Street Theatre has brought a currently hot-ticket New York show to Sacramento. The entertaining script, performed by perfectly cast actors at their best, creates a wonderful evening of theater.

Fresh & Easy Neighborhood Market breaks ground in Oak Park

2011-08-31T23:00:26Z

Sacramento, CA | Tim Mason, CEO of California based Fresh & Easy Neighborhood Market, with Mayor Kevin Johnson, Councilman Jay Schenirer and other community memberrs broke ground Wednesday morning in a well attended ceremony in Oak Park.

The market will be built on the north west corner of Broadway and 34th Street. Mayor Kevin Johnson stated that when he came back from college he said "what can we do with this piece of property? As a year or two went by, you realize that properites this size get into the wrong hands." Johnson bought the land in 2002 and just held it "till the right person came in or the right company said 'we want to do something that will be an assest to the community.'" Prior to Fresh & Easy, Johnson stated that "they wanted to put a used appliance store there..." Johnson stated that this (Fresh & Easy) is the right business.

“I’m excited to welcome Fresh & Easy to our neighborhood,” said Johnson. “Fresh & Easy is not only bringing more good jobs to Sacramento, but also high-quality, healthy food at affordable prices to neighborhoods that don’t always have access to such foods.”

Johnson thanked Chris Brown who worked tirelessly and handled the real estate transaction, making sure the properety fell into the right hands.

In his opening remarks, Mason stated, "We hope to continue to be part of the solution in providing greater food access and help give food options to all types of communities... at a price they can afford right where they live."

Mason stated they have opened 137 stores since they opened in 2007, invested over two billion dollars and created more than 4500 jobs. In Oak Park, the new store will create 300 construction jobs and when it is finished it will create 30 retail jobs for the community.

"We have worked very hard to create a thoughtful business and a business that can make a difference in the community" Mason stated.

In a press release, Fresh & Easy noted the locations opening in greater Sacramento in 2012

Watt Ave. & El Camino Ave.- Sacramento
34th St. & Broadway- Sacramento
Mack Rd. & Franklin Blvd.- Sacramento
Lincoln & Sterling Rd.- Lincoln
Elk Grove Florin Rd. & Calvine Rd.- Elk Grove
E. Natoma St. & Blue Ravine Rd.- Folsom

"When you say Oak Park, when you put those two words together, people show up; people have been showing up for a long time. We are hitting our stride in this community; we are doing great things" Councilman Jay Schenierer stated.

"I know you said that you like to put your stores in all types of communities, so on behalf of Oak Park, I want to thank you for putting your store in the best and most engaged community that we have in Sacramento" Schenirer stated to Mason.

"When you look at Oak Park you see a diverse community, not just one sector of Sacramento" said Schenirer

Fresh & Easy has created nearly 5,000 jobs in California, Arizona and Nevada. Entry-level positions start at $10 an hour in California and provide room for employees to grow quickly. The company offers quarterly bonuses of up to 10% as well as a 401(k) with company match. Fresh & Easy believes everyone deserves access to affordable and comprehensive healthcare and provides all employees the opportunity to work at least 20 hours per week, which entitles everyone in the business to vision, prescription drug, dental and medical coverage with Fresh & Easy paying at least 75%.

In an impromptu open dialog, Mason committed to Johnson to install a solar roof and create space on the grounds for community members to sell their produce from the community gardens being developed. As a gesture and token of the commitment, Mason took his tie off and gave it to Johnson. Johnson holding the tie up stated that he would wear the tie at the ribbon cutting when the store opens.

"Fresh & Easy is going to open six stores in this area, that's a total of 150 jobs. We have double digit unemployment rates; that is a big deal." Johnson stated.

Fresh & Easy touts being a "green" company and you can learn more about them at their site>>>

Fresh & Easy invites community members to join their "Friends" to say in the know>>>

View more photos from this event>>>

"Miss Saigon" at Music Circus

2011-08-26T01:48:47Z

Miss Saigon at the Music Circus

The final offering in the Music Circus 2011 lineup is the international spectacular “Miss Saigon.”

The stirring and visually stunning production is a solid reinterpretation of Giacomo Puccini’s opera “Madame Butterfly,” relocated to Vietnam on the eve of the fall of Saigon in April 1975.

This is a modern retelling of unexpected love found in an unlikely way, of the tragic separation of lovers and the dreams that sustain them through adversity, and the uncontrollable twists of fate that bring them back together under even more tragic circumstances.

Orphaned bar girl Kim (played by Ma-Anne Dionisio) meets American G.I. Chris (Eric Kunze) at the Saigon bar owned by The Engineer (Kevin Gray). The bar girls dance, Kim and Chris fall in love and the entire convoluted and desperately wrenching story unfolds from their one night of passion. The U.S. forces scramble to get out of Saigon, leaving Kim behind with only her unshakable faith in Chris’ love, his gun and their embryonic love child.

Gray is marvelous as the scheming, dreaming Engineer. He threads through the story like a snake in the bath: One can neither trust nor ignore him. His voice is big enough to handle the role, insinuating smarmily into everybody’s business in “If You Want to Die in Bed” and then booming in triumph in “The American Dream.”

Kunze has a versatile, powerful voice and is believable in the passionate “Why, God, Why?” and in his tender duet with Dionisio, “Sun and Moon.” He conveys strength and anguish in the first act and is convincingly defeated in confrontation with his wife near the end of the second.

Dionisio packs her role with emotion, power and ferocious tenacity. Her raw anguish in the dream sequence where she relives the Night of the Helicopters is heart-wrenching. She has a voice which is able to sustain the drama of the song with strength, yet which is capable of subtlety and nuance when it is available in the score.

Josh Tower delivers a strong presence as John, Chris’ Marine friend who later runs a program designed to reunite the children begotten by American soldiers with their fathers. One of the most moving numbers in the show is “Bui Doi,” which is the name these mixed-parentage children bear. It is said that a single photograph of such a child was the initial inspiration for the show.

Misty Cotton, as Chris’ wife Ellen, and Michael K. Lee, as Kim’s doomed fiance Thuy, are also believable, with voices well suited to their roles. Cotton shines on “Now That I’ve Seen Her.” Anne Fraser Thomas strikes a perfect balance between bawdiness and despair as the bar girl Gigi.

The audience was thoroughly won over by newcomer Aiden Kusaba, even though he did not speak or sing a note: He is a charming 5-year-old who ably plays the role of Tam, Chris and Kim’s child.

The Music Circus production is complete with all the theatrical spectacle one would expect from the creators of “Les Misérables,” Claude-Michel Schonberg, Alain Boublil and Richard Maltby Jr.

In true Music Circus style, the sets are spare and evocative, the staging innovative and the ensemble players talented and versatile. The costumes are lush and inventive, whether the rags of the post-occupation villagers or the risqué glitzy sequins of the bar girls.

The offstage helicopter effect was loud, disturbing and startling — exactly as it should be during the frenzied escape from a doomed city. Otherwise, the sound was consistent and worked well with the stage and lighting effects. The orchestra handled the score with complete grace.

“Miss Saigon” played on Broadway for nearly 10 years. Both Kunze and Gray played their roles on the Broadway stage, and Dionosio played Kim in London and Canada. The show is big, moving and well worth revisiting.

Performances of “Miss Saigon” continue at the Wells Fargo Pavilion, 1419 H St., though Sunday.

For showtimes and ticket information, please visit www.CaliforniaMusicalTheatre.com, or call (916) 557-1999.

"Annie Get Your Gun" One of the Best Show Ever at Music Circus

2011-08-11T05:23:20Z

Everything, including the play, cast, choreography, direction, costuming and set design, comes together to produce a near-perfect show of “Annie Get Your Gun,” which opened at Music Circus Tuesday night.

The original producers of “Annie Get Your Gun,” Richard Rodgers and Oscar Hammerstein II, no slouches at musical theater music and lyrics themselves, persuaded a reluctant Irving Berlin to write the music and lyrics for the show when Jerome Kern died suddenly.

Berlin is considered to be the preeminent American songwriter, and he created some of his most popular music for “Annie Get Your Gun.” It has song after song that became popular hits, including the opening song, “There’s No Business Like Show Business.”

The book by brother and sister Herbert and Dorothy Fields is as good as the music. Based loosely on the life of Annie Oakley and her husband Frank Butler, it is a touching story with lots of funny moments. The story had as strong a reaction from the audience as the music did.

Music Circus could not have found a better actor to play Annie than Beth Malone. She has the perfect speaking accent and voice to perform the role. She fit the role perfectly, even completely looking the part, and had the audience with her the whole way.

Edward Watts as Frank Butler easily matches Malone. His powerful voice and good looks are perfect for Butler. What makes it even better is the two have great chemistry. It was easy to hear the audience cheer on the relationship between Frank and Annie, Watts and Malone received huge ovations to their duets, including “The Girl That I Marry” and “Anything You Can Do.”

The audience also affectionately booed and hissed Dolly Tate, Annie’s rival for Frank’s affection. Music Circus veteran Heather Lee plays Dolly’s firm conviction well.

Another Music Circus vet who is a huge standout is Ron Wisniski as “Buffalo Bill” Cody. Wisniski has been great in many roles the last several Music Circus seasons, but this could be his best performance yet.

Michael D. Jablonski, who was a wonderful Will Parker last year in “Oklahoma!” plays Tommy Keeler to Jill Townsend’s Winnie Tate. Tommy and Winnie suffer older sister Dolly’s disapproval of their relationship given Tommy’s half-native heritage. Jablonski and Townsend are great singing and dancing “Who Do You Love, I Hope.”

The other actors who deserve to be singled out are the three young performers from the Music Circus Junior Company playing Annie’s younger siblings. Zac Ballard, who was one of the littlest ones in Fagin’s Gang in “Oliver!” is Little Little Jake. Sisters Haley and Rachel Finerman are both in their third Music Circus productions playing Jessie and Nellie Oakley. All three held their own with the adults and were audience favorites.

John MacInnis’ choreography ranges beautifully from athletic to highly sophisticated. MacInnis was associate choreographer to Broadway powerhouse choreographer Casey Nicholaw for “Book of Mormon,” as well as directing and choreographing the medals ceremonies for both the Vancouver and Salt Lake Olympics.

Broadway and Music Circus veteran director Gary John La Rosa not only stages the musical numbers beautifully but does a great job with the plot scenes.

The plot of “Annie Get Your Gun” allowed costume designer David Draper to design a wide range of great costumes. This ranges from cowboys and Indians shoehorned into tight pants and showgirls in corseted dresses to men in tuxes and women in flowing evening gowns. The main characters also wore suitably detailed costuming.

All of the production team are at their best game, producing a great look and sound.

Music Circus always does a great job with their shows, but with “Annie Get Your Gun” they have really outdone themselves. They have taken one of America’s most iconic musicals by one of the most revered composer/lyricists, cast it perfectly and applied the best Music Circus production values to create what is definitely a must-see show of the summer.

New microbrewery coming to Broadway

2011-08-06T00:35:00Z

Sacramento’s brewing history will be spotlighted in a new microbrewery set to open in a historic building on Broadway early next year.

Dave Gull, 37, said he saw the building at 1730 Broadway and thought it would be the perfect place for his New Helvetia Brewing Company idea with its proximity to Land Park in an area that’s a diverse mix of ethnic restaurants.

Though his professional experience is as a real estate broker and developer, the Sacramento native said his exposure to craft brews when he went to college at the University of Oregon planted the seed to open his own brewery.

“I think that a craft beer brewery is a great use for the space,” Gull said Friday. “It’s a need that is lacking on Broadway.”

The approximately 5,000-square-foot building was constructed in 1925 and was most recently a tile manufacturing plant. Before that, it was the Casa Grande Tortilla Factory, and it has been vacant for about two years. Multiple rooms stem off a courtyard, and each will be used for a different aspect of the business.

Opening a new business in the current economy can be risky, and Gull said last week’s closure of Brew it Up! was a shock.

“It obviously made me think, with them folding and seemingly always busy,” he said. “My approach will be to keep overhead low.”

Much of the building will remain intact, with upgrades being made for comfort and some energy efficiency, such as installing air conditioning and insulation.

The bare brick walls will be cleaned up and decorated with archival photographs showcasing Sacramento’s brewing history. The New Helvetia name itself is a nod to Sacramento’s history going back to the days of John Sutter.

Beers will be brewed in very small batches and aged in wooden barrels. Gull said he will have an IPA, since it’s become the standby for West Coast brewing, but he said he also wants to focus on brewing lagers, which take more time to age, but which provide a nice, refreshing taste.

He said he plans to carry about six to eight different types of beers shortly after opening, and he also plans to rotate seasonal brews.

While his own brewing experience is limited to some home brewing – and to brewing his own beer at Brew it Up! – he is working with a professional brewer, who will be a part of the brewery and tasting room when it opens.

“I hope to be operating by the first of the year, and I want to open to the public by Beer Week, which is the last week in February,” Gull said.

Initially, beers will only be served on draught from taps in the building. Kegs will be sold to local bars and restaurants, but not to the public. Bottling will come later, as the business expands, Gull said.

A 2,000-square-foot space in the front of the business next to large windows that face Broadway will have tables for tastings, and in about two years, Gull said he plans to add a restaurant that will serve California fare and some traditional brewpub items.

“It all comes down to when we can get the kitchen built out,” he said. “I don’t want to do it right away and carry that much overhead.”

The kitchen will be built in a room off the building’s courtyard, which will have secluded outdoor seating. Another room off the courtyard will hold the brewing equipment, which Gull said patrons will be able to take a look at and learn about the process.

Though some associate Midtown and downtown more with beer and eating than Broadway, Gull said about 3,000 people work on Broadway at buildings such as the DMV office, and he expects the residents of nearby Land Park to come in.

“I had an open house a few days ago to show the space, and about 80 neighbors showed up,” he said. “The response was really positive.”

Next door to New Helvetia Brewing Company is Kathmandu Kitchen, an Indian and Nepalese restaurant, and Manager Bhupinder Saini said she thinks the brewpub will make a good addition to the street.

“It will definitely bring more people to the area,” she said. “A lot of times, when people go to one place, they come back later and go to the place next door, so I think it will be good for our business, too.”

She added that she thinks New Helvetia Brewing Company will draw new people to Broadway and show that the area is a vibrant district.

Teresa Rocha, executive director of the greater broadway partnership, agreed.

“It’s always exciting when we see historic buildings reused in an attractive way,” she said. “It’s not a chain. It’s an independent business. We like to see both national businesses as well as local independents.”

She added that having the brewery will add even more variety to Broadway’s already-eclectic mix of ethnic restaurants.

“We have over 30 restaurants on Broadway between Third and 28th (streets), and we enjoy continually expanding the breadth of what we’re offering,” she said.

For now, the building is mostly empty, with a few beer kegs and some brewing equipment the only things other than bare walls and exposed beams serving as the flooring for the second floor, which will not be used, initially.

Beer labels and the building’s aesthetics have yet to be determined, since the business is still in its infancy. Gull said he looks forward to the time when he can sit down and play with label options and the building itself.

“If my mother came in here, she’d be appalled,” Gull said. “But I look at it, and I see how I can be creative. That’s the developer in me.”

Brandon Darnell is a staff reporter for The Sacramento Press. Follow him on Twitter @Brandon_Darnell.

A Lively Cole Porter With "Anything Goes" At Music Circus

2011-07-28T02:43:04Z

Music Circus opened its third show of the season, “Anything Goes,” Tuesday evening to much audience approval.

Clearly the stars of the show were the songs of one of America’s most beloved composers, Cole Porter. “Anything Goes” has numerous songs that are included in what is known as The Great American Song Book. This includes "You're the Top," "I Get a Kick Out of You," "It's De-Lovely" and the title song “Anything Goes.” Several other songs in the show are also well known, and the rest are above average.

Along with all the great music, there is a fun plot with book by English writer P.G. Woodhouse (“Jeeves and Wooster”) and his theatrical collaborator, Guy Bolton. Most of the action takes place on the S.S. America sailing from New York and England.

As usual, there is a great cast performing all these wonderful songs. Music Circus favorite Vicki Lewis (“Funny Girl,” “Into the Woods,” “Gypsy”) returns in the role of nightclub star Reno Sweeney. She does a bang-up job of singing and dancing on "I Get a Kick Out of You," "You're the Top,” “Blow, Gabriel, Blow” and “Anything Goes.”

Stowaway Billy Crocker, friend and former love interest of Reno, is played by David Elder, a prolific Broadway and film and television actor. His beautiful voice is featured on several duets, including “You’re the Top” with Lewis. He also sings “Easy to Love” and “”It’s De-Lovely” with Natalie Cortez who plays Hope, Billy’s true love.

Jason Graae as Moonface Martin and John Scherer as Lord Evelyn Oakleigh were audience favorites. Both are quite good at physical comedy. While Graae is new to Music Circus, Scherer has appeared in many productions, including “Dirty Rotten Scoundrels” and “Spamalot” last year.

Acclaimed director/choreographer and frequent Music Circus collaborator Marcia Milgrom Dodge (“Oklahoma,” “Guys & Dolls”) has done an excellent job with both the fast-paced direction and lively choreography. There are several large production numbers that feature every actor, including the usual excellent ensemble.

Leon Wiebers deserves recognition for his beautiful costumes and Judi Lewin for hair and makeup styling, which are so much a part of this show.

Again Music Circus has reached way back into musical theater history to produce a show with the timeless music of Cole Porter, exciting song and dance performances and very funny comic bits. Audience members of all ages will find lots to enjoy.

Shows daily through Sunday Info tickets

Music Circus, A Sacramento Summer Institution, 2011 Season Opens Tuesday

2011-07-08T18:27:49Z

The Music Circus is a Sacramento treasure. Few seem to realize how rare a gem it is.

Turning out seven productions that run for five days each that are of the unbelievably high production value is a truly amazing feat. The term “summer stock” does not really do justice to what California Musical Theatre produces under the tent.

I see a lot of musical theater, including, most recently, the hottest show on Broadway, “The Book of Mormon.” The entertainment quality and value that CMT creates week after week equals and sometimes exceeds that of Broadway and Broadway touring shows.

How do they do it? First it is the venue. The state-of-the-art Wells Fargo Pavilion seats over 2,000 people but manages to keep everyone close to the action. The space also allows for great lighting effects and technical surprises, such as the cow being catapulted onto the stage in last year’s season opener, “Monty Python's Spamalot.”

Creative staging with in the venue greatly enhances the experience. Almost all music theater productions are performed on a proscenium stage such as the Community Center Theater with an arch framing the stage like a picture frame. This type of stage creates a sense of distance between the audience and the action. At the Music Circus, the staging often runs into the aisles, all the way up to the back doors. This creates a great feeling of being part of the action.

“Spamalot” is a good example. I saw the road show production of “Spamalot” in San Francisco a few months before the Music Circus production. While the road show production was funny and had great songs and all the great Monty Python characters, it did not have much feeling of connection. It was a totally different experience seeing the Music Circus production. There was a much stronger feeling of excitement and involvement in what was happening.

Staging theater in the round is an industry-wide challenge, but credit is often given to CMT artistic director Glenn Casale for not only solving problems but enhancing the experience.

Casale is one of numerous individuals who have worked together on Music Circus productions many years, gaining intimate knowledge of what makes things work well. From directing actors to directing the orchestra, and from costume changes to complex scene changes, all must be learned on a much quicker time frame than a usual production and executed smoothly.

Many performers have been Music Circus regulars over the years. Several can be called audience favorites. Following the links to the individual shows at the end of the article, you will see who the featured actors are, their previous major roles and how many of them have appeared in multiple roles at Music Circus over the years.

Add a great live orchestra, wonderful costuming and interesting sets, and all the magic of the Music Circus comes alive.

This season opens Tuesday with “The Producers, a Mel Brooks Musical,”one of the most popular shows on Broadway in recent history. It features audience favorite Gary Beach, who originated the role of Rodger de Bris on Broadway and reprised the role in the film version of “The Producers” musical with Matthew Broderick.

Opening on July 19 is “Oliver,” the very popular musical version of Dickens’ “Oliver Twist” with lots of great Lionel Bart songs. It’s a great show to introduce young children to musical theater. This production will feature children from the CMT education programs like last season's "Joseph and the Amazing Technicolor Coat." For a guide to appropriateness of individual shows for children, click here. Music Circus has a special ticket price new this year for childern. All tickets for young people 4-17 years old are $30-$35.

A revival of “Anything Goes,” opening July 26, is a hot ticket on Broadway. Vicky Lewis, who was a knockout in last season’s “Funny Girl,” should be great as Reno Sweeney. And with music and lyrics by Cole Porter, what more could you want?

“Camelot,” the Lerner and Loewe classic with memorable songs, directed by Casale, opens Aug. 2.

“Irving Berlin’s Annie Get Your Gun,” opening Aug. 9, is another landmark Broadway musical that has had several revivals. It is a great story told with some of Berlin’s best songs.

“I Do! I Do!” is a two-person play with book and lyrics by Tom Jones and music by Harvey Schmidt of “The Fantastics” fame. Opening Aug. 16, it is directed by Will Mackenzie, who directed the 1996 off-Broadway revival. Real-life couple Matthew Ashford and Christina Saffran Ashford will play the couple.

Broadway monster hit “Miss Saigon” ends the season, beginning on Aug. 23. Created by Alain Boublil and Claude-Michael Schönberg of “Les Misérables” fame, the show adapts Puccini’s “Madame Butterfly” into 1970s Vietnam.

Long Running “Defending the Caveman” Opens at Cosmopolitan Cabaret

2011-06-05T23:46:18Z

Is there a difference in how men and women communicate? Do they, in fact, view the world differently? Rob Becker’s comedic play “Defending the Caveman” demonstrates not only that this is true, but that this can be traced all the way back to when Homo sapiens lived in caves.

Now don’t confuse “Defending the Caveman” with some academic lecture. The show is much more akin to stand-up comedy — stand-up comedy with a nice set design, sound track and introduction video.

Speaking of the set, it looks like Fred and Wilma Flintstone meet HGTV.

The Cosmopolitan Cabaret production of “Defending the Caveman” opened Thursday evening with Cody Lyman in the role of today’s caveman. Lyman is one of several cavemen appearing in productions around the world. The Cosmo Cabaret production is going to feature four cavemen during its three-plus-month run.

Lyman is very charming as he lays out the “Caveman” premise that the original caveman was the hunter/protector and the original cavewoman was the gatherer/knowledge-seeker/reproducer/goddess. That translates to the basic premise that men are simple, uncomplicated and focused on one thing at a time, while women are complex, complicated and multi-focused.

All this is laid out with gentle humor. Yes, much of the humor is about stereotypical behavior, but it is generally acknowledged that there is usually a grain of truth in stereotypes. It is the grain of truth that sparks recognition from the audience and the ensuing laughter — not only laughter but shouted responses from the audience typical of stand-up comedy.

The show does depend to a degree on audience reaction and interaction. The more audience reaction, the more fun the play is for the audience. Stand-up fans will really love the show and will bring the rest of the audience along laughing at not only what is happening on the stage but what is happening in the audience.

Becker’s play pretty much equally highlights the behavior of men and women. It also asks that each gender think about what may be innate behavior of the opposite sex. Becker also has a lot to say about interactions of men with men and women with women. All this needs to be prefaced with that this is heterosexual behavior and that it also discounts the evolution of relationships.

“Defending the Caveman” obviously strikes a chord with its audiences. It has been showing since Becker premiered it in San Francisco in 1991. It still holds the record of the longest solo performance play on Broadway and has been successfully translated into over 15 languages. Lyman has been performing the role for seven years. He is good at making the material timely.

Go see “Defending the Caveman” and let your inhibitions go. Shout out your reactions when things spark recognition. If you have been in a successful long-term relationship, you are bound to recognize several truths. If you are new to a heterosexual relationship, you will learn some useful things. If you don’t fall into either group, you can just laugh at how crazy these people can be.

“Defending the Caveman” Cosmopolitan Cabaret June 1- September 11, 2011 More Information and Tickets

Cody Lyman-”Caveman” June 1- June 26
Ben Tedder-”Caveman” June 29- July 17
Paul Perroni-”Caveman” July 20-August 14
Vince Valentine-”Caveman” August 17-September 11

Easy To Love

2011-05-04T02:55:28Z

The Sacramento Choral Society and Orchestra’s latest offering was “Easy to Love,” a marvelously entertaining concert of Broadway’s finest love songs.

Playing to a near-capacity audience at the beautiful Mondavi Center at the University of California, Davis, SCSO and four very talented guest soloists celebrated the “Barons of Broadway,” the composers and lyricists from the golden age of the Broadway musical.

Jerome Kern, Richard Rogers, Lorenz Hart, Oscar Hammerstein and Cole Porter might have written these songs especially for the musicians gathered on stage. From the overture to the final rousing reprise of “With a Song in My Heart,” the audience was entranced.

The concert began with a medley of some of the most beloved waltzes of Richard Rogers, and the entire theatre seemed to sway in three-quarter time.

The romantic lyrics and lush orchestral arrangements came alive as the soloists delivered solid performances all around. Soprano Christi Amonson and Mezzo Kristin Dauphinais were both beautifully expressive, bringing just the right amount of theatricality to such lovely ballads as “All The Things You Are,” “Hello Young Lovers” and “Where and When.”

Both ladies are possessed of lovely voices, and demonstrated great range and versatility. Whether singing alone with the orchestra, or in duet with Tenor Tevye Ditter or Baritone Ian Greenlaw, their vocal abilities were abundantly demonstrated.

Dauphinais was particularly delightful as she sang “Bewitched, Bothered, and Bewildered” with the rare choral accompaniment of the 120 voices of the SCSO chorus. Her animated “Blue Moon” truly brought the unusual piece to life - Director Donald Kendrick was nearly dancing on the podium.

Greenlaw’s smooth baritone is equally adaptable, ranging easily from the intensity of “Some Enchanted Evening” and “If I Loved You” to the playful duet “I Could Write a Book,” where his voice was the perfect complement to Amonson’s clear soprano.

Ditter is a young tenor, and his potential is obvious. Though competent, his performance lacked the strength and expressiveness that he will undoubtedly develop over time. His musical theater experience is solid, and more operatic endeavors will serve him well. Still, his first performance with the SCSO was well received.

The choral contributions to this concert were beautifully sung, yet very minimal. SCSO President James McCormick explained that the Rogers and Hammerstein songbook is very tightly controlled by the publishers. As this music was mostly written for soloists, there are few choral arrangements available; almost none were written by the composers and it is prohibited to write any new arrangements.

Following a triumphant performance of the Verdi Requiem in March, SCSO has segued into another of its roles in the community, that of education.

“It is so important for us to do Broadway,” said McCormick. “We perform the great orchestral works, the sacred and our Christmas concerts. These works of the Broadway musical theater masters are an important part of the American songbook.”

“And the choir is very understanding,” said McCormick.

The chorus was able to sing accompanying arrangements for only six of the 26 numbers on the program. They did, however, have their shining moment as the chorus sang Rodgers and Hart’s beautiful “Quiet Night,” accompanied only by the orchestra. The selection featured a gorgeous a cappella segment which illuminated the passion and precision which this elite group brings to every performance, whether it be six songs or 30.

Director Kendrick coaxes the very best performances from the singers, the orchestra and the soloists, and he does it with such energy and panache that it is a joy to watch him direct. There is never a dull moment when the maestro takes the podium.

The SCSO has again proved that they are indeed easy to love. For fifteen seasons, this unique partnership of choral singers and professional orchestral musicians has been bringing quality performances to Sacramento area audiences.

SacPress Photos | Kati Garner

The Monster Has Arrived: "Young Frankenstein At Broadway Sacramento

2011-04-16T16:40:09Z

“The Mel Brooks Musical Young Frankenstein” opened at the Community Theater Wednesday evening as part of the Broadway Sacramento Series. “ Young Frankenstein” is the second movie Mel Brooks has turned into a Broadway musical. The first was “The Producers,” made from an earlier Brooks film (1968).

The incredible success of “The Producers” on Broadway influenced Brooks to adapt the far more popular “Young Frankenstein” (1974) for the Broadway stage. Brooks wrote the original screenplay with Gene Wilder, who starred in the film.

Brooks brought together all the major creative workers of “The Producers” to work on “Young Frankenstein.” Thomas Meehan wrote the book with Brooks. Brooks again wrote the music and lyrics. Susan Stroman choreographed and directed.

“Young Frankenstein” comes from a much more familiar source than “The Producers.” The film was much more popular, and those who love it probably have seen it many times. With the stage show, many in the audience begin laughing the moment they see a gag coming, such as the horses neighing when Frau Blucher’s name is mentioned or the soup in the lap of the blind hermit. Brooks’ humor stands up to repeat viewings well.

The play follows the film almost exactly, only now there are songs thrown in to deepen the narrative. Brooks is no Irving Berlin, an easy comparison to make with the stage production. Berlin’s “Puttin' on the Ritz” is easily the best production number in the show. His songs are very Broadway musical in style, adding to the humor and storyline.

Much of this cast is the second group to perform in the national tour.

Christopher Ryan stars as Frederick Frankenstein. He is a national tour and regional veteran. He does a good job as the young Frankenstein.

A standout is Janine Divita as Frankenstein’s fiancee Elizabeth. Her performance of “Please Don’t Touch Me” in the first act and “Deep Love” in the second act are highlights.

Noah Aberlin substituting Thursday night for Cory English as Igor was very popular with the audience.

Joanna Glushak also won the audience over with her portrayal of the notorious Frau Blucher.

Preston Truman Boyd was also very popular as the Monster. To be able to emote under all that makeup and tap dance in extremely tall shoes takes great acting and dancing skills.

The scenery by Robin Wagner and costumes by William Ivey Long (a name often attached to Broadway productions) add to the song and dance spectacle.

Again Broadway Sacramento has brought us a wonderful example of current Broadway: the popular adaptation of film-to-Broadway hit. Thursday night’s audience reacted with lots of laughter and long applause.

"Godspell to Wicked": Broadway's best, cabaret style

2011-04-09T01:21:35Z

Delightful. Entertaining. Deliciously fun.

What more could you want from a theater experience designed to celebrate the 40-year career of one of Broadways best and brightest?

Sacramento Theatre Company presented the last in its 2010-2011 Cabaret Series Thursday night with “From Godspell to Wicked: The Musicals of Stephen Schwartz.”

“From Godspell to Wicked” was a whirlwind tour of the 40-year career of one of Broadway’s most renowned composers and songwriters, Stephen Schwartz. The show presented melodies from some of Schwartz’s more famous stage plays, including “Godspell,” “Pippin,” “The Baker’s Wife,” “Children of Eden” and “Wicked,” and even included a few songs from some of Schwartz’s lesser-known work on Disney movies such as “The Prince of Egypt” and “Pocahontas.”

The setting for the evening’s performance was a small cabaret-style theater, arranged with café tables and lit with votive candle centerpieces. The room held about 80 guests and – although the room wasn’t packed to the gills – it was certainly comfortably full.

The mostly over-50 crowd was attentive and lively throughout the course of the song-and-dance-filled evening. At times, the audience was encouraged to sing along (which they did), and the performers showed their appreciation by stepping up the performance with each successive act.

“Everyone always seems to have a good time,” said Fred Heartt, 60, a wedding officiant from West Sacramento. “The other two (cabaret series) shows were very good, too.”

Heartt and his wife, Justine, are season-ticket holders at STC and said they have attended each one of the cabaret series performances this season.

“They always bring in someone from their Young Performers Conservatory, someone just starting out,” said Justine Heartt, 51, an administrator at Sacramento State University. “It’s exciting to see new, young talent.”

The youngest person on stage for “From Godspell to Wicked” was Hannah Zimmerman, a 16-year-old budding singer and actress from Auburn. Zimmerman, who is a student with the YPC, has two years’ experience to her credit, but her stage presence belied her relative newness to the stage.

Even as she stood very still for each song, her voice and facial expression showed the depth of meaning for every lyric and the mood of every note.

As she sang, it was easy to see her as a young woman spurned in “Kind of Woman” from “Pippin,” or the magician’s assistant who dreams of bigger things in “Lion Tamer” from “The Magic Show.”

Along with Zimmerman, the ensemble cast included noted STC company members Michael RJ Campbell, Maggie Hollinbeck and Martha Omiyo Kight.

“She has three wonderful, experienced tutors (in Kight, Campbell and Hollinbeck) to help and guide her through the process,” said Michael Laun, producing director for STC and the Cabaret Series productions.

Hollinbeck, whose most recent credits include Christmas Past in 2010’s “A Christmas Carol,” took command of the stage and really showcased her vocal range with her performances of “Meadowlark” from “The Baker’s Wife,” and the vocally challenging “Defying Gravity” from “Wicked.”

Campbell, who is currently rehearsing for another upcoming STC show, “Sherlock Holmes,” and Kight both gave standout performances every time they took the stage.

Campbell’s engaging presence and rich voice were especially on target with his breathtaking delivery of “Proud Lady” from “The Baker’s Wife.”

The intimate nature of the evening was emphasized by the close proximity of the stage to the audience and the performers’ entrances and exits from the stage at both sides without the benefit of a back curtain. The show felt informal without being unprofessional; serious without being pretentious.

Without question, the highlight of the evening came when Laun took the stage and announced that he would be tackling the song “Popular” from “Wicked” – a song written and arranged to be sung by a female.

“In “Wicked,” the girls get all the good songs,” Laun said. “Tonight, it’s my turn to have some fun.”

Laun proceeded to deliver a delightful, witty rendition of the song, complete with flips of the wrist, finger-pointing, and a few hip-twists to accentuate his “La la la la-de-dah’s.” This one moment was worth the price of admission.

“He’s a stitch to watch,” said Elise Hodge, 37, an actress and writer from Los Angeles. “He’s definitely comedically engaging.”

Although the theater’s seating left something to be desired, if you’re looking for an intimate and fun evening listening to some well-known Broadway music sung with passion and energy, you’ll quickly forget that your chair isn’t plush, because the performances certainly are.

“It felt like a very informal setting, but that made for a genuine experience,” Hodge said. “It felt as if the performers were sharing their love of musical theater with each and every person in the room, one to one.”

As the evening came to a close, Hollingbeck and Kight came together to sing “For Good,” giving us the moral of “Wicked,” and the lesson for the night:

"Who knows if I’ve been changed for the better," the song goes, "but because I knew you, I’ve been changed for good."

After last night’s lighthearted and engaging performance, I can say the same.

Schnirer holds neighborhood conversation

2011-03-18T01:00:56Z

Residents of District 5 phoned in for the monthly “Neighborhood Conversations” conference call Wednesday night to discuss their issues, concerns, and questions with City Councilman Jay Schenirer.

One of the first discussions of the call centered around the crime and vandalism issues Oak Park faces. One resident from the area was the main speaker for this topic, he asked whether it was getting worse or improving and what the neighbors could do about it.

Schenirer commented that crime has gone down throughout the city and that it was mainly gang rivalries between Oak Park gangs and those in the surrounding areas.

In relation to gangs, he said the city is using strategies to rehabilitate gang members, by “putting them in full-time jobs and other social programs.”

Schenirer also said the city is working on developing different intervention strategies, such as a pilot program called “hot spot policing.”

“The program consists of GPSing where many crimes are being committed,” he said. Patrol cars then station themselves near those hot spot regions, to help act as both a deterrence and offer a quicker reaction to the scene of the crime.

Another caller, Kitty Wilson, mainly addressed traffic concerns she experienced near 26th and 27th street where it intersects with Broadway.

“The whole of 26th needs to be looked at ,” Wilson said. Mainly, she noted, there are problems during the times of 4:30 to 7 p.m. when many travelers are leaving work, getting on and off the freeway at the interchange. She said she thought there needed to be more signals in that area.

Schenirer said, “We can ask the traffic division to go and check it out.”

Healthy eating and healthy development of Oak Park were also brought up on the call.

Chris Johnson, a member of the group Healthy Development of Oak Park, said a McDonald's is being planned to be constructed at the corner of Stockton Blvd. and 2nd Ave.

Johnson said his group is reluctant to support the idea of a fast food restaurant in their neighborhood.

Schenirer explained how the process will work and how the proposal must goes through a planning committee. He told the listeners he couldn't comment directly on the McDonald's issue but that he was “very supportive of healthy eating habits.”

“I would love to to see better and more community development and neighborhood supportive businesses,” he said.

Some other concerns had to do with water usage and city bureaucracy. At the end, most listeners said they liked Schenirer hosting community conversations. They said it seemed like a civil, honest and open way to communicate directly with the district’s residents.

“It's a little easier than knocking on doors,” Schenirer added.

“Neighborhood Conversations” occur every third Wednesday of the month, lasting from 7 - 7:30 p.m.

For those interested in a face-to-face conversation, City Councilman Jay Schenirer will be having community office hours on Wednesday March 30 at the Big Spoon which is located at 4001 Freeport Blvd. from 5 - 7 p.m.

So much to say for being off Broadway

2011-03-01T03:05:47Z

Somewhere between Broadway and X, a secret spring runs with water that brings happiness, relaxation and generosity. I’m not sure where the mouth of the spring lies, but you can get a taste by just taking a look at some of the great businesses popping up in this corridor of numbered streets tucked next to the freeway between Broadway and the grid.

The intersection of neighborhoods seems to make this area hidden and accessible only to those choice locals who know where to go. Off Broadway Bean, known by so many as just another cafe at 2416 16th St., is trying to make its way by producing specially selected and freshly roasted coffees and container after container of loose-leaf tea, just waiting to be steeped as a Bali Blend in a handcrafted teapot brought right to your table.

Owner, Jay Hopkins, prepares the drinks as if serving for a close circle of friends, always ensuring that the white mocha latte is perfectly to your taste, and willing to fix it if it is not. His wife, Roberta Hopkins, bakes the fresh goodies, and Vegan Needs supplements the stash with delicious desserts for those with a specialized diet. There’s a selection for everyone: vegan scones, peanut butter chocolate chip cookies and delicious sandwiches made to order with so many fresh toppings you could hardly choose them all — not that you have to pay extra for them. The prices are outrageously reasonable and the service is so nice and genuine, I almost wonder if I’m not in a small town rather than just outside downtown Sacramento.

The heavily stocked bookshelf boasts quiet cafe entertainment of all kinds: almanacs, newspapers, board games, books and journals, and even an enormous encyclopedic dictionary for the more studious clientele. Plus, for those into gazing about, the walls are covered in local art of various media, from the textiles of Elaine Borrelli and transfers on plywood pallets by Andrew Littlefield to the eerie fogscapes of Donald Satterlee.

There’s so much to say for businesses that serve and share their homestead without pretension. Not just the management and staff are friendly, but the other customers are, too. Kindness and generosity breed more of the same, and a weekly stop-off at any of these establishments is likely to earn you a friend or two.

After an afternoon at Off Broadway Bean, you are sure to work up an appetite. The next stop off Broadway is Slice of Broadway Pizza, another unbeatable stop for locals and visitors alike.

City Cemetery tour celebrates Black History Month

2011-02-24T06:43:06Z

In celebration of Black History Month, the Old City Cemetery Committee will be giving a free tour at 10 a.m. on Saturday detailing the fascinating history of African-Americans during the 1800s.

Bob LaPerriere will be the main tour guide Saturday along with other members of the committee.

“I was involved in starting the Old City Cemetery Committee,” LaPerriere said. “ Now I’m the tour coordinator for this particular tour”.

LaPerriere has been giving tours for 25 years. Every year he conducts a tour at the old cemetery, which covers the extensive history of physicians and medicine from the 1800s.

This tour celebrating Black History Month is not shown every year. It’s been at least eight years since the committee has been able to do this type of tour.

“It’s just a matter of volunteers,” LaPerriere explained. “If we get more volunteers, we can have these tours on a more regular basis. It takes an awful lot of work to put these tours together, a lot of research and a lot of work”.

Laperriere said the main purpose of this tour is, “ to make people more familiar with the history of African-Americans in the 1800s”.

Some of the key individuals being discussed include: Edwin Crocker (an abolitionist), Vaardmen Bullard (a former slave), Ernest Houston Johnston (an African-American graduate of Stanford University, first graduating class), Sarah Jones (a prominent African-American educator), and Henry Yantis (a church deacon and champion of education).

“It’s important that people realize the struggles that African-Americans went through in the 1800s for independence in the time of slavery, even though California was a non-slave state,” LaPerriere said.

“You have to research old burial records and old written records from the area, and sometimes it is very difficult to find any information on a particular person,” he said.

The Old City Cemetery is located at 1000 Broadway, between Muir Way and Riverside Boulevard. Parking is free and is located across the street from the cemetery.

It's a Grand Night at the Cosmopolitan Cabaret

2011-02-10T23:18:06Z

From “Oklahoma” (1943) to “The Sound of Music” (1959), composer Richard Rodgers and lyricist Oscar Hammerstein II, popularly know as Rodgers and Hammerstein, were arguably the largest contributors to what is known as “The Great American Songbook.”

Five of their musicals were major hits. Their work has been described as groundbreaking. Revivals and regional productions of their shows continue to this day. “South Pacific” recently ended a Broadway run, and “Oklahoma” was a big hit at the Sacramento Music Circus last summer. They won numerous awards, including Tonys, Oscars and Grammys.

Richard Rodgers rt. Oscar Hammerstein II photo: http://www.morethings.com

What sets Rodgers and Hammerstein apart is how enduring their songs are. Over half a century after they produced their last song, folks still hum, sing and otherwise enjoy the songs of Rodgers and Hammerstein. Sometimes people don’t even realize the song they are enjoying was written by Rodgers and Hammerstein.

The Cosmopolitan Cabaret’s current production of “A Grand Night for Singing” is a wonderful opportunity to re-experience how great Rodgers and Hammerstein’s music is for those of us who know or think they know their music. And for those who are somehow not familiar, this show is a great introduction to some of the best songs ever written.

Many of the arrangements are the same as, or very close, to the originals. There are some amazing new arrangements that show just how versatile this music can be. Who would have thought that the mother superior and the nuns of the convent’s query “How Do You Solve a Problem Like Maria?” could come from a lovesick male? (Everything’s up to date in) “Kansas City” from “Oklahoma” becomes a jazzy, almost “Manhattan Transfer”-like song.

The two men and three women in the cast have great voices and backgrounds for singing songs from the musical-theater genre.

Ryan Drummond has performed roles such as Corny Collins in “Hairspray,” Ozzie in “On the Town” and Leo Bloom in “The Producers,” and he has been in several productions of “Forever Plaid” around the country and many other musical productions. He has also appeared in film, television and video games (as the voice of Sonic the Hedgehog).

Justin Michael Duval originated the role of Potsie for the national tour of “Happy Days: A New Musical.” Duval has performed in some 15 shows preparing him to sing Rodgers and Hammerstein, especially shows such as “My Fair Lady,” “Brigadoon” and “Fiddler on the Roof.”

Lisa Ferris last performed in Sacramento in “Funny Girl” at Music Circus last summer. She has also performed in “Fiddler on the Roof” and a great deal of Shakespeare plays.

Jill Van Velzer has also performed in some 15 productions, including lead roles in Rogers and Hammerstein musicals “The King and I,” “Camelot,” “Carousel,” “Oklahoma!” and “The Sound of Music.”

Melissa Wolfklain just finished playing Cindy in the last Cosmopolitan Cabaret production, “Suds.” While she has not performed in another Rogers and Hammerstein musical, she has a strong musical-theater background with leads “Crazy for You,” “Thoroughly Modern Millie” and “42nd Street.”

They are accompanied by Chris Schlagel, who is also the musical director of the show. Schlagel is a beloved accompanist at many theaters in Sacramento, including Cosmo Cabaret (“Forever Plaid,” “My Way”), Sacramento Theatre Company (“A Christmas Carol,” “Five Course Love”), B Street Theatre (“The Big Bang,” “The Last Five Years”) and Music Circus.

Chri Schlagel from facebook

Even though the songs are plucked from their original productions, each one is a little story in itself. Director and Broadway veteran Mindy Cooper has created very nice choreography to accompany the songs, helping tell their stories and transition from piece to piece. Her 25 years of choreographing and directing on Broadway, regionally and around the world comes though in her staging of these great songs.

Cooper also has a great set design by Jamie Kumpf to work with. Cooper stages the songs all over the set, adding interest to the story the music is telling. The set has terraces on different levels and several pillars. The design is quite sophisticated, as is appropriate for a Rodgers and Hammerstein production.

Lighting design by Sally Slocum enhances the design and action. The look of the pillars and other design elements change with changes in lighting, giving a nice effect.

Everything in this Cosmo Cabaret production of “A Grand Night for Singing” comes together to showcase what is central to this show: the music of Richard Rodgers and the lyrics of Oscar Hammerstein II. The nearly 30 songs from 11 musicals are beautifully presented in a lovely setting.

One would be hard pressed to find a more lovely, romantic time than spending a couple of hours enjoying “A Grand Night for Singing” at the Cosmopolitan Cabaret.

"They Say It's Wonderful" At STC Cabaret Series (And It Is)

2011-01-29T17:20:30Z

The second of this season’s Sacramento Theatre Company Cabaret Series, “They Say It’s Wonderful: Broadway’s Best Love Songs,” opened Thursday night.

Again the lobby of the STC Mainstage Theatre has again been turned into a nice little nightclub with many tables for four.

The program features love songs from the late 1920s to the present. The show opens with “How Long Has This Been Going On” from the1927 show “Rosalie.” The show is long-forgotten, but the song has remained popular over the decades.

After some straightforward love songs such as “Someone to Watch Over Me” (“Oh Kay”) and “On the Street Where You Live” (“My Fair Lady”) the first set turns to fun, funny love songs ending with “Suddenly, Seymour” from “Little Shop of Horrors.”

The second set opens with several songs from popular revivals on Broadway. These include songs from revivals such as “Annie Get Your Gun,” “The King and I” and “The Music Man.” These songs are followed by songs chosen by cast members as some of their favorite Broadway musical love songs. The show ends with love songs from more contemporary shows, including “Lets Hear It for the Boy” (“Footloose”) and ending with “Without Love” from “Hairspray.”

The show was created and directed by STC producing director Michael Laun. The cabaret series allows Laun a major Broadway musical affection-ado to get in front of an audience for a change.

Laun was joined by a STC Cabaret Series regular Kristen Wagner. Wagner has also appeared with Artistic Differences, Runaway Stage and the ever popular Graham-a-rama. She is especially good with “Moment in the Woods” from “Into the Woods.” Wagner and Laun have great fun with “Do You Love Me” from “Fiddler on the Roof.”

All the other performers are new to the STC Cabaret Series, starting with Ian Culity. Culity recently played Jesus in “Refer Madness” at Artistic Differences. He has a great voice and theatrical style. He is especially fun with “Farmer Tan” from “Pump Boys and Dinettes.” Culity and Laun do a great duet with “Agony” from Sondheim’s “Into the Woods.”

Also new to the STC Cabaret Series is Maggie Elizabeth May. May is another shining example of the STC Young Professionals Conservatory. She was in the first year of the YPC and went on to train at the Royal Academy of Music in London, debuting in the West End production of “Sister Act” with Whoopi Goldberg. The 24-year-old has a beautiful voice and really shines on “Someone Like You” from “Jekyll and Hyde” and does a spectacular duet with Abbey Williams-Campbell on “For Good” from “Wicked.”

Williams-Campbell, 15, is another cast member from the STC Young Professionals Conservatory. She has already appeared in “A Christmas Carol,” “ Cinderella” and “Arranged Marriage.” She will appear in the STC Mainstage production of “Brighton Beach Memoirs” in March. Williams-Campbell is wonderful on “Think of Me” from Andrew Lloyd Webber’s “Phantom of the Opera.”

Singing individually, in duets and as a whole cast, the performers in “They Say It’s Wonderful” brought to life nearly 30 love songs from the distant past to contemporary Broadway to an appreciative audience.

Limited run. Shows at 2:00 and 8:00 pm today

More information and tickets

The Musical of Musicals: The Musical!

2011-01-17T07:37:02Z

A crazy-eyed landlord struts around his apartment, plotting the death of whichever of his emotionally unstable tenants mistook his artistic masterpiece for common garbage, when a loud screech pierces the intimate theater. The audience jumps. The landlord rears in apparent surprise. The screech lasts for over five seconds. Finally, it stops. The landlord peers over his shoulder, toward the door and proclaims, "The doorbell!" The audiences erupts in laughter.

This is just one of several hilarious moments in the Sacramento Theatre Company's production of “The Musical of Musicals: The Musical!”

Written by Eric Rockwell and Joanne Bogart, “The Musical of Musicals” takes a single plot and applies it to five parodies of the modern musical.

The first vignette "Corn!" is based on the works of Richard Rogers and Oscar Hammerstein II. Jerry Lee plays Big Willy, a Midwest farm boy with an uncontrollable zeal for corn. His dilemma comes when he has to decide between traveling the world and saving his romantic interest, June (Jessica Goldman), from having to pay her rent. Not doing so will force June to marry Jitter, the sleazy landlord, played by Michael RJ Campbell. Martha O. Knight plays Mother Abby, the guiding inspiration for the solution to June's recurring rent problem in all five scenes.

The other vignettes parody the works of Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber, and Kander and Ebb, respectively. Allusions are made to popular Broadway musicals such as “Sweeney Todd,” “Cats,” “Phantom of the Opera” and “Chicago.”

As an admitted tenderfoot to Broadway and musical theater in general, I should say that many of the references to the original material escaped me, but that didn't stop me from laughing out loud when Billy ripped Phantom Jitter’s mask from his face, only to reveal that he was, in fact, a cat! And not just any cat: a cat of many colors.

The closing scene was the strongest. A flamboyant Jütter demands rent from the saucy Juny, who is admonished by Fraulein Abby in dramatic song to simply sell her body. Juny takes her advice and offers, but the ambiguous Jütter swiftly refuses. All seems lost until Billy, Juny's former lover and newly self-discovered homosexual, gets out of jail and offers his own body to pay the rent. Jütter's response is immediate and enthusiastic, "Yaaawwww!" Once again, Billy saves the day.

This and the second vignette showcased the character's strengths more so than the leading "Corn!" For all the cheeriness in Rogers and Hammerstein's style, it was the twisted, dark realities of Sondheim, Kander and Ebb that gripped my attention the most.

The cast was well-balanced and executed their roles almost flawlessly. Campbell's theatrics and Lee's impeccable vocals converged on Knight's grace and Goldman's stage presence for an evening of laughs and memorable show-tune spoofs.

The show runs through Feb. 20 at STC's J. Arliss Pollock Stage at 1419 H St.

Ticket and show time information here.

Images courtesy of Sacramento Theatre Company

"Shining City" Showcases Great Acting and Directing At B Street B3 Series

2011-01-15T00:58:05Z

All Photos by Barry Wisdom

Ian has left the priesthood, taken up with a young woman, is now the father of a baby girl, has completed study to be a therapist and has just hung out his shingle to treat clients. And we learn these are not the only major issues going on in his life.

John has recently lost his wife in a tragic automobile accident that has left unanswered questions. He feels guilt for much more than the fact that the love had gone out of their marriage. Seeing the ghost of his wife (real or imagined) has sent him to be one of Ian’s first patients. Not his first choice for therapists.

This sets up the question in Irish playwright Conor McPherson’s play, “Shining City” – can someone with so many problems of his own help heal someone else with huge problems?

McPherson is a prolific writer of plays and screenplays. He has won numerous awards, and his works have been performed around the world. “Shining City” was nominated for a Tony Award for best play when it premiered on Broadway in 2006. His play, “The Seafarer,” was also a B Street Theatre B 3 Series production.

“Shining City” is a play that allows the principal actors to show off their acting skills. This production pairs Kevin Karrick as Ian and Phil Cowan as John. They also appeared together in the B3 production of “The Seafarer.”

The Bay Area-based Karrick has appeared in numerous productions around the Bay Area, Sacramento and New York. While in New York, he appeared in a “Law and Order” episode. While the role of Ian is the less flashy of the two, it still gives Karrick lots of room to express confusion, doubt, anger and other human emotions will great skill.

Kevin Karrick as Ian

Sacramento resident Phil Cowan was half of the morning show duo “The Paul & Phil Show” with Paul Robbins for 19 years. They were also on the Discovery Channel with “Next Step” for four seasons. While not classically trained as an actor, Cowan is a veteran of several B Street Productions. He is truly a revelation as John. Cowan, in his portrayal of John, goes from deepest despair to calmly OK.

Phil Cowan as John

The principals are supported by B Street acting interns Holly Dale as Nesa, the mother of Ian’s child and Chris Page as Laurence, someone Ian meets under unusual circumstances.

Kevin Karrick as Ian and Holly Dale as Nesa

Kevin Karrick as Ian and Chris Page as Laurence

Well-known B Street company member and very popular actress Elisabeth Nunziato directs, and her staging of the play is excellent. So much in this play is not just what is said, but what is not said. John especially, and to some degree Ian, often does not finish a sentence. Timing is just right to create the proper feeling of discomfort.

The beginning, when John starts working with Ian, is a good example. The unease and discomfort when a therapist is trying to get a reluctant patient to start opening up is palpable. John cannot manage to stay put on the couch like a proper patient.

All the action takes place in Ian’s Dublin, Ireland, office. Mike Kunkel (Scenic Design) does a good job of creating the office of a therapist just starting out.

“Shining City” strongly delivers on the B3 Series promise of offering complex characters and intellectually moving plot lines. Here, two actors who are very experienced are working together on a work by a playwright they are familiar with and admire. And they are working under a director they know and trust. (see Barry Wisdom’s Sacramento Press article).

This all comes together to create a production that features wonderful performances, is thought-provoking and is, yes, entertaining.

Through February 5, 2011 Information and Tickets

The Very Funny "The 39 Steps" Brings Out the Best at B Street Theatre

2011-01-11T02:58:45Z

All photos: Ron Nabity

A femme fatale invites herself home for the night. She tells wild stories of spies and military espionage in her heavily accented english. She is dead in the morning with a knife in her back. This sends Richard Hannay in a race across England and Scotland in search of a mysterious man missing a fingertip, figuring out what the 39 Steps are and, hopefully, to clear his name.

This is the basic plot of a 1915 spy novel by Scottish writer John Buchan titled “The 39 Steps.” Buchan used the Richard Hannay character in four more action-spy novels.

The novel, given its action/thriller qualities, was adapted into several radio plays. The first was by Orson Welles and his Mercury Theatre.

There have been a four movie adaptations of “The 39 Steps” to date, with Alfred Hitchcock’s 1935 thriller the best-known by far.

Eventually, in the mid-90s, Nobby Dimon and Simon Corble created a four-actor play based on the story. This play was adapted by by English actor/writer/director Patrick Barlow into a broadly (emphasis on broadly) comic, action, spy thriller.

John Buchan’s novel and its early adaptions are very serious. This is the period between World Wars I and II. This is especially true of the Hitchcock film version with its dramatic score. Looking at the production with contemporary eyes, it is not hard to see how it could be adapted into comedy. What had been very serious business becomes very seriously funny business.

The play is a great choice for B Street Theatre. Producer/Director Buck Busfield is excellent at working with actors playing multiple roles and comedy moving at manic speed. Last year’s production of “Love Child” is a good example. B Street also has a wealth of actors who are so good at this type of comedy.

Veteran Sacramento actor Kurt Johnson, who just completed his role of QD in “Northport Cottage,” plays Hannay, a role he deftly handles. Most of Hannay’s direct humor is the offhand remarks he makes, much of which are directed at the female characters playing opposite him. For much of the humor, Hannay is the foil or “straight man” to the other characters.

Kurt Johnson as Richard Hannay

The three women who cause much of Hannay’s problems, including femme fatale Annabella Schmidt, are played by Melinda Parrett. Parrett, originally from Carmichael, has appeared in productions throughout the country. She successfully creates the three different personalities.

Kurt Johnson as Richard Hannay, Melinda Parrett as Annabella Schmidt

The nearly 140 other characters are divided up between between Jason Kuykendall and Amy Kelly, credited as Clown 1 and Clown 2 – adept descriptions. This is a change from the Broadway and London productions, where the multiple characters both male and female are played by two male actors.

Amy Kelly as Mister Memory, Jason Kuykendall as The Announcer

Kelly is great playing both the male and female characters. Kelly was a a standout as the very unhinged patient of the allergy clinic in this season’s B3 Series production of “Well,” her first performance at B Street. Kelly’s experience as a comedian, voiceover artist and impersonator serve her well in this production. She manages to easily keep up with Kuykendall, which is no easy task.

Jason Kuykendall can be described as fully unleashed here. He elicits reactions from the audience from chuckles to downright hysterical laughter. Most of the time hysterical laughter. His characters are easily the funniest in the show, and he takes full advantage of it. It can be as simple as Kuykendall’s BBC announcer’s description of the fugitive Hannay. As the announcer goes on describing Hannay, it becomes obvious that he finds Hannay quite attractive. At other times it is just pure slapstick humor.

Amy Kelly and Jason Kuykendall as ancient members of the BIRP

Kelly and Kuykendall work well off each other. They appeared together in “Well.” A lot of their humor depends on split-second timing. Some of the costume/character changes hardly allow the audience time to take a breath. It is very obvious they are having a great time playing these roles.

Myke Kunkel’s set, while relatively sparse, does a good job representing the multiple scene locations. These range from Hannay’s apartment to a large performance hall to the Scottish countryside. One of the more astounding, surprising effects is Hannay hanging from the Edinburgh Forth Railway Bridge.

Lighting by Ron Madonia combined with sound design by B Street staff both create a sense of place and are often part of the humor.

Paulette Sand-Gilbert’s vintage costumes range from fashionable to funny.

B Street Theatre starts off its 20th year with a bang. Actually several bangs. As B Street Producing Artistic Director Buck Busfield says in his introduction to the play: “I’ve wanted to do this play ever since I read the early reviews. I knew it would be perfect for us here at the B Street Theatre."

He is completely right. “The 39 Steps” is a perfect play to show off all the talent at B Street, from directing to acting and everything else it takes to put on a play. And the audience is the winner. Go see “The 39 Steps” and forget all your troubles for a couple of hours, and just have great fun time.

2 hours including intermission. Through February 28, 2011

more information and tickets

Recycling center raises concerns

2011-01-06T02:20:11Z

A Buddhist church located at Broadway and Riverside Boulevard has recently raised concerns about a nearby recycling center, saying it has attracted problems such as trespassing at the church’s property and human urination.

The center, MS Recycling, is located at a Valero gas station next to the Buddhist Church of Sacramento. The center leases from the property owner of the gas station, Vince Lera, according to city documents.

“We've got community programs running from 9 a.m. - 9 p.m., seven days a week, that serve the very young and very old. And they deserve a safe and clean environment,” Kelvin Mark, president of the Buddhist church, said in an e-mail.

Lisa Nava, district director for Councilman Rob Fong, wrote in Dec. 23 e-mail to the Greater Broadway Partnership that the center will be closed down. Nava said the recycling center would be closed down because the Valero gas station intends to install a biofuels station to next to its gas offerings and will no longer have space to lease to MS Recycling. However, Nava said she did not have a timeline for the closure.

Mark claimed that a litany of problems are occurring because of the center, including littering, narcotics peddling and indecent exposure. He said he has called the police for drunk and disorderly behavior.

The Greater Broadway Partnership, an alliance of businesses on Broadway, has also become concerned about activities at the center. “We felt the operation of the recycling center was not being done in a responsible manner,” said Teresa Rocha, the partnership’s executive director.

Attempts to talk to employees and managers of the recycling center were unsuccessful. One of the recycling center’s workers declined to be quoted.

Mark said he was unsure about the status of the recycling center, saying “the words from Lisa Nava are (that) we don’t have any details on when the closure will happen or how it will happen.”

Photo by Kathleen Haley.

Kathleen Haley is a staff reporter for The Sacramento Press.

“Cirque Dreams Holidaze” a Holiday Spectacular at Sacramento Community Theater

2010-12-31T01:08:04Z

Looking for entertainment suitable for all ages to end 2010 or kick off 2011? Look no further than the Sacramento Community Center Theater and Broadway Sacramento’s holiday show “Cirque Dreams Holidaze.”

From the moment the curtain goes up to the last bow, “Cirque Dreams Holidaze” is a nonstop spectacle of costumes, set design and a large variety of performances occurring center stage.

These performances include balancing, tumbling, illusion, aerobatics, skip roping and much more. The performers are among the best in the world at what they do. For the older generation, think of the best acts from “The Ed Sullivan Show,” down to the spinning plates.

One of the first acts is a group of Chinese women: Lin Deng, her twin sister Yu, Xaioyu Ma, Hefan Sun and Xiaochen Xu. They perform “Twirling Bauble.”

To describe “Twirling Bauble” as an advanced form of yo-yo doesn't do it justice. Think of a very large yo-yo not attached to its string flung high in the air and from person to person and so much more. In the second act, the women perform “Toy Cycler,” doing tricks that in a traditional circus would be done on horses here using tiny bicycles.

All of these women trained in one of the several acrobatic schools in China, most notably the Shen Yang Acrobatic School and the Beijing Acrobatic School. Nearly all the performers in the different acts have trained overseas.

Some other highlights include: Victor Dodonov (Latvia), who balances tiers of wine glasses on his head to become a candelabra and balances on nine cylinders stacked in opposite directions dressed as a Penguin. He is one of the few people in the world who can do this balancing.

Another rare performer is Abdurazak Reshid Adem (Ethiopia), who, as the Lumberjack Juggler, dances and interprets music while juggling nine balls.

Russian husband and wife Dmytro Deyneko and Svitlana Guranchyk are the “Flying Angels.” They demonstrate incredible strength and beauty in their ariel act.

Americans Mike Fry, Billy Jackson and Lee Reisig, and Hungarian Judit Kovacs are “Skipping Elves.” All are international champion rope skippers. Their rope skipping is far from what you learned on the school playground.

Americans also provide the vocal music. “American Idol” finalist Matthew Conti, Denise Nicole Estrada and Julie Wacksman sing original compositions by Jill Winters and David Scott along with some Christmas standards.

One of the musical interludes includes audience participation conducted by Brazilian Peterson Bardim. Bardim creates a very amusing character.

While all the different acts are being performed, there is constant action going on around them, evoking the classic three-ring circus. There is no time for the audience to become bored. In fact, the audience was nearly constantly applauding, cheering and whistling, expressing approval of the performances.

Neil Goldberg created and directs “Cirque Dreams Holidaze.” The show is one of eight “Cirque Dreams” productions that appear from Broadway to on board the “Norwegian Epic” cruse ship.

With “Cirque Dreams Holidaze,” Goldberg and his staff have created what truly can be called a spectacular holiday extravaganza. From children to teens and adults, the opening-night audience members looked like they were having a great time. The energy level as folks left the theater was very high. Everyone was saying, “Wasn’t this or that or all of it great!”

Do yourself, your family and/or friends a favor and invite them to go with you to “Cirque Dreams Holidaze.” You will have a great start on the new year.

Shows through January 2, 2011

Tickets and more info

Armistead Maupin Reads From "Mary Ann in Autumn"

2010-11-20T23:08:53Z

Writer Armistead Maupin read the first chapter of his new book, “Mary Ann in Autumn,” Thursday night as part of the Bee Book Club. The adoring audience hung on his every word, whether it was the familiar-sounding yet new prose of “Maryann in Autumn” or his reminiscing about his life and his very popular “Tales of the City” book series. With this latest book, the series now stands at eight titles. Maupin also wrote two standalone novels.

When Maupin started writing about what was essentially his life, it opened a door for the straight community for a look into the gay community. What was to become “Tales of the City” started in the San Francisco edition of the Pacific Sun.

In 1976 it had been picked up by the San Francisco Chronicle and began running as a five-day-a-week serial now titled “Tales of the City.” Maupin turned the Chronicle series into the first three “Tales” novels.

Maupin stopped reading at the end of the first chapter. He did not want to give too much of what happens in the book away. He said, “He hates when people give away things, even from the first books.”

When the series first ran in San Francisco, there was some criticism that Maupin was giving too much away about the gay community. To many gays, life was about living in a private, secret club, and they did not want outsiders to know what the club was up to.

He spoke of not writing about the gay community, but of writing about things in his life and that he happened to be gay and so were many of the people around him. Maupin had started out the reading referring to his characters as “your neighbors and your friends.”

This did not stop his editors at the Chronicle from trying to limit the number of gay characters in the series. One of the funniest stories he told was of a chart his editors had literally placed on the wall. It had one column for gay characters and one column for straight characters. He was told that he must maintain a specific ratio of gay characters to straight characters. In one plotline, DeDe Halcyon’s mother woke from being pasted out in the garden to find the family dog “attempting to have sex with her leg.” Maupin gleefully put the dog in the straight column.

When asked about how Mary Ann had started out as such a sympathetic character and had become such a “bitch,” Maupin feigned insult, since there was a lot of him in Mary Ann and that most of the characters are based on him.

When asked what took him so long to write this latest book, he spoke of how agonizing writing is for him.

“It is like laying mosaic tile,” he said. But when you step back, you can see how it all fits together.

Maupin became most excited when asked about the musical adaptation of “Tales of the City” currently in development at San Francisco’s ACT. Jeff Whitty, who wrote the book for “Avenue Q,” and Jason Moore, its director, are working on the production. Maupin said he couldn’t be happier. What seemed to make him ecstatic is that the producers are in negotiations with Broadway’s Betty Buckley to play Anna Madrigal.

After the question period, fans lined up the full length of the Tsakapoulos Library Galleria to have their copies of the book signed. He patiently spoke with each person as he signed their books. Most had some story of why “Tales of the City” had had some importance in their lives.

I spoke with Armistead Maupin for a few minutes after the crowd left.

The Sacramento Press: Are you aware of what you describe in “Mary Ann in Autumn” is no longer a San Francisco phenomenon, but that this mixing of gay and straight friends and family occurs in places like Sacramento?

Armistead Maupin: “I am very aware of it.” He went on to talk about how it happens in every city of any consequence throughout America.

SP: Was “Tales of the City” part of this?

AM: “It’s gay marriage.” He continued speaking about how wherever same-sex couples are getting married, the whole family and friends are involved. There is also the visibility created by the fight for gay marriage and its allies.

Armistead Maupin photos: Bill Burgua "Tales of the City" musical: American Contemporary Theatre (ACT)

New Helvetia Theatre Presents [title of show] – A Northern California Premiere Opens Friday

2010-10-03T19:41:48Z

Have you ever hung out with a friend and all of a sudden decided to write a musical and the next thing you know, you and that friend, along with two other friends are performing that very musical on Broadway. Well it really happened…really!

Following a sold out, critically acclaimed and award-winning run on and off Broadway, New Helvetia Theatre, Sacramento’s newest professional theatre company, is proud to present the Northern California premiere of [title of show], written by Hunter Bell and Jeff Bowen and directed by Erin Island. [title of show] opens this Friday, October 8 and continues through October 30, 2010. This limited 4 week engagement will play at the Artisan Theatre, 1901 Del Paso Boulevard in Sacramento.

[title of show] is a fun musical that takes place over three frantic weeks during a steamy New York summer. Four friends scramble to create an original musical to submit to the New York Musical Theatre Festival. Battling insecurity and frustration, overwhelmed and underpaid, these struggling actors find inspiration in their friendship and in the deep love of theatre that brought them together.

The musical is a hilarious, self-reflective documentary of sorts. When Hunter Bell and Jeff Brown’s festival submission of [title of show] led to an Off-Broadway run, then to the Great White Way, they incorporated their amazing journey right into the show, from brainstorming in the writers’ living room to their opening night on Broadway.

Director Erin Island is best known for her work at B Street Theatre where she directed The Swan and The Adventures of Tom Sawyer as well as stage-manage the Mainstage Series. In 2009, she co-directed New Helvetia Theatre’s tick, tick…BOOM! With Artistic Director Connor Mickiewicz.

New Helvetia is making a name for themselves bringing to Sacramento region a broad spectrum of American musicals and plays, from the country’s best known and emerging artists. Since its inception in January 2009, its critically acclaimed productions have included Celebration, Hedwig and the Angry Inch, tick, tick…BOOM!, and the Regional Premiere of It’s Only Life.

The company was recognized in the 2009 Best of Sacramento in Sactown Magazine. In the June 2010 issue of Sacramento Magazine founder and Artistic Director Connor Mickiewicz was featured in the publication’s “15 People to Watch”.

The talented cast of professionals includes Jerry Lee as Hunter, Connor Mickiewicz as Jeff, Kiera O’Neil Anderson as Heidi, Melinda Parrett as Susan, and Graham Solbelman as Larry.

Performances are Thursday and Friday at 8:00pm and Saturday at 2:00pm and 8:00pm. General Tickets are $25 and $15 for persons 30 and under and can be purchased online at http://www.newhelvetia.org or through New Helvetia’s Box Office at (916) 469-9850.

Trails still going at 70

2010-09-15T01:48:26Z

Take one step inside Trails Restaurant and you enter another era — an era when record-breaking swimmer Esther Williams was a movie star and meat dominated the dinner table.

Now, 70 years have passed since Williams and her husband, Ben Gage, opened the restaurant at 2530 21st St., just off Broadway, as part of a chain.

The restaurant's third owners, Gin and Kit Wong, said business has gotten slow at times during the recession. But Trails is holding its own thanks to longtime customers, Gin Wong said.

"People have been coming for generations," said Wong, who bought the restaurant in 1979 from Myrle and Al Nahas, who was a nearby car dealer.

At lunch Tuesday, retired commercial printer Steve Strong and his attorney buddies Bill Gould and Gene Pendergast said they've been going to the restaurant for at least 20 years. They like the food, the prices and the 1950s vibe, they said.

"There's no 'weed' salads — salads made out of weeds," said Strong, 71. "Plus, it's nice to help local restaurants. A lot of restaurants are going out of business."

The extensive menu includes lots of meat, from burgers and steaks to ribs and barbecue chicken. Meals usually come with potatoes and salad made with iceberg lettuce.

"No radicchio," Gould said.

The restaurant still sports the dark wood panelling, wagon-wheel light fixtures and brick hearth grill from its opening. The Wongs added cowboy wallpaper but changed little else, said Rosemary Carlson, who's served Trails customers for 17 years.

"Everything in here is just about original," Carlson said.

Eating burgers, local building inspector Brian Greendahl and his friend Danny Hobbs said they've been dining at Trails for about 25 years because the place is small, intimate and friendly.

"The food is good and the price is right," said Greendahl, who grew up nearby and now travels from Carmichael to eat there. "I just had lunch for five bucks. You can't get a better lunch in town."

Hours are 11 a.m. - 9 p.m. daily.

Photos by Suzanne Hurt, a staff reporter for The Sacramento Press.

New retail store serves local DIY food and drink crowd

2010-09-07T00:41:21Z

The building at 3527 Broadway has been vacant for years, but is now home to a new business as of Aug. 1 – BFD.

Brew, Ferment, Distill owner Tim Clark said he wants to make his store a one-stop shop for Sacramentans who like to do their own beer brewing, winemaking, cheesemaking and any number of other do-it-yourself foods and drinks.

“This right here is entirely for the urban hippie,” Clark said. “It’s for the slow-food movement.”

Clark spent 13 years as a mortgage banker before “being unemployed at the right time” and deciding to start BFD.

“My wife is still warming up to the name,” he said with a laugh.

Doors opened Aug. 1, and Clark said he immediately sent e-mails to local brewers and vintners.

“People have been extremely gracious,” he said.

While beer- and winemaking products factor heavily into the store’s inventory, there are options for those who want to share the experience with the under-21 crowd, and no alcohol is actually sold.

“We wanted to make this business family-friendly,” Clark said as his two young children watched TV on a couch in the kids’ corner. “We have everything you need to make sodas, root beer, cheeses, even balsamic vinegar if you have the patience for it.”

Products for distillation are sold as well, though Clark was quick to point out that distilling spirits such as whiskey is illegal.

“It’s illegal to distill alcohol, but you use the products to distill water and essential oils from herbs,” he said.

Chris Pendarves owns the building and several others in the area, and he said it was vacant since before he purchased it in 2005.

“I think it’s a great, risky idea, and perfect for urban retail use,” he said. “People actually create stuff – it’s not all store-bought. It’s not a liquor store. It’s a different kind of retail.”

Josh Gibson, a friend of Clark’s who crafts his own beer, said he thinks the store gives people the opportunity to “put their hands on what they’re making, drinking and eating.”

In making their own food and beverages, he said, people get a better appreciation for the process and where they come from than purchasing them from the supermarket.

“Not only that, it’s absolutely fun,” he added.

Home-brewing beer is easy, according to Gibson and Clark.

“If you can make tea, you can make beer,” Clark said, adding that he buys as much of his products – such as hops and grains – as possible from local sources.

Basic beer-brewing starter kits are offered for sale at the store, and Clark said home brews can be done with as few as three hours of work or – pointing to Gibson – “you can make it as complicated as you want.”

Gibson said he enjoys crafting beers of all different styles and catering them to his personal tastes.

Clark said a good six-pack can be brewed for $5-$6 at home.

“It’s a cost-effective way to have your cake and eat it, too,” he said.

Brew, Ferment, Distill is open from 10 a.m. - 7 p.m. Mondays, noon-7 p.m. Wednesdays-Fridays and 10 a.m. - 7 p.m. on weekends. The store is closed Tuesdays.

Brandon Darnell is a staff reporter for The Sacramento Press.

Bomb shelter offers glimpse into city's past

2010-09-06T05:54:56Z

Tucked away under the unremarkable former Broadway Hardware store is a dark reminder of a time in Sacramento’s past when the threat of war loomed.

Entering the front of the store, which will soon be reborn as a pawn shop, visitors will see an open space with display cases and a counter. But behind one of the curtains in back is a gently sloping concrete ramp leading underground to a nuclear fallout shelter.

Stan Lukowicz Jr., who owns Capital City Loan and Jewelry with his father and brother, said he thinks the shelter might date back as far as World War II – before the threat of nuclear war between the United States and the Soviet Union.

“At one point during the war, bomb shelters were considered a necessity,” he said, adding that going down in the shelter for the first time was “a little intimidating.”

Broadway Hardware’s shelter is one of more than 100 listed on a 1960s map at the Center for Sacramento History, 551 Sequoia Pacific Blvd.

Other shelter sites include the Old City Hall, The Sacramento Bee, numerous state and government buildings, McClatchy High School, the water treatment plant and the dorms at California State University, Sacramento.

The shelter map was originally accompanied by a booklet describing what to do in the event of a nuclear attack on Sacramento. A blank form was intended to be filled out and serve as a reference to which shelter to head for if it became necessary.

Also at the center is a flier advising residents of the steps to take in an attack.

The flier, distributed by the Sacramento Operational Area Civil Defense Council in 1962, advised residents to “select a shelter area for home and work. Stock shelter area with food, water, medical and sanitary supplies.”

Graphic representations told residents that an “alert” signal would be a long, droning note played out on the sirens and a “take cover” signal would be a warbling siren for three minutes.

In a sobering tone, the flier gives the harsh details of an attack without warning.

“No siren sound. A brilliant white flash, the brightest you’ve ever seen, is your only warning ... You have a few seconds before heavy shock wave arrives,” according to the flier. The flier then advises people to stay inside until they hear it is safe to leave, as radioactive fallout would be dangerous.

Though the presence of shelters and doomsday fliers makes the 1960s sound like an era of dark fears, life went on as normal for most residents, according to Larry and Barbara Kronquest, volunteer docents at the Sacramento History Museum at 101 I St.

“I can remember ‘duck and cover’ and getting under your desk,” said Barbara Kronquest, who was a teacher at the time. “Drills were mandated once a month at the schools.”

Though duck and cover would have been largely ineffective in the event of atomic warfare, she said it was a great way to protect students from falling glass and ceiling pieces during earthquakes.

“I know they designated buildings (as shelters),” she said. “Sacramentans couldn’t get real excited about it because there wouldn’t have been time to get to many of them anyway.”

Larry Kronquest said that with three Air Force Strategic Air Command bases in the area, Sacramento would have been a prime target for Soviet missiles.

During the 1960s, Larry Kronquest worked for the Department of Utilities in City Hall, and he considered the shelter under the building – little more than a basement – virtually useless.

“I had a boss who swore he could get from City Hall to the water treatment plant in five minutes,” he said. “That was the shelter you wanted, because it was stocked with supplies, and you could tap into the water system.”

Both Kronquests said they didn’t think much about the threat – they just lived their lives.

Today, the disused bomb shelters are mere curiosities, reminders of a threat that never came to pass.

Brandon Darnell is a staff reporter for The Sacramento Press.

"42nd Street" Ends The 60th Season Of The Music Circus With A Dance Spectacular

2010-08-26T16:22:41Z

America is in the depths of the Great Depression. Audiences flock to movies where they can forget their troubles enjoying a couple of hours of singing and dancing paying a mere dime for a ticket. The musical “42nd Street” is based on the 1933 movie of the same name.

The basic plot is that Broadway producer Julian Marsh is producing a big new Broadway show called “Pretty Lady.”

He is worried that his big star, Dorothy Brock, doesn’t have it anymore, but he has to cast her since her sugar daddy is putting up the money. Competition for the chorus is very tight, especially since it’s the Great Depression and jobs are scarce.

Newly arrived from Allentown, PA, (pronounced P. A.) Peggy Sawyer lucks out and gets in the chorus. The leading lady is injured opening night and can’t continue with the show. Marsh discovers that Sawyer is the best dancer and a great singer. She steps in and saves the show. Of course, there lots of subplots and twists and turns.

The movie featured music by Harry Warren with lyrics by Al Dubin. They may not be household names, but their songs are well-known and have endured. Several songs they had written for other movies from the period were added to the original five from “42nd Street,” the movie, for the musical version. Some of the best-known include “I Only Have Eyes For You,” “We’re In The Money,” “Lullaby Of Broadway” and the title song, “42nd Street.”

The move was choreographed by the iconic Busby Berkeley. Movie production allowed for viewing his intricate dance patterns from all directions. When famed Broadway producer David Merrick created the musical version of “42nd Street,” he hired an equally talented Broadway choreographer, Gower Champion, to direct and choreograph the show. Champion died on opening night at 59 years old. Sadly, the theater lost a great talent.

This Music Circus production is choreographed by Michael Lichtefeld. To say Lichtefeld is experienced is a understatement. He has choreographed six Broadway, nine off-Broadway, eight national tours and eight Stratford Shakespeare Festival (Ontario, Canada) productions including “South Pacific” and “My One And Only.” He makes spectacular use of the multi-tiered, rotating Music Circus stage with its multiple entrances and exits.

Lichtefeld also has a cast made up of very talented dancers to work with. Some he worked with when he choreographed “42nd Street” at the North Shore Music Theatre in Beverly, Mass.

The fabulous leading dancers include Melissa Lone as Peggy Sawyer – the girl from Allentown, PA, who becomes a star. She is also a great singer. Her duet with Lynne Wintersteller, who plays aging star Dorothy Brock in “A Quarter To Nine,” is quite beautiful. Lone also demonstrates what a star Peggy Sawyer has become in the tap/ballet number, “42nd Street,” the big production finale of “Pretty Lady.”

Other leading dancer/actors are James Patterson (Andy Lee dance captain for “Pretty Lady”), Zachary S. Berger (Billy Lawler, romantic lead tenor), Kim Arnett (Anytime Annie), Alexa Glover (Ethyl) and Sarah Marie Jenkins (Lorraine). They are featured singing and dancing in several numbers.

Susan Cella, a veteran stage, screen and television and great comic actress, plays Maggie Jones – the writer for “Pretty Lady.” Cella can dance with the best of them.

Patrick Ryan Sullivan is a great Julian Marsh. All demanding and brusque, but tender and affectionate when he needs to be. (Could the character have been based on Florenz Ziegfeld Jr.?) He does a beautiful reprise of “42nd Street.”

Rounding out the cast are Lew Lloyd (Abner Dillon, Dorothy’s sugar daddy), Gordon Goodman (Pat Denning, Dorothy’s boyfriend), Ryan Worsing (Thug) and Ron Wisniski in his fourth Music Circus appearance this season playing several roles.

This show, more than most Music Circus productions, really highlights the Ensemble. “42nd Street” is all about big production numbers, and big production numbers require a large number of excellent dancers.

Also, since the story is about the chorus line dancer who becomes the big star when the aging star is injured and can’t go on, the ensemble is directly involved in the story. During the ensemble’s encore at the end of the show, they get to remind the audience just how great they have been throughout the show. They leave the audience cheering at the end.

Scenic designer Stephen Gifford (StephenGiffordDesign.com) continues the Music Circus history of creating a strong sense of space with minimal elements.

David Neville’s lighting design also strongly helps create the sense of space and contributed greatly to setting the mood, starting right at the overture. Lighting effect was used to “paint” color onto set pieces.

The need to dress actors in period street clothes, rehearsal outfits and performance costumes gave costume designer Leon Wiebers a lot to work with. There are also the very high Music Circus standards for costuming. Wiebers totally delivered. Some of the costumes that really catch the eye were Maggie Jones’ period suit and hat in “Shuffle Off To Buffalo,” Peggy Sawyer’s slinky dress in the “42nd Street” number and the ensemble’s outfits in their encore. Those costumes contributed to the whole flash of the dance number.

Costumes by Leon Wiebers with lighting by David Neville

Craig Barna’s musical direction along with a 12-piece orchestra produced the always-excellent Music Circus music.

Again, as “42nd Street” is so much about the dancing, including a great deal of tap, Robert Sereno’s sound design captured those sounds beautifully.

Charley Repole’s direction pulls all these elements of dance, singing and acting in the Wells Fargo Pavilion theater in the round together perfectly.

With “42nd Street,” the Music Circus ends its 60th season showing what masters the producers are at assembling great talents in every aspect of musical theater production and unleashing them to greatly entertain their audiences.

“The Marvelous Wonderettes” Will Sing Their Way Into Your Heart

2010-08-19T01:21:10Z

Step into the Wells Fargo Pavilion and be transported back to Springfield High School’s 1958 Senior Prom, “Marvelous Dreams.”

The evening’s entertainment was supposed to be provided by The Crooning Crabcakes. Alas, Crabcakes lead singer and preacher’s son Billy Ray was caught smoking behind the school. So as not to set a bad example, the principle has canceled their show. The Marvelous Wonderettes are brought in as a last-minute substitution.

The Marvelous Wonderettes are Cindy Lou Huffington, Missy Miller, Betty Jean “B.J.” Reynolds and Suzy Simpeon. They are all Springfield High School’s (Go Chipmunks) Song Leaders.

For the next couple of hours, we learn about the Wonderettes’ relationships with each other and the loves of their lives during the decade between 1958 and 1968. Their stories are told through 33 songs from that decade.

“The Marvelous Wonderettes” writer and creator Roger Bean has done a pretty amazing job of taking mostly well-known and a few not-so-well-known songs of the period and weaving a complete story arc for the girls. Some of the song connections are cliché, and some are quite surprising. His choice of songs also demonstrate the major shift in popular music from the 1950s to the 1960s. The radical changes of the time are reflected in the women’s lives.

Bean directs his own work, successfully transferring it to the theater in the round.

Janet Miller’s choreography also contributes greatly to restaging the Wonderettes dance routines, keeping them connected with the audience on all sides.

Broadway and off-Broadway (including “The Marvelous Wonderettes”) actress Lindsay Mendez plays Betty Jean “B.J.” Reynolds. B.J. is the prankster in the group. She has a not-so-faithful boyfriend, Johnny.

Mendez also performs as a singer with collaborator Marco Paguia and his jazz trio at several New York City venues. She is also the lead singer for the cover band “Limbsakimbo” and is the wife of the show’s musical conductor, Michael Borth. More information on Lindsay Mendez can be found here.

Lowe Taylor has performed all four roles in “The Marvelous Wonderettes.” Along with the off-Broadway production of ‘Wonderettes,” she has numerous regional theater credits.

In her Music Circus debut, she plays Cindy Lou. Cindy Lou is the “Miss Perfect” that everyone loves to hate and is very successful at flirting with the boys, including B.J.’s Johnny. After high school, the now-Cynthia has a tragic relationship with the aforementioned preacher’s son, Billy Ray. Here is more information on Lowe Taylor.

Missy Cotton has performed the role of Missy Miller both in the off-Broadway production and at the Laguna Playhouse run. She has appeared at the Music Circus in “Joseph and the Amazing Technicolor Coat,” “Annie,” and “A Funny Thing Happened .... Forum.”

Along with appearing in Broadway, off-Broadway and regional productions, Cotton originated roles in Roger Bean’s “Honky Tonk Laundry” (Katy Lane) and “Winter Wonderettes” (Missy).

Missy Miller is a character who tends to hold the group together and smooth over differences between the girls. She is a great singer, but her dance moves are not the smoothest. Missy shocks all in her revelation that her secret love is someone who is not appropriate to be in love with.

The fourth Wonderette, Suzy Simpeon, is played by Bets Malone. Malone originated the role of Suzy, starting with the first workshop of “The Marvelous Wonderettes.” She also appeared in the off-Broadway production and original cast recording.

Malone has been in four of Roger Bean’s productions, choreographing his “Route 66” last season at the Milwaukee Repertory Theatre. She has appeared at the Music Circus in “Fiddler..” and “1776” as well as several regional productions. She appears on DVD in “The Ten Commandments, the Musical,” with Val Kilmer and as the voice of Talulah the monkey in “Barbie as the Island Princess.” Her character Suzy is, shall we say, a little ditzy. Her love is Richie, who works the lights for the Wonderettes’ shows. Learn more about Bets Malone here.

All four actresses are great comedic talents and have wonderful voices. They realistically transition from the four girls at their senior prom to the young women at the 10-year reunion.

Bobby Pearce’s fun, period costumes (more) and especially hair, wig and makeup design by Judi Lewin contribute a lot to the transition as well. Lewis has worked extensively in theater, opera, television and film both in Los Angeles and her native Canada.

Recent University of California, Davis, MFA recipient Jamie Kumpf’s scenic design truly turns the Wells Fargo Pavilion into the Springfield High School Gymnasium. She has also designed for the Sacramento Theatre Company (“Gem of the Ocean”) and the B Street Theatre. Last season, as the resident scenic charge artist for the Music Circus, she designed “Altar Boys.”

The props the Wonderettes use in their shows are designed by Michael Carnahan, who created the props for several other “The Marvelous Wonderettes” productions as well as numerous shows in New York City, Toronto and throughout the United States.

Robert Sereno’s sound design is an important element. Much happens offstage, with Sereno giving us sounds from school bells to motorcycles. Sereno has been with the Music Circus and Broadway Sacramento since 1986. He also designed and engineered the new Cosmopolitan Cabaret where “Shear Madness” is currently appearing.

As mentioned, Michael Borth conducts what is a much smaller orchestra than usual for Music Circus productions. The orchestra consists of Mike McMullen (woodwinds), Tom Phillips (guitars), Brian Kendrick (drums/percussion) and much-beloved Sacramento keyboardist Chris Schlagel. The orchestra does perform to the usual Music Circus high standards.

Given Tuesday night’s opening-night audience reaction, the Music Circus has proved that it can take a smaller-scale production with only four actors and create a highly entertaining evening.

8:00 pm Thurs. Fri. Sat. 2:00 Thurs. Sat. 7:30 Sunday (last show)
Wells Fargo Pavillon 1419 H St. Sacramento
$41-$53
(916)557-1999 or here

Top photo: Lowe Taylor as Cindy Lou, Lindsay Mendez as Betty Jean, Bets Malone as Suzy and Misty Cotton as Missy Photo by Charr Crail. All photos courtsey California Musical Theatre

Vicki Lewis Triumphs in “Funny Girl”

2010-08-12T05:38:59Z

“Funny Girl” is a star maker. It made a star out of Barbara Streisand first on Broadway, then in film. Vicki Lewis most certainly shines as Fanny Brice the title “Funny Girl” in this the latest Music Circus production of the show.

Everything in the play centers on the character of Fanny Brice. Brice herself was one of the biggest stars of her time. From 1910 through the 1930s on stage, screen and radio, Brice was wildly popular and influential.

Legendary Broadway producer David Merrick worked with lyricist Jule Styne and equally well-known composer Bob Merrill to turn what had started as a screenplay into a Broadway musical.

Having seen Streisand in her first role on Broadway in “I Can Get It For You Wholesale,” Styne hired her for the leading role.

“Funny Girl” opened on Broadway on March 26, 1964. In 1968, “Funny Girl” was released as a film winning Streisand an Oscar for best actress. Both the musical and film were major critical and financial successes, and Streisand is a major star to this day.

This is the Music Circus’ fourth production of “Funny Girl.” The Music Circus applies its magic to what is now nearly a half-century-old play to not just make it alive, but to really make it shine.

The Music Circus magic is the very high production values it uses with everything involved in its productions, starting with casting.

Lewis spoke of pushing hard for the role of Fanny Brice and her lifelong desire to appear in “Funny Girl” in an interview with Dixie Reed published Aug. 6 in The Sacramento Bee. Music Circus artistic director and “Funny Girl” director Glenn Casale was impressed with her audition and wisely cast Lewis in the lead.

From her opening number, “I’m the Greatest Star,” to he finale of “Don’t Rain on My Parade,” Lewis’ powerful, gorgeous voice brought ovations from the audience. Her Fanny Brice was funny, warm and very accessible. She totally fit in the role of a star.

Don’t let my praise of Lewis overshadow the rest of the cast. Everyone’s performance rises to the level of the star.

Michael Paternostro plays Fannie’s first big supporter, mentor and fellow professional Eddie Ryan. Paternostro is a fine dancer and singer and has several numbers in the show to display his talent.

Veteran Broadway actor Brad Little, best-known for “Phantom of the Opera,” is cast well as Nicky Arnstein, having the right looks and bearing. Sadly, the role does not allow Little to fully exhibit his incredible vocal talent. Oh yes, he does know how to wear a cape well.

Alex Korey as Mrs. Brice and Helen Geller (Mrs. Strakosh), Jennie Scott (Mrs. Meeker) and Kim Arnett (Mrs. O’Malley) do a good job adding a lot of humor to the production.

Ron Wisniski in his third of four Music Circus roles this season is Florenz (not Florence) Ziegfeld Jr. His Ziegfeld is just the right balance of domineering and loving. As a great veteran character actor, Wisniski has made a wonderful contribution to the Music Circus, appearing in five productions in previous years.

A special mention is due to J.D. Daw, who appears as the Ziegfeld Tenor and several incidental roles.

Daw played the role of Jinx beloved by Sacramento audiences in the Cosmopolitan Cabaret’s inaugural one-year production of “Forever Plaid.” Daw gets to show off his great voice in “His Love Makes Me Beautiful,” Fannie’s first big production number with the Follies.

Glenn Casale’s direction and Bob Richard’s choreography make excellent use of all these talented actors. Their expertise at using the Wells Fargo Pavilion to best advantage also shows. They also make great use of Stephen Gifford’s scenic design, lighting design by Pamila Z. Gray and Robert Sereno’s sound design.

The period costumes by Marcy Froehlich and hair, wig and makeup design by Judi Lewin are great fun. The wig Judy Lewin created for Lewis adds much to the sense of her character.

Music direction by Dennis Castellano and the always-excellent Music Circus Orchestra beautifully support this very talented group of singers and dancers.

It never ceases to amaze me how the Music Circus can take a relatively old musical that is so strongly associated with an iconic lead performance and revision and recreate it to be so powerful and new for a contemporary audience.

Photos: 1. Vicki Lewis as Fanny Brice 2.Michael Paternostro as Eddie Ryan 3. Vicki Lewis as Fanny Brice and Brad Little as Nick Arnstein 4. Michael Paternostro as Eddie Ryan and Vicki Lewis as Fanny Brice 5. Vicki Lewis as Fanny Brice and Brad Little as Nick Arnstein, 6. Vicki Lewis as Fanny Brice

All photos by Charr Crail courtsey California Musical Theatre

Broadway Hardware store might see new tenant

2010-08-11T00:51:13Z

The Broadway Hardware store that has been closed since late 2008 might soon be opening as a pawn shop.

“We’re not 100 percent committed to that location, but we did lock in the building while we do our due diligence,” said Stan Lukowicz, Jr., who owns Capital City Loan & Jewelry, a chain of six pawn shops in the Sacramento area, with his father and brother.

The first one was opened in 1993, and its most recent stores opened in Roseville and on Florin Mall Drive about two years ago.

The possibility of opening in the old store at 1708 Broadway is in line with the company’s goals and works as a location close to downtown without the parking problems associated with a downtown spot, Lukowicz said.

“We’re an aggressive growth company, and we’d like to expand our family and operation and bring a new light to the industry,” Lukowicz said.

In an industry long associated with gruff, unfriendly service, Lukowicz said he and his family focus on customer service and making sure the stores are open and inviting.

“Too many people think our industry is a bad industry,” Lukowicz said. “With this economy, the cash and loan service is very valuable.”

A typical transaction at one of Lukowicz’ stores is when someone in need of money brings in an item – often jewelry – and staff evaluates its value. If the customer agrees to the value assessment, the item is left at the shop while the customer takes the cash, at which point he or she has four months to reclaim it, with interest.

If the item is not redeemed in that time, then it is placed on the store shelves for sale.

“On a $100 loan, (the interest) is $17.50 for the first 90 days,” Lukowicz said. “It’s a couple bucks more after 90 days, but it’s a better deal than if you bounce a check and have to pay the bank fee or skip your PG&E bill and have to pay to have your service reconnected.”

The shops are well-regulated by state and federal laws, Lukowicz said. For every item brought in to be pawned, the customer must submit a photo ID, a thumbprint and a signature. All of that is sent along with a form to the police to safeguard against stolen items.

“It really deters criminals from coming in here,” Lukowicz said.

Just about any item that can fit through the door is accepted, except one type – firearms.

“There are just too many regulations to deal with those,” Lukowicz said.

Located across the street is Broadway Bait, Rod and Gun, which has been in operation for 40 years, according to founder Chris Fulster.

“I’d rather have a business there than not,” Fulster said, adding that he hopes it becomes a trend and other nearby vacant buildings are soon filled with businesses.

“Broadway is a pretty good street,” he said. “We open at 4 or 5 a.m. and close at 8 or 9 p.m., and we never have any troubles or see any crime.”

The slowing economy over the past few years has brought a spike in people bringing items into Lukowicz’ shops, but he said six out of every seven items are redeemed.

“We’ve seen a significant spike in business with new customers, what we call non-traditionals,” Lukowicz said. “A lot of them are people who had great jobs, and because of the economy, they have been using our services.”

Despite that, Lukowicz said he definitely prefers a better economy, and he added that he hopes to retain some of those non-traditional customers as things turn around.

“Our showrooms provide a great opportunity for everyday folks to get a great item at a great price,” he said.

Brandon Darnell is a staff reporter for The Sacramento Press.

"Dirty Rotten Scoundrels" a Contemporary, Adult Musical

2010-08-05T05:33:48Z

Sophisticated, debonair Lawrence Jamison conspiring with local Chief of Police Andre Thibalult fleeces wealthy vacationing American women of their fortunes.

The location is an exclusive French Riviera beach town. Jamison runs into a brash American swindler, Freddy on a train returning from Switzerland where he has banked his latest loot. Freddy blackmails Jamison and Thibault into taking him on as an apprentice. Much humor ensues.

The musical "Dirty Rotten Scoundrels" is based on the 1988 movie of the same name starring Michael Caine as Lawrence Jamison and Steve Martin as Freddy. The movie itself is based on a 1964 movie, "Bedtime Story."

"Bedtime Story" was written by Stanley Shapiro, who had created the now-chaste sex comedies such as "Pillow Talk" that had routinely starred Doris Day, Cary Grant and Rock Hudson. The musical play was developed and premiered at the La Jolla Playhouse in 2004. In went on to Broadway and then on a national road tour.

The show won rave reviews on Broadway. It won the 2005 Drama League Award for best musical and was nominated for 11 Tony Awards. The revised version that went on the national tour was not necessarily a popular hit. Never mind. With the Music Circus treatment, the show comes alive.

What does the “Music Circus treatment” mean? Hire a good director, assemble an excellent cast, give them great choreography and put them in gorgeous costumes. And stage all of this in the wonderful Wells Fargo Pavilion theater in the round.

Broadway veterans Burke Moses and John Scherer affect just-right sophisticated French accents. They charm the audience as well as their marks. Moses plays Jameson, a fake disposed prince of a small nonexistent country playing on the sympathy of the wealthy women. Scherer is Thibault, the very corrupt police official who is also very likable.

Freddy Benson the interloper is played by Timothy Gulan, reprising the role from the first national tour. Gulan is a big hit with the audience. His character has many of the funniest lines in the show, and it is obvious Gulan relishes the role. He is also a brave actor appearing only in boxer shorts for many scenes.

Jessica Rush is a gorgeous Christine Colgate. She has a beautiful voice and great prescience as the supposedly innocent Colgate.

Cynthia Ferrer, a great comedic actress, is Muriel Eubanks, and delivers some of the funniest and most “adult” lines in the show.

Jolene Oaks of Oklahoma, one of the most over-the-top characters, is played by Amy Bodnar. Oakes may be a stereotype, but Bodnar makes her a great stereotype.

Good comedy often depends on good timing. Richard Stafford’s direction working with good comedic actors had the audience laughing continuously though most of the show. He also made good use of the whole theater with action popping up everywhere. A lot of the comedy was about characters disappearing and reappearing at just the right time. Stafford handled this well. He also choreographed the show. The dance numbers were a very enjoyable part of the show. This is also a result of having a great ensemble.

The plot allowed Costume Designer Leon Wiebers to dress the women in beautiful cocktail dresses, as nuns and oo-la-la French Maid outfits. A shout-out to the stunning red number he dressed Jessica Rush in for one of her solos. The men get dressed in tuxes, casual elegant and as characters such as sailors and bellhops. The bellhop costumes really showed off the dancer/actor great glutes. And there were the aforementioned boxers.

Lighting by Martin E. Vreeland and scenic design by Michael Schweikardt combined beautifully to create a sense of place. They were definitely up to the quality expected by the Music Circus audience.

A lot of the humor in Dirty Rotten Scoundrels comes from the book by Jeffrey Lane. Just as much or more of the humor is from David Yazbek’s music and lyrics. Yazbek’s previous hit was The Full Monty

Everything involved with music including music direction by Darren Cohen, orchestration by Harold Wheeler, vocal music arrangement by Ted Sperling and David Yazbek, dance music arrangement by Zane Mark and sound design by Robert Sereno was up to the high standards of the Music Circus. The very experienced musicians with the Music Circus Orchestra also have long contributed to this level of quality.

Last week the Music Circus showed that they can take a 67 year old American classic and create a fresh new hit show. With Dirty Rotten Scoundrels the Music Circus just how great a job they can do with a contemporary, sophisticated Broadway hit.

Photos: 1. Timothy Gulan (left) as Freddy Benson, Jessica Rush as Christine Colgate and Burke Moses as Lawrence Jameson, 2. Burke Moses as Lawrence Jameson, 3. Timothy Gulan as Freddy Benson, 4. Jessica Rush as Christine Colgate, 5. Timothy Gulan (left) as Freddy Benson and Burke Moses as Lawrence Jameson, 6. John Scherer as Andre Thibault and Cynthia Ferrer

All photos by Charr Crail Courtesy California Musical Theatre

Ends Sunday Tickets ($41-$53) CaliforniaMusicalTheatre.com (916)557-1999

There are adult words and adult situations in the show. California Musical Theatre recommends the show to 14 years old and older.

Joseph and the Technicolor Coat Returns to the Music Circus

2010-07-22T01:06:05Z

“Joseph and the Amazing Technicolor Dreamcoat” was the first collaboration between Andrew Lloyd Weber (music) and Tim Rice (lyrics). They were an astounding 19 and 22 years old, respectively, when they began working on “Joseph.”

They took the well-known Old Testament story from Genesis chapters 37-46. It is the story of Joseph, one of the 12 sons of Jacob, sold into slavery by his jealous brothers. Joseph overcomes all through dreams, luck and intelligence to become second to the Pharaoh in Egypt. He ends up saving his brothers and forgiving them.

They use a “grab bag” of musical styles to tell the story, including country western, 60s pop, disco, calypso, Parisian cabaret and for the Pharaoh, Elvis rock. It is as if in their first musical they did an exercise of trying to write in a different genre for each musical number. Yet there are hints of their future blockbusters such as “Jesus Christ Superstar” and “Evita” in the music. The whole production is sung. There are no speaking parts.

“Joseph and the Amazing Technicolor Dreamcoat” has been produced several times in the past by the Music Circus. First in 1983 with 20-year-old Jimmy Osmond and 14-year-old Danielle Brisebois in the leading roles. Then in 1991, 1998 and 2003.

This production includes a children’s choir not always used in “Joseph” productions. The use of the children’s choir gives a structure to the play that it is a story being told to a group of children. Not that Broadway Musicals necessarily need to make sense.

The children’s choir includes 47 local children. The children are members of the Music Circus Junior Company. Right from the opening number they perform admirably. It is a credit to Music Circus Junior Company Director Gail Dartez, Choreographer Marcy Goodnow and Musical Director Graham Sobelman how professionally and perfectly these children perform on the stage. There were lots of proud parents and grandparents in Tuesday night’s audience.

Max Von Essen stars as Joseph. Von Essen’s good looks, powerful, beautiful voice and easy confidence help create a Joseph who is both unwittingly arrogant and and at the same time quite innocent. Von Essen has had starring roles at the Music Circus in “Sweeney Todd,” “Cabaret” and “Jesus Christ Superstar” and as Joseph in the 2003 production. It was obvious that he is very popular with the Music Circus audience.

Jennifer Paz was an excellent match-up with Von Essen as the narrator. She also has a strong, beautiful voice and presence. She gives a strong performance in a roll that is important in holding the play together.

Stage, screen and television actor Paul Ainsley is powerful in dual roles as Jacob and Potiphar, the wealthy Egyptian captain to whom Joseph is enslaved.

Broadway and and original “Forever Plad” veteran David Engle is great as a rock-and-roll Elvis Pharaoh. His “Song of the King” was big hit with the audience.

Other standouts include Shannon Stoeke in his country western solo “One More Angel in Heaven” and Lain Gray’s “Benjamin Calypso.”

Richard Stafford both directed and choreographed “Joseph.” His long experience as a choreographer pays off in this show. The large number of musical styles Lloyd Webber and Rice have created calls for a great variety of dance styles.

Stafford also does a good job of moving a very large number of actors about the whole theater as happens in the Music Circus venue. The Music Circus Junior Company spent three days of working with Stafford before the rest of the “Joseph” cast started rehearsing. This is an incredible opportunity for these budding actors.

Stafford was assisted by Jonathan Stahl as associate director/choreographer. Stall also portrayed Joseph’s brother Naphtali.

Costume Designer Marcy Froehlich produced an amazing variety of costumes. Almost every scene had a costume change for every actor. The Elvis/Pharaoh costume was particularly interesting. Von Essen’s costumes as Joseph did an especially good job at showing him off.

Martin E. Vreeland’s lighting was very effective in setting the scene and mood. It did a good job working with Michael Schweikardt’s spare sets.

The life-size camel puppet by puppet designer Richard Bay was a big hit.

Musical Director Craig Barna deftly handled Lloyd Webber and Rice’s ever-changing score.

The Music Circus is promoting “Joseph and the Amazing Technicolor Dreamcoat” as their primary family-friendly show this season. Tickets are half off for children ages 4-11. Those children are going to love the show.

The inclusion of the children’s choir should give kids a stronger connection to the show. There is lots of lively action without any points that drag along. Kids will enjoy the variety of songs also.

Lets not forget the adults, though. The show also operates on a level that the adults will enjoy also. None of the parents are going to be bored while the kids enjoy the show, nor will the other adults in the audience. The Music Circus has created another show that is so much fun on every level with this new staging of “Joseph and the Amazing Technicolor Dreamcoat.”

Photos: 1-2. Max von Essen as Joseph 3. Max von Essen as Joseph and Jennifer Paz as the Narrator 4. Members of the Children’s Choir perform with the camel designed by Richard Bay 5. David Engel as the Pharaoh 6. Jennifer Paz as the Narrator sings to the children’s choir

All photos by Charr Crail. Courtesy California Musical Theatre

Through Sunday July 25th Wells Fargo Pavilion 1419 H Street, Sacramento, CA, 95184 (916) 557-1999 Californiamusicaltheatre.com

Target gets a facelift

2010-07-16T00:49:56Z

The Target store at Riverside and Broaway will begin a remodel Monday that will serve as a “facelift” to the store, said John Lukas, store manager.

In addition to fixture upgrades and a new floor, the store will be getting a much-expanded grocery section with a supermarket feel.

“The biggest thing is definitely the groceries - that’s what it’s all about,” Lukas said Thursday. “We have a very limited grocery right now. The new one will be immense.”

The work is scheduled to be completed in mid-October, said Tammy Robertson, a spokeswoman for Target. She did not have exact figures for the cost of this remodel, but said they typically cost between $2 million and $4 million per store.

The store will remain open during the remodel, Lukas added.

Customers will not notice any major changes to the store until next month, when interior work begins. Lukas said the process will be similar to other store renovations in the Sacramento area, including the Roseville store on Douglas Boulevard.

Some of the new food being offered includes bananas, strawberries, bagged lettuce, ground beef, chicken and pork, and baked goods, Robertson said. There will also be dairy products, snacks and beverages.

Target will also offer Target-exclusive items including Archer Farms premium food products and Target’s brand, Market Pantry.

At approximately the same time the remodel is taking place, the garden center will be taken out of the store, but Lukas said it is unrelated to the remodel, and none of the remodeled areas will use the garden center space.

“All Target stores are losing their garden centers, and it doesn’t have anything to do with the remodel,” Lukas said. “That’s a direction the company is taking. They’re not financially profitable.”

Some of the areas with less foot traffic are going to be condensed, Lukas said. Those areas include sporting goods, stationary, domestic items such as bedding, hardware and automotive sections.

“It’ll be a huge difference for the store, especially since this is an older store,” Lukas said. “It’ll be a total facelift bringing it up to date.”

Lukas said the store has been open as a Target store for more than 20 years.

Target customer and Sacramento resident Ruben Blanco said he will like the added convenience of having groceries available at the store.

“It’s good for if we just happen to be in here and remember we need some groceries,” Blanco said.

Sacramento Resident Natalia Mercado said she agreed that it will add convenience, but she still prefers to do her grocery shopping at supermarkets.

“I hope the convenience doesn’t lure me into buying all my groceries here,” Mercado said. “I like to support the workers at the supermarkets, because they’re in unions, and I prefer to support union workers.”

Dimple Records opens

2010-07-15T03:20:59Z

Dimple Records opened at Broadway and 16th Street Wednesday in the longtime home of Tower Records.

The Radakovitz family, which has officially operated Dimple Records since 1978, said they plan to dedicate the store to Tower Records founder Russ Solomon at his retirement party Saturday.

The location is nearly hallowed ground for local musicians and music lovers. Tower Records got its start nearby when Solomon began selling vinyl records in his father's drug store and soda fountain in 1941 in a building shared with Tower Theater.

The family recognizes Solomon as an icon in the music business.

"He's been here in this neighborhood since 1941," said Dilyn ("DYE lyn") Radakovitz, who started the small record store company with her husband, Johnny. "That was kind of crazy, trying to get your head around that. He's been here since before the war."

The first Tower Records store opened on Watt Avenue in 1960. Solomon ran the Tower Records store on Broadway for nearly 50 years until the business he'd turned into one of the country's biggest record store chains fell into bankruptcy in 2006. He operated an independent record store, R5 Records, there for two years until mid-June.

Dimple Records' roots stretch back to 1966, when patriarch Johnny Radakovitz became a "rack-jobber" delivering vinyl records to any business that would sell them to the public. Just out of the U.S. Navy, he was a 21-year-old guitarist with a passion for Spanish classical guitar and nylon-string classical.

He worked for Canterbury Records. Radakovitz drove from southern Oregon to as far south as Fresno and Bakersfield and into Nevada. He sold to pharmacies, supermarkets, truck stops and more.

"Anyone who would carry 45's," Dilyn Radakovitz said. "Then it was eight-tracks — whatever the music was in that day."

"He just went around and sold Monkees' albums out of the back of our station wagon," said son Andrew, who grew up in the record business.

On weekends, Johnny Radakovitz worked at Canterbury's record store at Arden Fair Mall — later home to Virgin Records. Jerry Garcia, Janis Joplin and Grace Slick were some of the musicians who used to visit the store to sell their records on consignment.

Solomon also ran a rack-jobbing business, which was how some people got their start in the recording industry and how some music labels and record stores started.

Solomon was a mentor for Radakovitz. Although the two never worked together, Solomon taught him an important lesson about rack-jobbing: "Stack 'em high and sell 'em cheap," Radakovitz said.

Johnny and Dilyn, who worked for the phone company, married in 1967. He went on to work for Pic-a-Tune, Musical Isle of America and United Artists/TransAmerica. He went into business for himself as a rack-jobber with the same clients under the name River City Records Distributors.

They took over Cordova Records in Rancho Cordova in 1974 and The Record Shoppe in Roseville in 1975 before opening the first Dimple Records in 1978 at another Roseville location. Today, the family employs about 140 people and owns eight stores in Roseville, Citrus Heights, Folsom, Davis, Elk Grove and Sacramento. The headquarters is based at their store at 2433 Arden Way in Sacramento.

Their oldest son, 42-year-old Ollie, is the company's chief financial officer. Andrew, 41, is in charge of human resources.

Wednesday afternoon, the buy-back counter at the new Broadway store, 2500 16th St., was still being put together, and boxes of DVDs and other merchandise were being unpacked by the family and their employees. Dimple Records District Manager Jen McKee and Operations Manager Kyle Newton are overseeing the opening.

Dilyn was putting picture-hanging wire on the back of a painting of Solomon they'll unveil Saturday. Customers were already trawling through new and used music, movies and games. At least 10 people had already visited to sell or trade music for cash or store credit.

"We opened the door and they came. And they've just kept coming," she said.

Solomon turned the location into an "iconic sort of destination" in Sacramento, Johnny Radakovitz said.

Dimple Records still follows Solomon’s advice to sell as cheaply as they can. All the stores sell vinyl records, CDs, DVDs, and cassettes. They also sell local music left on consignment by musicians.

But the stores have changed with the times, expanding to include much more than just music. They carry movies, video games, posters and candy. At least 30 percent of the music, movies and games are used. The stores give out free T-shirts and other swag to customers and hold contests for people to win movie tickets or music.

Record stores that just sell music don't make it anymore, Dilyn Radakovitz said.

"The key to the independent record store of today is you have to think of your store as providing entertainment," she said. "There are too many choices."

The store is open Sunday through Thursday from 10 a.m.-10 p.m. and until 11 p.m. Fridays and Saturdays. The grand opening will be held in August.

Photos by Suzanne Hurt, a staff reporter covering business and development for The Sacramento Press.

Signs of Change on Historic Broadway

2010-06-23T05:12:11Z

After years of ruling the corner of 16th and Broadway, the old Tower Records building is being re-branded for Dimple Records.

Dimple will be the 3rd record store to occupy the site when it reopens in mid July. The property had been controlled for years by music legend Russ Solomon. Solomon lost his Tower Records business to bankruptcy in 2006, and then closed his second venture, R5, when he retired earlier this month.

Broadway business walk

2010-06-11T02:56:02Z

The pros and cons of doing business on Broadway were brought into focus Thursday during the Greater Broadway Business Walk.

More than 100 businesses were polled to get a pulse on the area's current business environment, part of an effort to retain and expand business.

Vagrants and panhandling are regular headaches for Broadway business owners, civic and business leaders learned. At the same time, business owners said they appreciate edgy, urban Broadway's central location, freeway access, supportive neighborhoods, diversity and recent decrease in crime.

Nearly 40 people fanned out along the commercial corridor, visiting 117 businesses Thursday morning. Their goals were to find out how business is going, see what's working and learn about the problems facing business owners. The event was organized by the Sacramento Metro Chamber, Greater Broadway Partnership and the city's Economic Development Department.

"This really is about building and furthering a relationship with these businesses, because we're all in this together," said Matt Yancey, the chamber's director of business and economic development. He explained the process and goals during a breakfast at Beatnik Studios, 2421 17th St.

The group included Broadway business owners, Economic Development staff Lorrie Lowry and Dean Peckham, and City Councilman Rob Fong, who grew up in the neighborhood.

Ethnically and economically diverse Broadway supports a mix of businesses — most of them family-owned. Some, like Setzer Products, Ruhkala Monuments and Saccani Distributing Co., have been in families for generations, said Teresa Rocha, executive director of the Greater Broadway Partnership.

"Most of the businesses on Broadway are not small — they're micro," Rocha said. "A lot of them are working really hard to end up each day with a good living."

Sacramento's landmark Tower Theater, with its Art Deco architecture and historic neon sign, help define Broadway at its center.

The street contains a high concentration of ethnic restaurants, as well as banks, national chains like Target, auto-parts stores, gas stations, a bait and gun store, and a fish market. KXTV Channel 10, the Sacramento Historic City Cemetery and warehouses anchor the west end of Broadway, while state agencies and fast-food restaurants anchor the east, known as Upper Broadway. Liquor stores, money lenders and a porn shop also make their homes on the street.

Artsy endeavors such as Beatnik Studios, a photo studio and gallery, have opened more recently.

Most business owners seemed to say that business was down since last year, anywhere from 10 to 50 percent. But some reported business was about the same or even getting better.

Hands down, problems such as aggressive panhandling and people camping behind businesses seemed to plague proprietors from one end of Broadway to the other. On Thursday, people slept in the shade of bus stops while one panhandled on the sidewalk, yelling at those who did not give him money.

"We have issues with panhandling," Cherie Prasad, store manager of the Walgreens at 1401 Broadway, told Fong's group, which included Lowry, business owner Royce Ann Ruhkala Burks and Fong's staffer, Lisa Nava. "That's my biggest customer complaint: panhandlers."

There are also problems with people relieving themselves on the property — sometimes within view of customers and staff — or suffering from mental instability or drug and alcohol problems, several said.

"Most of them are harmless. They hang out and panhandle. So we go (to nearby businesses) in groups," said Bea Franchetto, business manager of the Sacramento Business Journal. "But once in awhile, we get someone who is ranting."

The problem with vagrancy is no different on Broadway than other parts of the city, Rocha said.

"We have a lot of people walking around in this district," she said. "We don't have the robberies, burglaries and violent crimes other places may be experiencing."

The Greater Broadway Partnership hired security guards for the corridor, but it was expensive and didn't solve the problem. Homeless people were just pushed from one area to another. The business improvement district will continue to work with the city to find a better solution, Ruhkala said.

Business owners were encouraged to report problems to 311, but vagrancy and panhandling should be reported to police non-emergency at 264-5471, according to city staff.

Speeding, lack of parking and reduced business due to furlough Fridays also were reported, especially on Broadway's eastern end. While proprietors up and down the corridor said crime had decreased, a few reported serious crimes including blatant drug dealing near the Broadway light-rail station, illegal businesses in backroom shops and a recent armed robbery inside a fast-food restaurant.

Business owners said they appreciated the five-day-a-week street cleaning, graffiti cleanup and the security guards paid for with their dues to the Greater Broadway Partnership. They said they would like to see the area become safer for pedestrians and cyclists, with the addition of bike lanes and 25 mph speed limit enforcement.

Others suggested promoting the street's unique and diverse businesses and creating a trolley system between downtown and Broadway.

The information gathered during the event will be used by the business community and the city to help Broadway's businesses.

Outside Chinatown Buffet — one of the many ethnic restaurants giving Broadway its identity today — Fong said he wants to help transform the one-time transportation corridor into a walkable main street, with businesses serving nearby neighborhoods, but without an attempt to copy successful Midtown.

"I think it'll sort of define its own way," he said.

Photo by Suzanne Hurt, a staff reporter for The Sacramento Press.

Oak Park's First Farmers' Market

2010-05-16T18:32:28Z

Article by Denise Coleman

Oak Park's Farmers' Market will continue throughout the summer every Saturday from 9 a.m. to 1 p.m. at 34th and Broadway across from Old Soul Coffeehouse .

During yesterday's inaugural market there was aribbon cutting ceremony and live music as well as all the wonderful fresh produce of the season.

The residents of the Oak Park community have been working for years to bring a farmers' market to this, at times, troubled neighborhood.

The Oak Park Farmers' Market is a project of NeighborWorks Sacramento, in partnership with community residents, community garden advocates, backyard growers, and fresh produce sellers.

Together they have loosely formed the Oak Park Food Collaborative.

In addition to providing the Oak Park Community with weekly local access to fresh fruit and vegetables, the group intends to make Oak Park the sustainable food center of the Sacramento Region.

Here are some scenes:

SacPres Photos | Kati Garner

In The Flow is coming this weekend!

2010-05-12T19:53:18Z

*Note, there is a bias here because I'm directly involved with the Festival's organizaiton, etc.
-RH

In The Flow 3!

The 3rd annual In The Flow Jazz/Improvisational Festival will be at Luna's Cafe, R5 Records and Beatnik Studios this weekend (Friday, 5/14 through Monday, 5/17). The lauded young improvisational music festival will feature musicians from all over the West Coast, including Vinny Golia, Nels Cline, (guitarist from super group Wilco and the Nels Cline Singers), Lovely Builders, Gerry Pineda, Tony Passarell, Henry Robinett and many more.

In The Flow 3 Festival, produced by area guitarist Ross Hammond along with a group of volunteers, will post up over thirty music groups at two major locations--Beatnik Studios at 17th & Broadway and new this year, the venerable Luna’s Café at 16th & N Sts. Tickets are $10 per day or $30 for a 4-day pass. Tickets are available at www.intheflowsacramento.com. “All of the artists presented are representatives of Sacramento, Los Angeles, SF/Bay Area and Portland. In The Flow 3 is a great chance to experience what artists from out West have to offer,” says Hammond.

The returning title sponsor of the weekend events at Beatnik is the Greater Broadway Partnership Neighborhood Association, in conjunction with the Jazzhouse and SMF Music.

Pre-fest events at Russ Solomon's R5 Records (corner of 16th & Broadway) and also Records at 1618 Broadway will be announced shortly.

Friday night, May 14 will feature a special night of poetry and music collaborations at Luna's Cafe. The event, hosted by local poet phenom NSAA (a.k.a. Lawrence Dinkins) will be a night of surprises as regional poets trade verses with area jazz and creative musicians.

On Saturday, May 15 and Sunday, May 16 In The Flow 3 returns to Broadway for two full days of music and art at Beatnik Studios. This year there will be terrific jazz and improvisational musicians from Los Angeles (Nels Cline, Vinny Golia, GE Stinson, Steuart Liebig, Tom McNalley), Portland, Oregon (Rich Haley), The Bay Area (Phillip Greenlief, Scott Amendola, Darren Johnston, Lisa Mezzacappa), Grass Valley (Randy McKean, Murray Campbell), plus Sacramento and Davis (Ross Hammond, Tony Passarell, Electropoetic Coffee, Alex Jenkins, Gerry Pineda). Over twenty different groups will be playing throughout the weekend.

In addition, there will be a special showing of regional visual artists Mark Fox, Nicole Fox, Milton Bowens, Greg LaTraille and Kathy Blackburn at Beatnik Studios all weekend during the Festival.

Monday, May 17 will be dedicated to late Sacramento bassist and In The Flow co-founder Byron Blackburn, as his final recording session will be released at Luna's Cafe. The Labor Day Session CD features Blackburn along with Ross Hammond, Tom Monson, Phillip Greenlief, Jaroba and Tony Passarell. The remaining band members will be playing music from the new CD. Since November 2009, a weekly jazz/improvisational series at Luna’s, “Nebraska Mondays” named in honor of the Nebraska-born Blackburn, has grown in popularity.

A detailed 8 page program guide (available in late April at many Broadway and Midtown restaurant/cafe/shop locations, as well as greater Sacramento locations) will give fest-goers both artist bio info and a handy walking map to the neighborhood cafes restaurants and businesses.

More information, and tickets can be found at www.intheflowsacramento.com.

Target Calls it a Remodel. Is it?

2010-04-22T01:27:38Z

I feel compelled to confess this simple truth: I love Target. My Wife and I shop there all the time, not to say we shop excessively. We both think of ourselves as modest and frugal, and we rely on their affordable prices to get the products we need regularly: food, clothes, and household goods. We loath Wal-Mart, and at the same time, I realize it is completely hypocritical to give Target a free pass, since they too are a large faceless multinational corporation, easily vivified. I also realize that this is not a perfect world, and we’ve all got to make our own way in it. That being said since I heard that a new Target Store was going to be built in walking distance from my front door, my mind has been in a state of curious expectation. Much of this comes from the long and bumpy road that had to be traveled from the day Target purchased the former Golden One site, and where we are today.

In 2005, the Sacramento Business Journal reported that Target had purchased the old headquarters of the Golden One, on 65th and Broadway, as Golden One planned to move near Watt Ave and Highway 50. Kevin McCarty, the local councilman, was quoted as saying he had no opinion of the as-yet-not-proposed Target Store, but was concerned about a Target being an appropriate fit in transit-oriented area. It would seem that the citizens of the area agreed, because after Target proposed constructing the standard “suburban-style big-box” type of store, the Sacramento Bee reports that Target submitted a radical-different proposal: An “Urban” Target, utilizing the latest modern mix-used designs. It would have fountains, single story shops, and a plaza. The citizens were appeased.

Now, try to stay with me as I plot out the timeline. 2005: Target wants to tear down the Golden One building and build a big box store. They would have paid taxes and permit fees on a brand new building. Citizens rebelled and said we don’t want this. Target backs off its plan. 2007: They submit new plans for the Urban style store. They would have paid taxes and permit fee on a brand new building. Citizens say “Great!”, and a compromise is met. 2008: The economy goes south. Target has to cancel plans to remodel an old Target store on Broadway and Riverside. They are quoted in the Sacramento Bee as saying “(the store) under construction on 65th Street is still on track for a 2010 opening.” This means the City of Sacramento is still going to collect the taxes and fees on new building permits. Then comes 2009.

In 2009 Target announces that due to the sagging economy, they have to scale back their plans a “remodel” the former Golden 1 Credit building. The “remodel” is quoted to having a “similar architectural look” to the earlier planned Urban style building, and must be scaled down to make it “financially feasible”. Now remember that the problem that the citizens had in 2005 was whether or not the store was an appropriate fit, not what it looked like. Target here is basically saying “Sorry, there’s no money, if you want a store, it’s going to be the box store, with some changes so it looks like the store you wanted.” In today’s economy, people are happy to get anything. I am not looking a gift horse in the mouth. I’m glad Target is still going to build the store. But this is where I think we as citizens are getting the shaft.

In the May 5, 2009 Sacramento Bee, City Planning Director David Kwong was quoted as saying that “(by) renovating the existing (emphasis mine)110,000 square-foot building,” Target would “avoid the public hearing and design reviews”. The building would be considered a remodel. No new permit fees. No new building taxes.

At this point I feel I have to state my qualifications: None. I am not a building expert. I am not a permit expert. I am not a councilman. I’m just a curious guy, with a semi-good memory. I noticed something rather odd, and I remembered something I read in our local paper. I was getting on the freeway on 65th a few days after the demolition of the old Golden One headquarters began. I thought to myself “Gee they sure are tearing down a lot of that building. I thought they were just going to remodel it.” Over the next few days I was amazed with the precision and speed the wrecking crews took to the old building. Before I knew it, the building was completely leveled to the ground, except for two walls that were not even touching. And they’re calling it a "remodel".

When completed there will be nothing recognizable of the old Golden 1 building in the new Target store. The citizens in the surrounding neighborhood will not be appeased. They will not get the mixed-use Urban building they were promised. We will not get the extra taxes. I bet if you look at the law and the codes Target actually has done anything wrong. I know their lawyers have gone over it to make sure that they’re within their rights. But it just feels wrong. That construction site is not a "remodel". It is an exercise in the mistreatment of the law, an injustice to the people of Sacramento, and a lie to appease the taxman. It will be a brand new building.

And now I wonder is it even legal? On May 5, 2009, David Kwong is quoted in the Sacramento Bee as saying that “renovating the existing 110,000 square foot building (will include) ‘bump(ing) out’ the space by additional 11,000 square feet.” This is the magic formula that Target must comply with to skirt the public hearings and design reviews. 110,000 sq ft plus 11,000 sq ft equals 121,000 square feet. However, Target spokesman Kyle Thompson is quoted on Feb. 27, 2010 as saying that the store will be 128,000 square feet! Where did they get the extra 7,000 square feet? I don’t know about you but that’s equal to seven of my houses! That maybe only five percent bigger than the allowed remodel addition, but it’s still a lot bigger than they originally claimed. AND WE ARE NOT GETTING THE TAXES ON A NEW BUILDING!

Again, I like Target. I loath things that are opaque. I hunger for transparency. This whole story took over five years to unfold. Most people don’t have time to or are too busy to notice these type of things. I just wanted to bring it your attention that it seems we all got played. I think we all deserve some answers on this.

Above: Picture 1: The Target site on 4-21-10. Notice only two walls remain of the old building, however Target calls this a "remodel".

Picture 2: The second Target proposal: The Urban Target.

Picture 3: The third Target proposal: The box is back.

Picture 4: Artist rendering of the box style store under construction.

Xavier Ampersand is a 29 year resident of Sacramento, and a home owner in Tahoe Park. For more info on this story, please visit the following web sites:

http://target65thstreet.com/http://www.sacbee.com/2010/02/27/2569136/citizen-hotel-in-sacramento-to.html

http://www.cityofsacramento.org/council/policies/files5125/Target%20May%20Hit%20the%20Mark%20for%20Design%20of%20New%20Store%20-%206.4.07.pdf

http://sacramento.bizjournals.com/sacramento/stories/2005/04/04/daily18.html?q=65th%20target%20store http://www.sacbee.com/2009/05/05/1833775/bob-shallit-target-plans-remodeled.html?storylink=lingospot

Business and labor groups back District 5 City Council candidate

2010-04-18T19:16:10Z

Lawyer Patrick Kennedy described himself as a rare City Council candidate because local business and labor groups are backing his campaign. Kennedy is endorsed by the Sacramento Central Labor Council and the Sacramento Metro Chamber.

“Both (organizations) have worked with me,” Kennedy said. “They see that I’m fair.”

The Sacramento Press is interviewing City Council candidates in advance of the June 8 election.

Kennedy, 42, is running against four candidates for District 5, the seat held by Lauren Hammond. She is running for Assemblyman Dave Jones' seat.

Oak Park, Curtis Park, Colonial Heights and Tahoe Park West are among the neighborhoods in District 5.

Kennedy, a fourth-generation Sacramentan, lives in Hollywood Park.

Kennedy has received tens of thousands of dollars in campaign contributions from plumbers and pipefitters unions in the state. In response to a question about those contributions, Kennedy noted that as a lawyer who represents management and labor, he has "the trust of organizations throughout the state.”

If elected to the City Council, he said he wants to focus funding on police, fire and youth programs.

“During these budget times, we’ve got to look at core missions, core values and core goals of what the city and local government is,” Kennedy said. Public safety is one of the city’s core missions, he said.

Youth programs are another priority for Kennedy. He said that youth programs are necessary to improve public safety. “We have to continue to find ways that we can do a better job of partnering with our school district,” he said.

Kennedy said he wants to boost the profile and potential of major boulevards in District 5. He said he wants neighborhoods adjacent to boulevards such as Broadway and Franklin — to work with the businesspeople to promote the thoroughfares. If neighbors and businesspeople work together to invigorate the boulevards, the neighborhoods and cooridors will flourish, Kennedy said.

"You can't just look at boulevards and neighborhoods (separately)," Kennedy said. "The two of them feed off each other and their success is interdependent."

Kennedy is on the Sacramento City Unified School District Board of Trustees and was on the city Planning Commission for 11 years. He has a bachelor’s degree in government from California State University, Sacramento, and a law degree from Lincoln Law School of Sacramento.

Kennedy has raised the most money in the District 5 race, $109,684, according to campaign records filed in March. Jay Schenirer has $82,712 in campaign funds, Terrence Johnson $9,430.

Leticia Hilbert has raised less than $1,000, said Assistant City Clerk Stephanie Mizuno.

Henry Harry has raised $808.

District 1:
A story on candidate Angelique Ashby can be read here.
Learn about candidate Efren Guttierrez here.

District 3:
Read an article on candidate Shawn Eldredge here.
Candidate Chris Little’s plans are outlined here.

District 5:
Candidate Terrence Johnson’s campaign is explained here.
Read about candidate Jay Schenirer’s goals here.

Kathleen Haley is a staff reporter for The Sacramento Press.

Broadway Sacramento Little House on the Prairie, the Musical

2010-04-16T06:03:31Z

Laura Ingalls Wilder's personal story of her and her family's homesteading in the Dakotas, as a musical, has been expanded into a great American story of hard work and overcoming the odds to settle the Great Prairies.

This production harkens back to musicals such as “Paint Your Wagon,” “Seven Brides for Seven Brothers” and even the masterpiece “Oklahoma!” Although there is no composer Richard Rodgers and librettist Oscar Hammerstein II here, the production is very solid musical theater.

It would be difficult to find someone not familiar with the stories. As a fourth grader, I had the stories read to me in a rural Washington country schoolroom shared with my second-grader sister. It was the highlight of my day to listen to Mrs. Preuss read of a time that I now know was not that distant. Laura Ingalls Wilder was still alive at the time. A younger generation grew up watching Michael Landon's television adaptation, which ran from 1974 to 1983 and is still in syndication.

“Little House on the Prairie, the Musical” has a rousing score by Academy Award winner Rachael Portman. Donna Di Novelli's lyrics are integral in moving the story forward. The book by Rachel Sheinkin, while painting a broader scope, still stays very close to Wilder’s original story.
Michele Lynch's musical staging strongly evokes that of the earlier musicals cited above. It becomes believable that the pioneers would break out in song and dance in response to what is happening to them. Lighting, scenic design and costuming by Mark McCullough, Adrianne Lobel and Jess Goldstein respectively create a sense of the wild, open prairie. Especially the lighting. Creative use of sparse set pieces creates the feeling of the inside and outside of the structures the settlers are building on the prairie. Direction by Francesca Zambello (Disney Broadway, "The Little Mermaid") moves the action on at fast pace.

All of the principal actors in “Little House on the Prairie, the Musical” are musical theater vets, even 10-year-old Anastasia Korbal, who plays little sister Carrie. Steve Blanchard's wonderful voice and great acting is the Pa of your imagination. Kevin Massey and Alessa Neeck as Almanzo and Mary do great jobs on their respective solos. Kate Loprest plays Nellie Oleson, a character who gives comic relief typical in musical theater. Yet she handles her solos beautifully. It is easy to imagine Loprest in a previous role as the evil Amber Von Tussle in the Broadway production of “Hairspray.”

The role of the central character, Laura, is a difficult one. Laura starts being the wild child who thrives on the family's moving time and again westward, most like her Pa. She grows into a serious young lady going off to teach school, raising money to send the now-blind Mary to the school for the blind. And in the end, she must be believable as the woman who marries the love of her life, Almanzo. Kara Lindsay pulls this off like the veteran she is.

She appeared as Laura Ingalls in the original Guthrie Theater production of “Little House on the Prairie, the Musical.” She is a joy to watch and listen to as she portrays Laura's growth and transformation.

Melissa Gilbert plays Ma, another major character. She does not have the same strong voice of the other principals. Fortunately, she only has one major solo she needs to carry. But what she lacks in singing quality she more than makes up for in acting skill, warmth and charm.
Her Ma is an equal partner to Pa in demonstrating the wisdom, love and affection, for both their children and each other, and the partnership needed to raise a family as homesteaders on the prairie. Having played Laura in the television series, she is also the spiritual link of the “Little House” iterations.

For families that have children who are not familiar with Laura Ingalls Wilder's “Little House” books “Little House on the Prairie, the Musical” is an excellent introduction. A wonderful afternoon or evening at the theater could easily be followed up with an introduction to reading starting with “Little House in the Big Woods.” Heck, it's a great family show on it's own.

And for the rest of us? For Broadway Series fans who found “Chicago” somewhat risqué, never mind “Spring Awakening,” this is your show. While “Little House on the Prairie, the Musical” may not be the next great American musical, it is a great show with a wonderful story, high production values and excellent performances that can be enjoyed by all.

"Little House on the Prairie, the Musical" California Musical Theater, Broadway Sacramento At the Comunity Center Theater April 14-25 Tickets $18-$65 Wells Fargo Pavillion Box Office, 1419 H Street, Sacramento Comunity Theater Box Office, 1301 L Street, Sacramento by phone (916)557-1999 Tickets.com www.BroadwaySacramento for more information

Next season of Broadway Series announced

2010-04-06T18:44:59Z

Tony Award-winning musical "In the Heights" as well as the recent Disney revival of the classic "Mary Poppins" are among the six touring shows that will come to Sacramento between September 29 and June 19 of next year. For the first time in producing organization California Musical Theatre's 22 year history of bringing Broadway shows, all six of the shows will be Sacramento premieres.

Along with "In the Heights" and "Mary Poppins," this season's shows will include the dance spectacle "Burn the Floor," the seasonal "Cirque Dreams Holidaze" and two new shows based on films: "9 to 5," based on the Dolly Parton movie and "Young Frankenstein," based on the Mel Brooks comedy.

Ticket subscriptions for the shows will go on sale next Monday, April 12. Current season ticket holders will get first shot, and the Wells Fargo Pavillion Box Office will take orders for new subscriptions at the same time.

According to a press release from CMT, "Season ticket buyers will be receiving their DEEPEST SUBSCRIBER DISCOUNT EVER - an average of over 17 percent - meaning that every renewing subscriber will be paying less for the 2010-11 season. Six-show subscription packages are $96.90 to $338.20. Five-show packages (not including "Cirque Dreams Holidaze") are only $81.90-$285.60. Season tickets available only at the Wells Fargo Pavilion Box Office, 1419 H Street, Sacramento, or by calling (916) 557-1999. For more information and complete prices for our season tickets, visit www.BroadwaySacramento.com. For groups of 12 or more (both single-show and subscriptions), call (916) 557-1198 beginning Monday, April 12."

Descriptions of the six shows follow, from the California Musical Theatre press release:

BURN THE FLOOR
September 29-October 10, 2010

The international dance sensation Burn the Floor visits Sacramento direct from its record-breaking run on Broadway! You've seen ballroom dance on shows like "Dancing with the Stars" and "So You Think You Can Dance." Now, with Burn the Floor, you will feel, live on stage, all the passion, the drama and the sizzling excitement of 20 gorgeous champion dancers, in a true theatrical experience, a performance with a grace and athleticism that The New York Times calls, "Dazzling!" From Harlem's hot nights at The Savoy, where dances such as the Lindy, Foxtrot and Charleston were born, to the Latin Quarter where the Cha-Cha, Rumba and Salsa steamed up the stage, Burn the Floor takes audiences on a journey through the passionate drama of dance. The elegance of the Viennese Waltz, the exuberance of the Jive, the intensity of the Paso Doble - audiences will experience them all, as well as the Tango, Samba, Mambo, Quickstep and Swing. Burn the Floor-it's Ballroom. Reinvented.

For more information, visit the Burn the Floor page at www.BroadwaySacramento.com or visit www.burnthefloor.com.

IN THE HEIGHTS
November 3-14, 2010

"In the Heights," winner of four 2008 Tony Awards including best musical!, is a sensational new show about chasing your dreams and finding your true home. With an amazing cast, incredible Tony Award-winning dancing and a thrilling Tony Award-winning score, "In the Heights" is an exhilarating journey into a vibrant Manhattan community - a place where the coffee is light and sweet, the windows are always open, and the breeze carries the rhythm of three generations of music. Experience the next chapter of the classic American story at the most joyous and exciting musical on Broadway. Find out what it takes to make a living, what it costs to have a dream, and what it means to be home..."In the Heights."

For more information, visit the In the Heights page at www.BroadwaySacramento.com or visit www.intheheightsthemusical.com.

CIRQUE DREAMS HOLIDAZE
December 29, 2010-January 2, 2011

From the creators of the groundbreaking Broadway hit, Cirque Dreams Jungle Fantasy, comes a new holiday musical of season's dreamings hailed by the New York Daily News as..."charm, sparkle and talent by the sleighload" and "a jaw dropping winter wonderland" by the Atlantic City Press. Created and directed by Neil Goldberg, Cirque Dreams Holidaze is an original new musical extravaganza filled with spectacle, imagination and whimsical dreams. Ornaments come to life as costumed characters who perform astonishing feats that celebrate the holiday season and showcase pageantry, ingenuity and breathtaking artistry. An international cast of acrobats, aerialists, singers, dancers and musicians fill this Cirque Dream on stage, in the air and while dangling from a 24 foot tall magical tree. Add to that the pomp, cirque-umstance and amazement of gingerbread men flipping through the air, toy soldiers skillfully marching on thin wires, snowmen daringly balancing, icemen sculpting powerfully, penguins spinning, puppets caroling and reindeer soaring high above a landscape of holiday wonderment and you will see why Cirque Dreams Holidaze makes the perfect gift of entertainment. With over 100 dazzling costumes, an original musical score and some holiday favorites, Cirque Dreams Holidaze will have audiences of all ages mesmerized with its memorable tribute to the holiday season.

For more information, visit the Cirque Dreams Holidaze page at www.BroadwaySacramento.com or visit www.cirqueproductions.com.

9 TO 5
March 9-20, 2011

"9 to 5: The Musical" is a hilarious story of friendship and revenge in the Rolodex era. This new musical comedy, direct from Broadway, is based on the hit movie and features Dolly Parton's original hit title song along with her new Tony Award® -and Grammy-nominated score. The book is by Patricia Resnick (co-writer of the original screenplay). "9 to 5: The Musical" tells the story of three unlikely friends who conspire to take control of their company and learn there's nothing they can't do - even in a man's world. Outrageous, thought-provoking and even a little romantic, "9 to 5: The Musical" is about teaming up and taking care of business... it's about getting credit and getting even ... and it's about to open in Sacramento.
For more information, visit the 9 to 5 page at www.BroadwaySacramento.com or visit www.9to5themusical.com.

YOUNG FRANKENSTEIN
April 13-24, 2011

The classic Mel Brooks movie is ALIVE...and it's headed here! You'll have a monstrously good time at this spectacular new production, winner of the 2008 Outer Critics Circle Award and the Broadway.com Audience Award for best musical! Don't miss the sensational cast delivering all your favorite moments from the classic film, plus brand-new show-stopping numbers for the stage, including "Transylvania Mania," "He Vas My Boyfriend" and "Puttin' on the Ritz." This wickedly inspired re-imagining of the Frankenstein legend follows bright young Dr. Frankenstein (that's Fronkensteen) as he attempts to create a monster--but not without scary and hilarious complications. The brains behind the laughter is mad genius and three-time Tony winner Mel Brooks himself – who wrote the music and lyrics and co-wrote the book – along with his record-breaking team from The Producers: five-time Tony-winning director and choreographer Susan Stroman and three-time Tony-winning writer, Thomas Meehan.
For more information, visit the Young Frankenstein page at www.BroadwaySacramento.com or visit www.youngfrankensteinthemusical.com.

MARY POPPINS
June 2-19, 2011

Beginning in June 2011, the world's most famous nanny will arrive in Sacramento. Combining the best of the original stories by P. L. Travers and the beloved Walt Disney film, the Tony® Award-winning "Mary Poppins" is everything you'd hope for in a Broadway musical-and more. Produced by Disney and Cameron Mackintosh, the show includes such wonderful songs as "Chim Chim Cher-ee," "A Spoonful of Sugar," Let's Go Fly a Kite" and, of course, "Supercalifragilisticexpialidocious." The New York Daily News hails "Mary Poppins" as "a roof-raising, toe-tapping, high-flying extravaganza!" Let your imagination take flight at this perfectly magical musical!
For more information, visit the Mary Poppins page at www.BroadwaySacramento.com or visit www.marypoppinsonbroadway.com.

Global Audience For 'Rent' In Sacramento

2010-02-06T06:49:46Z

With the national tour of the smash Broadway musical Rent making its last stop in Sacramento, fans from all over the world are flocking to Sacramento's Community Center Theater to experience it one last time.

The tour features a multitude of original cast members, including Anthony Rapp and Adam Pascal.

Some fans wait all day for the $23 rush tickets, which go on sale at 6 p.m. the day of the show, and provide the opportunity to see the musical from the first two rows.

Morgan Macri, Beth Furmoff and Kayla Guminiak had been waiting in line together since 9:30 a.m. Friday morning. They were visiting California for the first time, and had paid more than $500 to visit Sacramento and see Rent.

"It's a once-in-a-lifetime opportunity," said Furmoff. The 18 year-old student at Edison State College flew from Fort Myers, Fla., to see the show.

The three friends were enjoying their time in line. They had brought cards, coloring books, textbooks and food. They all became friends through their mutual love of Rent.

"It's the basis of our friendship," said Macri, a 16 year-old who traveled from Seattle to meet her friends.

"It's been our lives for the past few years," Furmoff said. The friends, who called themselves "Rentheads," said the show was amazing and worth the travel and cost.

"I'm not going to be eating for another few weeks," said Guminiak, a 20 year-old journalism student from the University of South Florida. She said she has seen the tour eight times, including shows in Orlando, Miami, Tampa and Chicago.

The three had nothing but good things to say about Rent.

"You could have just failed this big math test, but you turn on Rent and it makes it all OK," said Guminiak.

"Every major experience in my life has been changed by this," Furmoff said.

"It's an experience," Macri said. "There's no words for it."

Their love for the show is shared by fans worldwide.

"I love Rent. It changed my life," said Gabrielle Robinson, a student who traveled from Sydney, Australia, to see the show. Robinson, 24, had been waiting since 9 a.m. and spent more than $1,700 on the trip. She saw the show's San Francisco run in October, but said she was excited to see the show in Sacramento.

"It was the last chance to see this cast," she said. "I had to take the trip."

The first ones in line were also the ones who traveled the farthest. Asako Yoshida, Michiko Komori and Masato Moizumi traveled from Tokyo to see the last run of the show, and had each spent more than $2,200 on the trip. Moizumi had seen the show in San Francisco, and Komori had traveled to New York to see the show there.

"We love it," Yoshida said. "It has a very important message."

While most people waiting in line were not from Sacramento, there were a few locals. Leslie Miller, a sociology major at Sacramento State, said she fell in love with the movie.

"Seeing it live has been really great," she said. "It's a deep show with a powerful story."

Nearly everyone in line planned to come back every day for the show's run, which ends Sunday.

"I recommend it to anybody," said Robinson. "It's very powerful."

Rent is playing at Sacramento's Community Center Theater, and the final performance is Sunday at 8 p.m. The Community Center Theater is at 1301 L St.

Old Soul Co. Opens New Location in Oak Park

2010-02-05T01:35:05Z

Old Soul Co opened their third Sacramento location Thursday morning in Oak Park.

An old familiar spot has a new face in Oak Park and the community is well pleased. Starbucks shut down its 35th and Broadway location last year, much to the disapointment of many. The location was a community hub where many gathered daily to socialize, conduct business or just relax with a good book and a cup of coffee. Despite many letters from patrons voicing their conerns to Starbucks corporate office of the closure, the doors were finally closed in September of 2009.

Knowing the community cenergy the coffee house brought regular goers better known there as "The Usual Suspects" were confident something good would come of it…the prime location couldn't sit quiet for long.

Thursday morning, with no fanfare, advertisement or forewarning, Old Soul Co opened their doors for business. Location manager Tim Jordan stated they were suprsingly very busy this morning, "you would have thought it was our official grand opening".

While all the furniture is not moved in yet, what furniture and décor that is there shows the location is going to be a wonderful and comfortable spot for "The Usual Suspects" and those who patron the new friend in Oak Park. College students were already enjoying the coffee and space as they cracked their books open to study. One stated, "I've been walking by here every day waiting for them to open".

Owner of "Underground Books", Mayor Kevin Johnson's Mother (known to locals as Mother Rose), said "Thank God this coffee house is open. It's what this community needs."

Not only does Old Soul roast and brew their own smooth coffee, they have a breakfast and sandwich menu as well.

The official open house will be the evening of this month's 2nd Saturday, February 13th from 6 to 9:30 P.M. The management is planning a wonderful event, and even obtaining a special event permit for the evening.

Follow local action news

For Local Action News Alerts follow @SACMAV on Twitter

For General Local News foolow @916Maverick on Twitter

525,600 reasons to watch 'Rent'

2010-02-02T05:56:30Z

It's the "Season of Love" at the California Musical Theatre as the Broadway Musical Rent: The Broadway Tour comes to Sacramento.

The musical follows a group of young artists who live in New York's East Village during the 1990s. Rent is a passionate story of friendship and love that challenges many tough subjects like AIDS, poverty, homophobia and drug addiction.

Rent is a modern take on the opera La bohème, which was written by Giacomo Puccini in 1896.

The show is the eighth-longest running on Broadway. Its success has been recognized multiple times, having received Tony Awards for Best Music, Best Score and Best Book, as well as Pulitzer Prize for Drama in 1996.

The musical is making its way to Sacramento in a new tour production that will include Adam Pascal and Anthony Rapp, two actors who were a part of the original Broadway production and the film adaption.

Pascal will play the role of Roger, and Rapp the role of Mark.

"They are amazing. Not only are they wonderful performers, but they gave the show a renewed focus," said Nicolette Hart, who plays Maureen in the show. "They brought everyone closer to the heart of the show."

Hart said that the tour has been a gift for her, and she has been able to figure out what the character meant to her and how she wanted it to look.

“I definitely infuse myself into the character, and I would be lying if I said that the character didn’t infuse itself on me,” Hart said.

Though Rent has become more widely known with the release of the film, Hart points out that there are advantages to seeing the real thing.

“There is nothing like seeing it live,” Hart said. “The stage version is the purest form of the show and I think it is the best way to get to the heart of the musical.”

Two hours before each performance, the Community Center Theater box office will also be selling tickets for seats in the front row for $23. They will only allow two tickets per person, and the tickets must be paid for in cash.

“There are limited seats and it's first-come, first-served,” said Christopher Bower, director of marketing and public relations for the California Musical Theatre. “Last time the show was here people were camping out… not that I encourage that kind of behavior.”

Since it may take some luck to purchase the discounted front-row seats, tickets may also be bought online or through the box office at (916) 557-1999 or (916) 808-5181.

Rent will be performed at the Community Center Theater at 1301 L St.

The show runs from Feb. 3-7 with two showings at starting at 2 p.m. and 8 p.m. Thursday through Sunday.

Tickets range from $25 to $65 depending on show and seat.

Photos from the Original Production Photo Gallary for the Rent: Broadway Tour 2009
http://www.siteforrent.com/interactive/photo-gallery/originalproduction/rent-the-broadway-tour-2009

"Xanadu" opens in Sacramento

2010-01-01T03:04:15Z

Making the second stop of a thirteen-city tour, Broadway’s "Xanadu" has made its way to Sacramento.

The musical production, directed by Christopher Ashley, brings drama, comedy and a bit of 21st century lingo into a must-see production.

"Xanadu" takes place during the 1980s in Venice Beach, Calif. where an artist named Sonny Malone, played by Max Von Essen, struggles to satisfy his artistic hunger. After creating the chalk drawing “The Nine Sisters," Sonny’s creation comes to live with one purpose — to artistically inspire him.

The romantic comedy also features Elizabeth Stanley as Kira or Terpsichore, the muse of dance, who becomes Sonny’s inspiration and love interest.

Even though there is a romantic aspect to the production, it focuses more on the comical side, which audience members really enjoy. Throughout the show, modern lingo used by the cast such as “word,” “true that,” “baby’s daddy” and many others were heard throughout the Community Center Theater.

Audience member Kate Sullivan said she appreciated the incorporation of current lingo.

“I really liked 'Bitch, I don’t know your life!' " she said, while snapping her fingers and smiling. “I don’t think there was anything terribly inappropriate (about the lingo). I mean I don’t think you’d take a kid to this anyways because they wouldn’t get the jokes.”

But the lingo wasn’t the only thing exciting audience members.

Throughout the production, the cast blew everyone away with their powerful voices and charm.

“I’ve seen the movie and I didn’t like the movie,” said attendee Alexia Cameron. “But I thought in this production the cast was crazy good, and all of their voices were so strong and all of them were very attractive.”

Although the singing was excellent, toward the end of the show there was a malfunction with the microphones that made people like Cameron gasp.

Cameron said she was a bit disappointed with the sound because she was afraid she would miss a good line.

Even through technical difficulties, the show was a success. The production had more than 1,700 attendees during opening night. Company Manager Susan Guszynski said it was a good turnout, especially since opening night was between two holidays.

She said Sacramento’s audience was especially pleasant throughout the show.

“I was listening to the opening of the show and I thought the audience was very engaged and were smart and were getting it,” Guszynski said.

If you have not already seen the show, don’t fret. The show will run until Jan. 10 at the Community Center Theater. Ticket prices range from $18 to $65.

For more information about "Xanadu," visit californiamusicaltheatre.com.

Wednesday: Sacramento to experience a 'Spring Awakening'

2009-11-03T07:47:06Z

Sex. It's controversial today, and it has been for more than a century. That's why Frank Wedekind’s 1891 play, Spring Awakening, which has strong sexual themes and language, was not produced in the playwright's native Germany until 1906.

It opened to English audiences for the first time in New York in 1917, and closed after one performance.

Times have changed. The winner of eight 2007 Tony awards including "best musical" and a 2008 Grammy for "Best Musical Show Album opens Wednesday as part of California Musical Theatre's Broadway Sacramento season. Well, sort of. Spring Awakening was not offered as part of the season subscription package, because the theater's executive producer, Richard Lewis, said he did not want to "force" the show on an audience.

Christopher McSwain, community affairs director for California Musical Theatre, urged people not to reject the play merely because it deals with sex. It's more about the consequences of not communicating openly with teenagers about sex, he said.

"If asked to give a blanket statement so that people could judge whether or not it's right for them and sum it up in five or so words, we say "recommended for 17 and over," McSwain added. "But if there are 16-year-old musical theater fans who are dying to see it, they will be able to buy a ticket."

As part of the marketing strategy, Broadway Sacramento held a Spring Awakening event Friday at Mix,1531 L St. It featured theme drinks, TV screens playing scenes and stills from the show, and music from the score. (Full disclosure: California Musical Theatre is an advertising partner with The Sacramento Press and The Sacramento Press helped plan the Mix event.)

It's a timeless musical, McSwain said. With a score by pop-rock musician Duncan Sheik, Spring Awakening is geared to a young audience despite the age of the script.

"I hope that the kids who see it recognize the value in actually talking about their lives and finding connections," said Spring Awakening director Michael Mayer. "Without getting preachy, I think this play can have a positive impact on society as well as provide a terrifically entertaining and very, very moving theater experience."

The show's producer, Tom Hulce, echoed this sentiment. Hulce is most famous for playing Wolfgang Amadeus Mozart in the Academy Award-winning 1984 film Amadeus.

"Kids have found one of a dozen different things in the play to be particularly meaningful to them, that give them either a hope they didn’t have before, or an understanding they didn’t have before, or an ability to talk to people that they didn’t have before," he said. "The issues of how we raise our children, how we can best answer their needs, and what is the right way to help young people become themselves is universal."

One way to get closer to the story and gain a different perspective is to buy a seat on the stage. "Without joining the actors union, how else do you get on a Broadway stage?" joked McSwain.

Having members of the audience onstage is in keeping with Spring Awakening's theme: It's a story about experiences we all share, not just 19th century German schoolkids. A $25 seat onstage might land you next to the drummer or even a singer, McSwain said.

"What we hear is: Is Sacramento ready for this?" McSwain said. "We figure it's playing Des Moines (Iowa) and East Lansing, (Mich.), (so) if Des Moines can handle it, maybe we can. I think we're at least as hip and edgy as Des Moines, don't you think?"

Spring Awakening runs Nov. 4-15 at the Community Center Theater, 1301 L St. Tickets are $18 to $65, available here.

*Photograph one credit Paul Kolnik. Photograph two credit Joan Marcus.

New Helvetia Theatre's "Tick, Tick...BOOM" - Preview, interviews, and photos.

2009-10-20T05:35:31Z

Rehearsal photos by Paul Le and Tony Sheppard – taken at the Artisan, 1901 Del Paso Blvd.

“Tick, Tick…BOOM”
Book, Music, and Lyrics: Jonathan Larson
Script Consultant: David Auburn
Directed by Connor Mickiewicz and Erin island

New Helvetia Theatre officially opens its second full production on Saturday, with previews starting Wednesday, of “Tick, Tick…BOOM.” The show is by Jonathan Larson, who won three posthumous Tony awards and a Pulitzer for “RENT.” I had the opportunity to sit in on a recent rehearsal and it literally had me both laughing and crying uncontrollably (not at the same time).

The timing was also interesting after the recent movie release of Jane Campion’s beautiful “Bright Star,” a film account of the end of the life of the poet John Keats. “Tick, Tick…BOOM” chronicles a period in Larson’s life when he was struggling with little recognition, unsure of his future, just as Keats died prior to his work receiving the acclaim that was later associated with it. Ultimately, Larson died before the first full production of “RENT” and its success has rekindled interest in his other works.

“Tick, Tick…BOOM” stars Tristan Rumery, Nanci Zoppi, and New Helvetia’s Founder and Artistic Director Connor Mickiewicz, who also co-directed the show with Erin Island. Between numbers, I bounced a few questions off Connor, his deserves-to-be-proud mother Erin Mickiewicz, and Music Director and destined-to-be-legendary cabaret impresario Graham Sobelman.

Connor Mickiewicz:

SacPress: “RENT” has become well known through multiple productions from Broadway to High Schools, as well as a film adaptation, but “Tick, Tick…BOOM” is less familiar to most people. Can you explain a little about the show and where it fit in Jonathan Larson’s career?
Connor: He had started developing it before “RENT” and with the success of “RENT” and his subsequent passing – there’s this voyeuristic sentiment that drives through it. This musical could not exist without the success of “RENT” and I think if it had been the other way around and this musical had been produced before “RENT” it would have been a lovely, moving show but I think part of the reason that people are interested in seeing this show is knowing the story of Jonathan Larson and what happened with “RENT” – which is still playing in San Francisco and around the country.

SacPress: So what made “Tick, Tick…BOOM” a good choice for New Helvetia’s second full production?
Connor: One that it’s a three person rock musical – and a Sacramento premiere, which lives up to our mission. And it’s accessible for younger audiences as well as more mature audiences.

SacPress: And part of your mission is to produce shows that are less well known – and this would fit that bill.
Connor: This would fit that bill, definitely.

SacPress: You produced the extremely well reviewed “Hedwig and the Angry Inch” earlier this year, and you got to sit up in the booth and watch every performance, but you are producing, co-directing with Erin Island, and also acting in “Tick, Tick…BOOM” – how has the multitasking experience been different?
Connor: It’s completely different and I was so nervous going into it and just working on the show with Erin and Caitlin [Caitlin Sapunor-Davis], the stage manager, we knew from the beginning that the piece was going to have to be more collaborative because I was going to on stage. So it was almost more like a scene study and the actors, Nanci and Tristan, could suggest something – or if something was not right we would get together rather than them being on the outside. That has made…the show that I had in my mind three months ago is not the same show that we have today and we’re all the better for it. So it’s been stressful but also more rewarding.

SacPress: “Hedwig” may well have been the best reviewed show in town – I don’t think I saw anything that was less than the highest possible rating or commentary. Does that make coming out of the gate the second time easier or does that make it harder?
Connor: For a minute I thought that it was going to be harder – but in the end, the respect that the audience has now for the company from “Hedwig” and from “Celebration” [an earlier one-night, semi-staged production and fundraiser] - that’s what I’m interested in, watching the audience grow and develop. I stopped thinking what the critics are going to say about this production – I don’t know if they could have…or if they can top “Hedwig.” If they do, that’s amazing for us but I’m more interested from this point on in just growing the audience and growing the audience’s trust in the company, more than the critics at this point.

Erin Mickiewicz:

SacPress: What and when was Connor’s first foray into theater?
Erin: I love this story: He played competitive soccer for a number of years and when he was 12, he had to try out every year and he didn’t make and we got the news in the mail and he was devastated. So Kiera [Kiera O'Neil], his older sister, said I’m doing “Music Man” why don’t you do [that] – it’s a children’s theater company. So he did it and that was it, he just fell in love with it.

SacPress: This is a silly question that occurred to me – kids transition from being child actors with varying degree of success, or not. How is the transition for the stage mom – do stage moms ever “grow up” or is it much the same, albeit with less carpooling?
Erin: That’s such a good question [laughs]. Because I was involved before Connor was involved with Kiera mainly and then I was the Director of the Arts of St. Francis High School, so even when my kids weren’t involved I’ve stayed involved. So I have a passion for it myself. It’s a fine line though when to back off and with Connor going professional, with his own company, the whole family has been involved - but we still respect the fact that he has to make decisions that we need to stay out of.

SacPress: With Connor as a fifth generation Sacramentan, what does this mean to you and the family to see him doing this here?
Erin: In Sacramento? Oh, I just love it. Selfishly I love him being back from New York – I love that my other son’s here and he can be part of it – he’s a total jock but he really loves his brother. I think it’s fun for us because we didn’t get to see much of him in New York and I think this is really his calling. He’s always an actor first to me but I really do think he can pull this off.

Graham Sobelman:

SacPress: Your main project for most of the last year has been the cult hit midtown cabaret Graham-A-Rama. That’s on hiatus for a couple of weeks for “Tick, Tick…BOOM” so does this feel like a vacation or like work?
Graham: Work - but I love my job so…. [smiles].

SacPress: You work with a lot of the same people in multiple projects….
Graham: That’s why it doesn’t feel like…well, it’s a job but it’s also hanging out with my friends.

SacPress: How do you balance multiple projects in production and development?
Graham: A very detailed calendar and very little sleep!

The last few questions with Graham were squeezed into an extremely short break in the rehearsal, with about one minute to talk and we were walking back into the theater by the end of the third answer, but they still illustrate one of the secrets to the success of these productions: Not only is this a very talented group of individuals who have the skills and vision to pull these things off with great success, but they are doing what they love with people they love. Not all of us have the opportunity or benefit of a workplace environment like that, but at least we can witness it in action – and it certainly shows in their work.

“Tick, Tick…BOOM”
October 21- November 14
Performance Times:
Thursdays and Fridays at 8 pm, Saturdays at 2 pm and 8 pm
All performances at the Artisan, 1901 Del Paso Blvd., Sacramento, CA 95815
Gallery and café open 1 hour prior to show

Associated links for more information:
New Helvetia Theatre: www.newhelvetia.org
Paul Le’s photography and design: www.paperwhitedesigns.daportfolio.com
Graham-A-Rama cabaret: www.grahamarama.com

'Cats' Out of the Bag and into the Circus

2009-08-19T07:41:09Z

The Jellicle felines of Cats made the Music Circus purr, Tuesday night.

The dark theater glowed green cat eyes as the 24-person cast filled the small round stage of the Music Circus to sing “Jellicle Songs for Jellicle Cats.”

Although the musical has no set storyline,the situations flowed perfectly into one another.

Director and choreographer Richard Stafford created a thrilling musical piece full of lifelike mannerisms and situations that any cat lover would understand, any dog lover would appreciate, and even non-pet lovers would be delighted by.

The cast of the normally huge Broadway play utilized the small stage as well as the aisles in the crowd, with a variety of dance styles including classical ballet, jazz, Dunham and tap.

Musical director Craig Barna and the live orchestra gave an outstanding performance. Although, they were not needed for most of the dance numbers, as the performers tapped and twirled to the rhythms of their own bodies.

Rum Tum Tugger (played by Kevin Loreque) stole the show with his rock 'n' roll attitude, huge hair and amazing voice, even pulling audience member Janet Payne on stage for a dance during his eponymous song, “The Rum Tum Tugger.”

The costumes were over the top, leaving nothing to the imagination. Some were little more than a nude leotard with a tail; whereas one, worn by Jellylorum (played by Heather Meiko) was embellished with long white glittered fur and pink sequins.

The original Broadway play was inspired by T.S. Eliot’s Old Possum’s Book of Practical Cats. The music was created by Andrew Lloyd Webber.

This classic show was definitely the cat’s meow.

Photos courtesy of Charr Crail.

Broadway China Buffet robbery, employee injured

2009-07-14T09:09:41Z

Sacramento, CA- Around 9:30 P.M. Monday night, Sacramento Police received a call that the China Buffet on Broadway at 14th St. was robbed by three men. Per Sac PD dispatcher, an undisclosed amount of cash was stolen.

One of the employees was sustained minor injuries when he was hit in the back of the head by one of the suspects. He refused transportation to the hospital.

The suspects fled the scene in a white sedan and remain at large.

Altar Boyz taking stage for comedy-packed musical

2009-07-13T04:22:42Z

The longest-running musical to hit New York stages in years is coming to the California Music Theatre.

Opening Tuesday for one week only, the "Altar Boyz" are ready to serenade the audience and entertain Sacramento for 90 minutes of high energy comedy.

Based on the book by Kevin Del Aguila, the musical comedy tells the story of Matthew, Mark, Luke, Juan and Abraham, five small-town Catholic boys hoping to make it big in the musical world.

After playing for bingo halls and youth groups, the boy band sets its sights on New York. The ups and downs of their journey are told through a series of songs, dance routines and hold-your-stomach hilarious scenes.

“I think the show is funny because it exposes some of the ‘idol worship’ the public places on pop bands. It is also very cleverly written,” said Chris Bower, director of marketing and pubic relations for California Musical Theatre.

The all-star cast members are sure to please with three actors from previous “Altar Boyz” productions and Jamison Scott (Mark) from the recent Broadway revival of “Grease.” Devin DeSantis (Matthew), Andres Quinero (Juan) and Tim Dolan (Abraham) have all held roles in productions of the musical in the past.

Songs like "Girl you Make Me Wanna Wait" and "Jesus Called me on my Cell Phone" make light of sometimes-serious religious topics as well as poke fun at boy bands all in good fun.

The musical comedy first debuted in September 2004 at the New York Musical Theatre Festival and since opening off Broadway in 2005 has crossed the country and made its way as far as Korea and Hungary.

"Altar Boyz" has won prestigious awards such as the 2005 Outer Critics Circle Award for Outstanding Off-Broadway Musical and the Broadway.com Audience Favorite Award in 2006 and 2007.

While final ticket sales have not been determined yet, Bower predicts that around 1,600 will be in the audience on opening night.

Tickets can be purchased at Wells Fargo Pavilion, online at www.sacramentomusiccircus.com or by calling (916) 557-1999.

Showtimes are 8 p.m.Tuesday through Saturday, 7:30 p.m. Sunday, and at 2 p.m. matinees Thursday and Saturday.

The Wells Fargo Pavilion is located at 1419 H St.

Ticket prices are as follows:

Tuesday/Wednesday/Thursday/Sunday Evenings: $50
Thursday Matinee: $41
Saturday Matinee: $50
Friday/Saturday Evenings: $53

Images are courtesy of California Music Theatre

Older man stabbed on Broadway, during rush hour

2009-07-07T03:33:43Z

Sacramento, CA- Early Monday evening, at about 6:30 P.M., Sacramento Police and Sacramento City Fire and Paramedics were called to a stabbing at the front of New Station Seafood in the 1800 block of Broadway.

Firefighters and police found a 54 year old man sitting on the bus bench bleeding from the chest. Per the on scene police sergeant, the man sustained a 3 to 4 inch deep laceration across the chest and was very intoxicated.

Due to the man's level of intoxication, authorities were having challenges getting accurate information from the victim. Per the sergeant, police do have a couple persons of interest in the case. It appears that the subject also took the victims cash he had on hand from his SSI.

Police will be tracking down the alleged subjects to make an arrest.

Weekend jazz festival flows down Broadway

2009-06-29T02:04:12Z

The second annual In the Flow jazz festival brought music and art fans out to Broadway's hub with more than 30 bands, poetry readings and live painting.

For $20, ticket holders were given wristbands that allowed entrance into all of the weekend's shows, which spanned five different venues along Broadway. For those who weren't wearing wristbands, several free performances were hosted at Records, Java Lounge and Records.

The back-to-back schedules at the venues allowed for a constant stream of activity, and if ticket holders didn’t like one performance, they could walk down the street to the next one.

The goal of the festival was to "showcase all of the different kinds of jazz you'll find in the area...not smooth jazz though....yikes," said Ross Hammond, who was the weekend's main coordinator and also a co-founder of the festival.

Hammond, himself a jazz musician, made an appearance with Vinny Golia on Saturday at Beatnik. He said that there is a huge jazz scene in Sacramento and the festival is a way to make people aware of the artists' presence.

“It was really hot, but the people were fun and I liked that there were so many performances to choose from,” said Mathew Zvonicek, who attended the festival Saturday evening.

Other highlights of the weekend's various shows included Byron Blackburn's CD release at Java Lounge Friday evening featuring Tom Monsoon, Alex Jenkins and Hammond. Jacob Felix Heule, Arom Shelton and Tony Dreyer performed a unique jazz set at Records on Saturday, using unusual techniques like scratching cymbals with drumsticks and vibrating objects on their drums.

Beatnik had a constant flow of talented musicians coming through its photography studio all weekend, including DJ Tommy V, the Harley White Orchestra and Tony Passarell and the Thin Air Symphony.

Jazz music wasn't the only form of art that made an appearance at the festival, however.

Java Lounge hosted the "Scary Art Collective Reception" Saturday to showcase works by local artists like Kathy Blackburn, who also has work on display at Beatnik. The walls of the cafe were filled with paintings and drawings of skeletons, owls and ghouls. Music served as the background to the reception, with five groups performing during the afternoon.

Saturday, a group of artists from the Pacific Art Collective in San Jose set up an art station in front of Beatnik, open to anyone who wanted to stop and paint. They said their inspiration for the music and art collaboration comes from "live paintings" that are popular in the Bay Area.

On Sunday, The Comedy Spot hosted music, poetry and the spoken word with Josh Fernandez, Frank Andrick, Mike Farrell and other artists.

Hammond and the other organizers were given a grant by the Sacramento Metropolitan Arts Commission that made the festival possible and enabled them to give all money raised through ticket sales to the artists.

The festival also received sponsorships from Swell Productions, The Greater Broadway Partnership and local businesses like Sacramento’s Skip's Music and Kline Music.

"We're planning on doing this festival annually, so just mark your calendars now," advises Hammond.

A.ll photos were taken by Paula Aguirre

Jaywalkers Beware!

2009-06-09T02:40:11Z

If it wasn't a serious situation, it would have been almost humorous today as a Sacramento Police Department motor officer stopped Jaywalkers left and right at the railroad crossing on Broadway between 19th and 20th Streets.

Some may say it's just revenue for the police department, while others contend that the Jaywalkers coming and going from the Broadway Light Rail station are a true traffic hazard as they weave in and out of vehicles.

According to the California Vehicle Code, "Between adjacent intersections controlled by traffic control signal devices or by police officers, pedestrians shall not cross the roadway at any place except in a crosswalk." The citing officer stated that fines vary depending on the individual's driving record, given that this falls under the Vehicle Code.

Given the location of the Light Rail station, it is easy and almost natural for people to want to cross the street right at the railroad crossing. However, signs plainly direct pedestrians to adjacent crosswalks at the intersection of Broadway and 19th Street.

The almost-humorous part was watching people cross right in front of the officer, who was already citing three people who were waiting their turn for their little yellow piece of paper. Pedestrians found themselves without excuse as the officer pointed to the clearly posted sign that even directs people to the crosswalk just a few feet away.

In the end, pedestrians have a choice: Cross at the railroad tracks and become part of the city revenue stream, or walk a few feet to the corner to cross safely and legally.

Can't say you weren't warned...

2009-05-30T02:18:47Z

From the Sacramento Police Department:

The Sacramento Police Department will conduct a sobriety and drivers license checkpoint on
Friday, May 29, 2009, at 21st Street and Broadway. It will begin at 9:00 p.m. and run for 4-6
hours.

Traffic flowing through the checkpoint will be contacted by uniformed officers, who will
be checking for alcohol and/or drug-impaired drivers. Officers will also check to make sure all
drivers have a valid driver’s license.

The purpose of the checkpoint is to promote public safety; increase awareness of the dangers
associated with drinking and driving, and serves as a deterrent to potential impaired and
unlicensed drivers.

Funding for this program was provided by a grant from the California Office of Traffic Safety,
through the National Highway Traffic Safety Administration.

Please direct any inquiries to Sergeant David Hargadon at (916) 808-6069. Media is
encouraged to attend the checkpoint in an effort to spread awareness about the impacts of
drinking and driving.

Panel discusses Broadway's appeal and future

2009-05-28T23:53:32Z

“What brings you to Broadway?”

Greg Taylor, president of Sacramento’s Urban Design Alliance (UDA), posed this question to city planners, residents, professors and employees that attended a dialogue about Downtown’s popular Broadway held at the American Institute of Architects on Wednesday evening.

Taylor answered his own question by saying that Broadway has “great urban character, great bones and great food.”

Many agreed that food is Broadway’s main attraction, with popular eateries like Tower Café and Pancake Circus dotting the strip.

One woman said that Broadway is a place she feels safe to spend time after hours. Others chimed in that they enjoy perusing specialty shops like R5 Records and the Avid Reader.

Perhaps most popular was the echoed sentiment that Broadway has everything one might need and is sort of a one-stop shop with Target, Walgreens, restaurants and gas stations lining the street.

The dialogue, facilitated by Midtowngrid.com founder Brian Fischer, was a question and answer session by a team of three panelists and a room full of interested and concerned residents and stakeholders of Broadway and surrounding areas.

Attendees were welcomed to the discussion with catering by Broadway’s Bali restaurant and a display of design work created by students from UC Davis and Cosumnes River College featuring plans and highlights of the Broadway corridor.

To begin the one hour question and answer session, three panelists were given 5 minutes each to discuss different aspects of Broadway.

Tina Suarez-Murias, environmental planner, explained Broadway’s status as a sociotone and to help the audience understand the concept first described, ecotone, which forms when two different types of landscapes converge to form an “edge effect.”

In ecology, the effect occurs when elements such as soil, plants and animals are different between the two parts, which creates for a wider range of plants, animal and shelter within the effect.

A sociotone is essentially when humans develop around the sociological edge effect and Suarez-Murias explained that Broadway is a perfect example of this phenomenon, still serving and attracting neighbors from either side of the “edge” because of its wide range of diversity.

Robin Datel, an urban geographer, focused on Broadway’s rich history from the donation of land in the Sacramento City Cemetery in 1849 up through 1990 when the State of California leased the Bishop Manogue High School building to become part of the DMV complex. Datel described Broadway as a sort of “service” to its residents, not only as a shopping street but as an “urban and suburban arterial.”

David de la Pena, who is both a member of the UDA and an architect and designer, focused more on the future of Broadway.

“It’s our responsibility to acknowledge what’s there and then enhance it,” Pena said. He continued on to discuss areas that can be improved, such as accessibility and traffic issues.

After a question and answer session from the audience, Teresa Rosa of the Broadway Partnership assured everyone that change will happen organically and stressed the importance of Broadway and its diversity.

“There are many Broadways. There is a Broadway-Monday-through-Friday. There is a Broadway-at-night and Broadway-on-Sunday-morning...It’s not pretentious and each of us can relate to it,” said Rosa.

The Urban Design Alliance holds planning meetings on the first Tuesday of each month. For more information about upcoming events visit uda-sacramento.org.

Below are highlights from the question and answer session with the panelists

Tina Suarez-Murias

“[We need to] look at physical barriers and one little step at a time tear them down”
-In response to an audience member in a wheelchair who noted difficulty accessing the street

“We can’t design for just one slice of community, have to design for it all”
-Responding to a concern about Broadway losing it’s small-town feel and low-priced restaurants

“It’s unique that we are making use of area under a freeway”
-Commenting on development opportunities

Robin Datel

“More signs, self-guided tours, organized walking tours, naming districts”
-Discussing ways to bring more attention to Broadway

“Because the freeway is so high, there’s a lot of back and forth and opportunity with that”
-Commenting on development opportunitiesDavid de la Pena

“More energy needs to be put into the designing process”
-In response to the current involvement with development

All photos by David Watts Barton

See Broadway examined as an "edge environment"

2009-05-27T04:59:02Z

Sacramento Press intern Casey Kirk saw this press release and thought it might a good story for Sacramento Press to cover. I agreed. I also want to post this heads-up to anyone who might be interested. The release itself:

“Edge effect” is a term borrowed from ecology, where it refers to activity in the areas between different land uses. Broadway exhibits a degree of diversity that is similar to nature’s edge effect. On Broadway, these characteristics add up to a high-energy center that draws people from other parts of the city as well as from adjacent neighborhoods. The question of interest from an urban design perspective is: Will future development enhance or diminish Broadway’s edge effect?

Wednesday, May 27th
6:00 to 7:30pm
AIA/Central Valley Conference Room
1400 S Street, Sacramento

free admission

This month’s presenters include Tina Suarez-Murias, AICP, an environmental planner who will discuss the “edge effect concept;” Robin Datel, PhD, an urban geographer who will discuss the historical transformation of Broadway; and David de la Pena, an architect and urban designer who will frame the role of designers in communicating Broadway’s future. A dialogue will follow, facilitated by Brian Fischer, founder of MidtownGrid.com.

Come early for refreshments provided courtesy of the Greater Broadway Partnership, and to view student design work.

The AIA Office is located less than two blocks from the 13th Street Light Rail Station. Parking is available on-street and in nearby lots. Please enter from 14th Street, not S Street. The building is wheelchair accessible.