Newest articles on The Sacramento Press tagged as "broadway sacramento"

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).

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Written by Sacramento365.com Intern, Aimee Steffen
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"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

"Mary Poppins" A True Broadway Experience At The Community Center Theater

2011-06-07T05:34:40Z

Shows brought to you by the Disney organization and Cameron Macintosh come with high expectations. Fortunately for Sacramento musical theater lovers, the Broadway Sacramento production of "Mary Poppins" that opened last Thursday more than meets those expectations.

Disney's first hit version of "Mary Poppins" was the 1964 film with major star turns by Julie Andrews as the title character and Dick Van Dyke as Bert. Disney had obtained the rights to the series of "Mary Poppins" stories by Australian author P.L. Travers. The first book was published in 1934, the last in 1991, five years before the author’s death.

The movie also introduced the songs of brothers Richard M. and Robert B. Sherman. Those songs were nominated for nine Oscars, winning two, and three Grammys. Songs such as "Chim Chim Cher-ee," "A Spoon Full of Sugar" and "Supercalifragilisticexpialidocious" endure in popular culture independent of the movie.

Within the Broadway production, four of the songs, including "A Spoon Full of Sugar" and "Feed the Birds," remain in their original movie form. George Stiles and Anthony Drewe added new material to five of the songs. Stiles and Drewe also created seven new songs for the stage musical. While they will probably not reach the level of popularity of those from the movie, they are pleasant, move the action along and do not detract from the show in the least.

Cameron Macintosh without a doubt is the most powerful producer of contemporary musical theater in the world. Macintosh is best known for "Cats," "Les Misérables" and "The Phantom of the Opera." A whole article could be written about Macintosh and the huge number of highly successful productions he has produced around the world. He actually met several times with 93 year old Travers to win her approval to create a stage musical version of "Mary Poppins." This had followed numerous failed attempts over the years including one by an 18 year old Stephen Sondheim.

Broadway road show productions have a bad reputation for being "dumbed down" versions of the Broadway original. Not here. Every element of this production retains the spectacular look, feel and sound of the original production.

The set, props and costuming - all designed by Bob Crowley - are highly imaginative and when combined with Howard Harrison's lighting effects, create one spectacular scene after another. The scenes go from stormy, rainy monochrome London to a rainbow of color with a wave of Mary's hand. One particular lighting effect gives a very realistic feel of rain.

Richard Eyre directs along with co-director and choreographer Matthew Bourne. The action moves along, the scenes with dialog move fairly quickly into big production numbers, and the production numbers are of suitable length to fully enjoy the highly talented dancing. There are dancing statues, dancing toys and, of course, dancing chimney sweeps.

Stefanie Leigh (Mary Poppins) has a lovely voice with a touch of Julie Andrews. She portrays Mary with a quiet, knowing attitude and stoically flies through the air.

Nicholas Dromard is a suitably charming Bert. He is a strong singer and dancer. Dromard has performed the role on Broadway and in numerous regional productions.

The rest of the cast is strong as well. Standouts include singing by Blythe Wilson ("Being Mrs. Banks") and Q. Smith ("Brimstone and Treacle").

Friday night's performance featured ten and eleven year old Tyler Merna and Camille Mancuso as the central characters, the Banks children Michael and Jane. Talon Ackerman and Marissa Smoker alternate in the roles.

These children do an amazing job of keeping up with the adult performers.

If you think "Mary Poppins" is just for children, you are sorely mistaken. Most of the adults were cheering along with the kids throughout the show. It was great fun to see kids charmed once again by the Disney touch. Broadway Sacramento ends its season with a show that highly entertains their whole audience base. Head down to the Sacramento Community Center Theater and spend a couple of hours on Broadway while saving the airfare and hotel bill.

“Mary Poppins” Broadway Sacramento Community Center Theater through June 19, 2011

More information and tickets

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.

"9 to 5 the Musical" Politics, Business,& Culture, of the Workplace on the Musical Stage

2011-03-14T01:42:30Z

The tour of the Broadway show “9 to 5: The Musical” rolled into the Community Center Theater Wednesday evening as the latest offering of Broadway Sacramento. “9 to 5 the Musical” is a positive example of the trend of turning popular movies and television into Broadway shows. Opening night’s audience responded enthusiastically to the rollicking upbeat musical with a positive story.

“9 to 5” began as a theatrical movie in 1980. The film was most famous for casting popular country singer Dolly Parton, veteran actress Jane Fonda and veteran comedian/actress Lily Tomlin. The movie was directed by Colin Higgins of “Harold and Maude” fame. Higgins and Patricia Resnick wrote the screenplay from the original story by Resnick.

Between 1982 and 1987, the lives of the central characters continued with different casting through a television sitcom.

Parton’s great acting ability was the big surprise of the original movie. She also wrote the title song for the movie. For the musical version, Parton wrote the music and lyrics.

The original movie reflected on the relatively recent phenomenon of women being more empowered in the workplace and the beginning of more women moving up the corporate ladder.

Now nearly three decades later, “9 to 5: The Musical” has to create the historical context for its source material. This is done in an interesting way. Parton herself is back, projected on a large round scrim that drops from above the stage. She welcomes the audience and sets the play in context.

The title song gets the show moving, and the pace hardly slows down for the whole show. While Parton is well known for her country songwriting ability, it is amazing how good she is at writing in the musical theater genre. Many of the songs are hardcore Parton, while others are strongly in the style of musical theater with some country influence.

For those unfamiliar with the plot, three women working in a traditional office setting finally have it with the obnoxious, sexist, evil boss. They kidnap him and take over the office.

Dee Hoty plays Violet Newstead, the secretary who keeps being passed over by much lesser qualified men. Diana DeGarmo plays Doralee Rhodes, the secretary who fends off the unwelcome advances from the boss while dealing with the cold reception from her coworkers. Judy Bernly, the new secretary, newly divorced and badly needing the job, is played by Mamie Parris.

All give solid singing, dancing and acting performances. The standout is DeGarmo. She handles the role of Doralee and the essence of Parton without being a clone or impersonation. It is nice to hear her performances of the songs.

Joseph Mahowald also deftly handles the role of evil boss Franklin Hart Jr. Kristine Zbornik is a hoot as Roz Keith, the office snitch and suck-up to Hart. Gregg Goodbrod, as Newstead’s would-be boyfriend Joe, shares a nice duet with Hoty.

One of the greatest things with this tour of “9 to 5” is the use of a live orchestra, led by Martyn Axe. Along with having wonderful live music, nine local musicians are being employed by the production.

Jeff Calhoun’s direction and choreography move the show along at a lively pace. This is especially true of the very choreographed set changes. Flashy set and lighting changes are another example of contemporary Broadway musical productions. It is interesting that Calhoun directed “Bonny and Clyde,” coming to Broadway this fall. Talk about digging deep into movies to transfer to Broadway.

Everyone involved in design — Kenneth Foy (scenic design), William Ivey Long (costume design), Ken Billington (lighting design), Steve Canyon Kennedy (sound design) and Benjamin Pearcy (projection design) — have long and impressive credits on Broadway, with Broadway touring shows and other productions. Several of the designers have worked together on other productions.

Fresh off its multi-award-nominated Broadway run (four Tony awards, 15 Drama Desk awards), “9 to 5” brings the latest Broadway staging to tell of a time that many still remember. Yet many entering the workplace today take for granted how much equality exists now. For an entertaining musical look back at the workplace, go see “9 to 5 the Musical.”

More information and tickets

“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

What's happening in Live Theatre and Lectures

2010-10-06T02:24:53Z

Lectures

California Lectures.MICHELE NORRIS In conversation with Pamela Wu
Wednesday, October 6, 2010 Crest Theatre | 7:30 p.m.

Michele Norris hosts NPR’s All Things Considered, public radio’s longest-running national program. Before joining NPR in 2002, Norris worked as a reporter for ABC News, a position in which she garnered both an Emmy Award and a Peabody Award for her coverage of 9/11. Norris has reported extensively on issues of inner city poverty, race and education for The Washington Post, the Chicago Tribune and the Los Angeles Times. Her powerful Washington Post series on the drug trade's impact on young children was published along with essays by Nelson Mandela and Gabriel Garcia Marquez in the book Ourselves Among Others. Norris’s journalism has earned her four Pulitzer Prize nominations, the 1990 Livingston Award, the National Association of Black Journalists’ 2006 Salute to Excellence Award and the 2009 Journalist of the Year Award. In her new book, The Grace of Silence, Michele Norris shows extraordinary candor in examining her own complex racial legacy. This memoir is inspired by hundreds of interviews with ordinary Americans and wise observations about evolving attitudes toward race in America.
“Journalists should look to people like Michele Norris, who shows that through determination, intelligent analysis and careful investigation come journalism’s highest level of respect.” –Barbara Ciara, President of the National Association of Black Journalists

Pamela Wu served as news anchor and reporter for KCRA 3 in Sacramento for over seven years. She received an Emmy nomination and Unity Award for her work as host of the cultural affairs program “KCRA 3 Common Ground.” Prior to joining KCRA, Wu worked as news anchor and reporter at stations across Northern California. She currently serves as Director of Marketing and Communications for UC Davis School of Law.

Lecture Preview | Crest Theatre | 6:30-7:00 p.m.
Chevelle Newsome – Professor and Graduate Dean CSUS Dr. Newsome has published several articles relating to the communication of race in American society and women’s issues in healthcare, and she has coauthored a resource book on political commentary in the United States. She holds a Ph.D. in political communication.
Tickets $30 Students w/ ID $15
Tickets.com or (800) 225-2277 (service fee)
in person: Crest Box office 4:30-8:00 p.m. (no service fee)

Theater

Sacramento Theatre Company Season Opener

THE IMPORTANCE OF BEING EARNEST by Oscar Wilde OCTOBER 6 – OCTOBER 31, 2010 (Main Stage)

Oscar Wilde’s sparkling comedy of mistaken identities, frothy wit and a million laughs.
Tickets $15-48

Must see! Broadway Sacramento

The season will opened with "Burn the Floor" through October 10, 2010. The international dance sensation comes to Sacramento after its record-breaking run on Broadway, thrilling theatregoers excited by television’s “Dancing with the Stars” and “So You Think You Can Dance” and ready to see first-class ballroom dancesport on stage. Audience members will feel all the passion, drama and excitement of 20 champion dancers, in a true theatrical experience. 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.
SacramentoPress.com review SacBee review

Only a few more days for one of the hottest shows ever to play Sacramento
Tickets $18-65

Hot ticket: B Street Theatre

“ A Different Kind of Cool” A new play written and performed by Jack Gallagher. Jack takes a humorous and insightful look at how we learn to accept others' differences...starting with his own family.

Through November 7, 2010 Tickets $ 22-30

Must See! B Street Theatre

NEAT by Charlayne Woodard

A magical, compelling, personal portrait of a young woman's coming of age, Neat is the story of an urban African-American girl bursting into adulthood.
Through October 10, 2010

Extended production. Charlayne Woodard is an extreamly talented writer and Danielle Moné Truitt gives an astounding performance. “Neat” is a wonderful experience that should not be missed. SacramentoPress.com review SacBee review
Tickets $22-30

"Suds" continues at the Cosmopolitan Cabaret

“Loaded with good clean fun, bubbling energy and some of the ’60’s greatest pop hits, Suds is the delightful story of a young woman and her guardian angels who come to teach her about finding true love in, of all places, a laundromat. Including over 50 favorite songs from the ’60s like “Where the Boys Are,” “These Boots Are Made for Walkin’,” “Respect,” “I Feel Good” and “Do You Want to Know a Secret.”
Through January 7, 2011
Tickets $33-43

title of show] New Helvetia Theatre opening October 8th running through October 30, 2010 “[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.”
SacramentoPress.com preview

Tickets and more information $15-25

Other community theatre shows opening this week: “The Good Doctor”, “Dial M for Murder”, “Proof” and “Gold Fever.” For more information and many more shows playing in the greater Sacramento region visit Sacramento Area Regional Theater Alliance.

Thanks to each theater company for information and photos

Single tickets to CIRQUE DREAMS HOLIDAZE, 9 TO 5 and YOUNG FRANKENSTEIN Released Monday

2010-09-19T15:41:06Z

Individual tickets for Broadway Sacramento's presentations of CIRQUE DREAMS HOLIDAZE (December 29, 2010-January 2, 2011), 9 TO 5 (March 9-20, 2011) and YOUNG FRANKENSTEIN (April 13-24, 2011) go on sale Monday, September 20 at 10 a.m. at the Wells Fargo Pavilion Box Office, 1419 H Street, Sacramento, (916) 557-1999, the Community Center Theater Box Office, 1301 L Street, Sacramento, (916) 808-5181 or Tickets.com, (800) 225-2277. The largest performing arts event in the Capital Region, Broadway Sacramento is presented by California Musical Theatre and sponsored by Wells Fargo.

These shows join Burn the Floor (September 29-October 10, 2010) and In the Heights (November 3-14, 2010) which have single tickets available now.

“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

Community Center Theater renovation planned

2010-04-27T05:07:10Z

Let's just say that you bought tickets to your favorite musical but had to sit in the back because those were the only seats available for a wheelchair user. Or you're a woman who needed to use the bathroom at intermission, but the lines were so long you had to miss the first 10 minutes of the second act.

If you've been to the Community Center Theatre since it opened in 1974, you could have experienced a problem of this sort, said Convention Center Manager Judy Goldbar. Luckily, those are two major issues that a proposed $40 million renovation seeks to address. The theater, run by the Sacramento Convention Center, hosts a number of local and touring productions, including Broadway Sacramento, the Sacramento Ballet and Sacramento Opera.

The City Council seeks to pass a resolution Tuesday Night approving the renovation, which would initially cost around $3 million in design services by Westlake Reed Leskosky Architects. The remaining projects, costing about $37.5 million, will need to be be paid back late in the 2010/11 fiscal year through bonds.

"We've talked about it in the past, even before 1999," Goldbar said. "When the building was built in 1974, it was state-of-the-art at that time, and it was our desire to update the theater."

Since the theatre is currently not Americans with Disabilities Act-compliant, making it compliant will be the top priority. The theater, which Goldbar said was "designed to be a multipurpose venue for ballet, symphony, opera and entertainment venue," also seeks state-of-the-art electronics, a new heating and air system and LEED energy efficiency certification in the remodel.

To afford $3.5 million for the design contract, the facility will utilize more than $1 million it's saved since 1999, $1.5 million from a "Capital Improvements Project" fund, and another $2 million that it was awarded for renewing a contract with Classique Catering. The rest will be paid off in part by the Transient Occupancy Tax (hotel tax) and a Convention Center user fee of up to $3 per ticket.

"They are a magnet for activity downtown that in turn helps support the businesses surrounding them," said Lisa Martinez, The Downtown Sacramento Partnership's director of marketing and outreach. "They bring a lot of clientele, (and) the businesses get a lot of overflow."

Martinez also echoed the sentiment that the facility could use more bathrooms.

"I think (they) have the opportunity to create a better experience for the theater audience," she said. "Part of that is improving restrooms."

She also mentioned that the plan was comprehensive and would elevate downtown as a hub for the arts. With the new construction plan, Martinez said she hopes that people can drive by and know right away that it is a theater.

Goldbar stressed that the Convention Center renovation won't impact the city budget.

"None of (the money) comes out of the general fund," she said. "We are an enterprise fund, so as such, we pay fees back to the City of Sacramento for the privilege of renting the facility. The city has done a great job of maintaining it's asset, so I think it's a good idea that we update our facility."

The full resolution can be viewed here.

"Chicago" Will Be In Sacramento

2010-03-09T19:57:49Z

"Chicago: The Musical" is returning to Sacramento for an 11-day run starting tomorrow.

The world-renowned musical is the sixth-longest running production in Broadway history and was adapted into a movie in 2002, which won the Academy Award for Best Picture.

This is the fourth time the musical will be in Sacramento. It will be performed at the Community Center Theatre as part of the California Musical Theatre's Broadway Sacramento series.

"Our goal is to bring Broadway to Sacramento," said California Musical Theatre executive producer Richard Lewis. "'Chicago' represents prime Broadway theatre."

The musical takes place in 1920s Chicago and tells the story of two women who try to become celebrities while in prison for murder. The production, which is based on a true story, deals with the idea of a "celebrity criminal" in a setting drenched with vaudeville and jazz.

"It's kind of a sexy show," said Lewis. "The dancing is great, the score is well done, and the story is very engaging."

Starring in this national run of "Chicago" is actor and television personality John O'Hurley, who plays the role of lawyer Billy Flynn. O'Hurley is best known for his work on "Seinfeld" and "Dancing With the Stars," and is the most recent host of "Family Feud."

"We're very excited about John O'Hurley," said Lewis. "There is a lot of buzz about his performance."

Lewis said that good seats are still available, but are selling quickly. "Chicago," Lewis said, is an engaging and exciting musical that no one should miss.

"It's a wonderful piece of work."

"Chicago" runs from Wednesday, March 10 to Sunday, March 21 at the Community Center Theater, 1301 L Street. Tickets are on sale now, and start at $18. The show is recommended for ages 16 and up.

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.

Disney's The Lion King opens in Sacramento

2009-05-31T01:51:53Z

One of the longest-running Broadway shows in history, "The Lion King" started another long Sacramento run Friday night at the Community Center Theatre. This is the touring production's second run here, a five-week stay that is already nearly sold-out. Friday night's show made it clear why this is an all-time favorite.

From the very start, "The Lion King" captivates, the proverbial for-kids-of-all-ages show. Director Julie Taymor's dazzling backgrounds of the African savannah translate beautifully from the source material - Disney's animated feature film - and the costumes of various animals are breathtaking in their resourcefulness and versatility. Particularly amazing are the two giraffes and one panther, their movements brilliantly evocative of their wild cousins.

All of the show's characters are animals, and it is this blend of animal and human that artfully utilizes the audience's suspension of disbelief and is the show's chief delight. Particularly able was Timothy Carter, who played the antagonist Scar, brilliantly moving back and forth between using his human face and smoothly lowering the animal mask that rested above his face when his character grew particularly threatening. Rarely has an animated film character been brought to the live stage with movements so precisely intact.

Other wonderful visuals were the incorporation of Indonesian wayang kulit shadow puppetry, which gave the stage a mysterious ambience at points, and the brilliant use of a line of lithe, muscular male dancers dressed with headpieces and skirts that mimicked savanah grasses.

Designed to dazzle, the show is less interesting for its timeless fairy tale story, which seemed a bit shopworn. Part classic hero's journey, part Shakespearean tragedy, "The Lion King" is all Disney, with heartwarming lessons for everyone. When the visuals and music start to feel repetitive in the second act - this is a long show - the predictability of the plot becomes painfully apparent.

But along the way, there are a number of moments - nearly all of them comic - that enliven the show, especially those delivered by the comic relief of three hyenas and a bird, Zazu (an energetic Tony Freeman), who get off some of the show's best one-liners. There is also some creative breaking of the "fourth wall" ("This wasn't in the cartoon!" remarked one character to the audience.)

Also diverting was a number sung by Rafiki (Shelloane A. Nkhela) in what sounded to be the kung! language of southern Africa, surely the first (and only) time those familiar-yet-alien tongue clicks and gutteral stops have worked their way into a Broadway musical.

Less interesting were the songs of Elton John and Tim Rice, which tended to the prototypical Disney movie "power ballad" and lack the elasticity and invention of the best Broadway show tunes. When they're not power ballads, the songs devolve into post-Peter Gabriel quasi-Africana pop, enjoyable enough but hardly compelling. One exception: The resurrection of the old folk tune "Wimoweh (The Lion Sleeps Tonight)," which was as enjoyable as it was predictable.

The positioning of a black-clad percussionist on either side of the stage, the only visible members of the pit orchestra, was encouraging at first, but neither percussionist did much of interest, particularly considering how prominently they were positioned. Together, they seemed to be doing the work of one musician, and doing it with the energy of half. On the one hand, this is understandable; pit orchestras are about the overall sound; no one is meant to stand out. And above all, such ensembles concerned with doing things deliberately and in perfect time, to sync with the stage show.

But in a show about animals, Africa and adventure, just a bit of fire in the percussion would have been welcome. Two percussionists with one eye on the time clock did not serve the show visually, energetically or musically.

In the end, the entire show felt to this viewer like an event that has perhaps lived its life as fully as it is likely to. But there is clearly still an audience for the show, which remains a visual treat, a landmark of theatrical design and nearly impossible to dislike. The near-capacity crowd leapt to its feet at the show's end, giving the show Sacramento's traditional standing ovation. The show will play at the Community Center Theatre through June 28. Tickets are available at www.broadwaysacramento.com.