Newest articles on The Sacramento Press tagged as "cabaret"

Sacramento Theatre Company Cabaret Series revue aims to 'Make 'Em Laugh'

2012-01-28T12:13:36Z

Remember when musical theater was called musical comedy?

True, dramatic plot turns have consistenly been essential elements in most of the Great White Way's all-singing, all-dancing productions. From the issue of racial discrimination explored in Jerome Kern's landmark "Show Boat" (1927) to the gritty realities of abortion, rape and suicide facing teenagers in Duncan Sheik and Steven Sater's "Spring Awakening" (2007), musicals often have featured some measure of conflict.

Maybe it's the rose-colored opera glasses audiences tend to slip on when looking back, but some still bemoan Broadway's shift away from happy-go-lucky book musicals in which the most-serious issue was the question of who's taking Laurey to the box social.

The truth is even after the musical scale tilted toward heavier fare (think "Evita," "Les Misérables," "Phantom of the Opera," "Side Show," "Parade," and "Spring Awakening"), most every tuner – no matter how dreary the score – continues to feature at least one or two songs that provide some measure of comic relief.

During this cold midwinter, Sacramento Theatre Company presents more than just a few LOL numbers in "Make 'Em Laugh: Broadway's Best Comedy Songs," its latest Cabaret Series revue.

Set to run Jan. 26-28, 2012, "Make 'Em Laugh" is geared to leaving audiences humming (and not bumming) as they exit the STC lobby by showcasing songs from such carefree shows of yesteryear as "Guys and Dolls," "Wonderful Town" and "Once Upon a Mattress."

Directed by STC Producing Director Michael Laun, with musical direction by Sam Schieber, "Make 'Em Laugh" features Jessica Crouch, Christine Nicholson, Madeleine Wieland, Robert Irvin, Devon Hayakawa and Laun. Accompaniment is provided by Schieber (piano) and Kellen Garcia (bass).

"Make 'Em Laugh" plays at 7 p.m. Jan. 26, 8 p.m. Jan. 27, and 2 and 8 p.m. Jan. 28. Tickets, priced at $25, are available by calling (916) 443-6722, or by going online at www.sactheatre.org. Please note that $12 student rush tickets go on sale 30 minutes prior to performances (subject to availability).

Four Twenty and Nine Tens; The Sizzling Sirens Perform 'I Love You Mary Jane!'

2011-04-26T01:28:27Z

The atmosphere was good. Harlow’s was dim, but not dark, and the stage lighting cast a tint of green throughout the club. The Harley White Jr. Orchestra was on the floor, playing an upbeat jazz number to signal the beginning of the show (and though there ended up being a 15-minute delay, no one seemed to notice). Sizzling Sirens were running around everywhere, attractive women dotting the crowd in rhinestone and fringe, lingerie-inspired getups.

“I Love You Mary Jane! Cannabis Cabaret” was performed by the Sizzling Sirens Burlesque Experience late last Friday night. The show was described on the Sirens’ website as “a one-of-a-kind tribute themed to expose a variety of Mary Jane’s manifestations in American culture throughout time.”

And while marijuana was presented with affection throughout the show, its history was hardly exposed. Fun facts (i.e. there are more than 200 slang terms for pot) were scattered between dancers’ performances but, for the most part, that was the extent to which the theme was explored.

Pot and perky cleavage seems an infallible combination, one that should result in a great show by default. But the show was not well thought out, with no clear middle or end. There wasn’t a lot of singing, dialogue, or the girls dancing together as a whole. Had an individual been looking for something similar to cabarets depicted in movies and television shows, they would have been disappointed.

Oversized feathered fans and long riding crops come to mind when recalling one of the show’s highlights, a dance performed by Colette Corbeau and Alijiah Dresden. There were a few surprising instances as well, like a Siren adorning six cheetah-print pasties and posing as a cat, inspired by the “Purple Pussy” strain of marijuana. The crowd’s encouraged participation in spanking the Sizzling Sirens probably didn’t hurt the show, either.

Whether “I Love You Mary Jane! Cannabis Cabaret” lived up to its own written description or not, most of the crowd seemed more than happy watching hot, dancing girls proclaim a love for marijuana to the mood setting sounds of the Harley White Jr. Orchestra.

"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.

'From Godspell to Wicked' – Schwartz's works performed by STC

2011-04-02T00:47:06Z

The works of Broadway composer Stephen Schwartz – whose most well-known work is “Wicked” – will be highlighted in a cabaret performance by the Sacramento Theatre Company next week.

“From Godspell to Wicked” opens Thursday and is an homage to Schwartz’s works, which have spanned four decades, said Michael Laun, producing director for STC.

“We have a little bit of everything,” he said. “ ‘Godspell’ was his first, we have some music from ‘Pippin’ ... and the last 30 minutes of the show is music from ‘Wicked.’ ”

Also included in the performance is some of the music Schwartz composed for Disney movies such as “Pocahontas” and “The Hunchback of Notre Dame.”

The performance is a cabaret, and the setting is more intimate than the 300-seat theater on-site at the Wells Fargo Pavilion where STC is housed, 1419 H St.

“We dim the lights and have cabaret tables with tablecloths, and we max out at 125 people, but usually we get 80-100 people in a show,” Laun said, adding that the audience never feels crowded.

The smaller space lets the audience get closer to the five singers, pianist and bassist who make up the performance, which Laun said gives audience members a somewhat rare chance to get up close to a live musical performance.

Wine and cheese will be for sale, with the wine coming from local winery Revolution Wines.

Maggie Hollinbeck, who performed in STC’s “A Christmas Carol” in December, will be one of the five singers in the performance.

“I’m excited about exploring the Stephen Schwartz canon,” she said. “He was one of my first influences when I was in high school.”

Hollinbeck was exposed to his music as a pianist before she took up singing.

“The music is so rich,” she said. “He has written so many great pieces.”

She said she is looking forward to working with other STC performers and seeing them sing, adding that she has seen several perform non-singing roles before, and she is excited to see them in a new light.

Fans of Schwartz’s work will enjoy the show, but she said there is something for everyone.

“No matter what piques your interest about it, you are going to be pleased and surprised,” Hollinbeck said. “Even if you’re not a Stephen Schwartz fan, you can hear something entertaining you haven’t heard before.”

“From Godspell to Wicked” is the final show in the fourth season of Sacramento Theatre Company’s cabaret series.

The last performance in the series was “Broadway’s Best Love Songs,” Laun said. Works by Irving Berlin and Cole Porter have also been featured.

Laun said when he began the series four years ago he thought Sacramentans would enjoy the Broadway musicals performed by locals, and the popularity has steadily grown.

The first show, in the fall, is always a traditional performance, with the middle show being a “wild card” and the final show, in the spring, being contemporary, he said.

Laun said Schwartz is a good pick for a contemporary sound because even his shows done in the 1970s work as contemporary music today.

Show tickets are $25, with $20 tickets per person in groups of eight or more. For Thursday’s performance, audience members can take advantage of STC’s “any show for $15 on Thursday” special, and all tickets bought within half an hour of the show’s start time are half-price: $12.50.

Showtimes are 7 p.m. Thursday, 8 p.m. Friday, and 2 p.m. and 8 p.m. Saturday.

Brandon Darnell is a staff reporter for The Sacramento Press.

Stick 'em Up!: Sizzling Sirens perform a criminal cabaret at Harlow's

2011-01-18T18:37:50Z

Sizzle. Serenade. Seduce.

Puffs of neon smoke cloud my eyes as I slide through the bustling doorway of Harlow’s Sunday night. The room brims with burlesque bombshells of all ages, men in fedoras, pin stripes, faux-leather collars. A woman wearing crimson nurses a gimlet, no ice. Next to her, a man dressed as the late Hunter S. Thompson bumps me with his long cigarette holder while he tucks it nonchalantly behind his ear. He pays no notice as he urges his eyes through the clamoring crowd in anticipation of “Stick ‘em Up!: A Criminal Cabaret,” Harlow’s first show of the year by Sacramento’s only burlesque troupe “Sizzling Sirens.”

The Sizzling Sirens, founded in 2008 by Jessica Swanson who is known by her stage name “Jay Siren,” produces a provocative form of modern cabaret rooted in theatrical satire and imagination.

Opening the evening, the accompanying ensemble Harley White Jr. Orchestra entertains the restless crowd with lively jazz and swing numbers. ~~White Jr.~~ Peter ~~Perry~~ Petty croons into the microphone, what is obviously a toupee grazing his glasses. The trumpet player slides the ball mute from the horn’s mouth, and the percussion comes to a closing crash.

Suddenly the room quiets. Behind the sheer curtain, synchronized silhouettes to the shadow of a gun mark the start of the show.
“Jay Siren,” approaches the stage in jet-black fishnets, a corset and a lace garter. Without chagrin, the confident lead siren introduces the first criminal act of the evening - “Burglary.”

Veteran siren “Shauni Fatale” emerges in a white feather boa to the sound of “The Stripper.” She saunters behind a silk screen while stripping, revealing the diamond tassels that cover each breast. As the crowd cheers, the music smoothly shifts to the Pink Panther theme song. An intruder in black leather played by “Jay Siren” sneaks slyly into the scene and steels Fatale’s diamond thong that drapes over the screen.

The inspiration for this criminal concept came to Swanson last fall after dressing as a sexy cop for Halloween.

“I had way too much fun in the role,” she said, “So I decided to bring my sirens in on the action and produce a law enforcement and crime themed cabaret.” During one of the Sizzling Sirens weekly meetings, Swanson presented the troupe with a full list of penal code violations and “told them to go for it!”

The night’s performance sends me on an expedition through more than 17 scandalous violations: “Public Intoxication,” “Seduction,” “Unlawful Firearms,” “Bribery and Corruption,” “Robbery,” “Money Laundering,” “Illegal Dumping,” “Mayhem,” “Coercion,” “Kidnapping,” “Corporal Punishment,” “Booby Traps,” “Attempts to Kill,” “Illegal Narcotics” and “Indecent Exposure.”

In “Bribery and Corruption”, “Lucinda Buttons” personifies the ancient goddess of justice. Her eyes blinded by golden beads and balancing a scale, the siren soon shifts from statuesque to seductress. She hypnotizes the audience with each sway of her hips, which sends tassels and gold flying. Hunter S. Thompson bumps me again with his cigarette holder, his eyes transfixed on the stage.

For Buttons, “it’s about embracing your femininity and taking hold of your sexuality…letting that feeling of being sexy empower you.”

“I was that girl that got embarrassed buying underwear,” she said. “Never thought I’d be here taking my clothes off... Thankfully burlesque is more theatrical. I have done some drama, so it works for me.”

In “Public Intoxication”, “Tenacity Jane,” dressed in a flowing golden dress commands the stage with her sultry voice, the band behind her.

“…I can tell if it's truth or lies when you've got bourbon in your eyes,” she purrs.

She then pins up her skirt to a garter, unfastens her halter, and in a blink, exposes glittering tassels before sprawling upside down across the velvet chair like a cat.

“When I am on stage, I'm strangely calm, which I think comes with the confidence in knowing I am a part of a select group of truly amazing women,” “Tenacity Jane” said. “We are different ages, sizes, come from different backgrounds, but we all share something that brings us together and makes us, in a very real way, sisters.”

There's an intermission, which is between two dominatrix dreams, and the intoxicated audience moves to the photo booth, the bar and the dance floor where they sway to the orchestra. As we near twilight, however, I notice the crowd begins to dwindle.

But the night is still young for the rest of us, and the show, crime by crime, commences.

In the humorous finale, “Indecent Exposure”, Tenacity Jane’s character, clad in an exaggerated man mask, slouches in a cinema, pants around the ankles, bathing in popcorn and public indecency. Laughter, like dynamite, detonates throughout the audience as two cops played by “Jay Siren” and “Alijah Dresden” heavy-handedly lay down the law.

“When we all bust out laughing, we know we are on to something,” Tenacity Jane said. “We love to celebrate our sensuality and silliness, audacity and freedom. Anything can happen on stage, and usually does. Being there feels magical.”

As magic makes its way to the final end, I think how the long list of criminal acts could mean a life sentence for the sizzling sirens. But, for some reason, it doesn’t quite feel like punishment.

The next installment of the burlesque siren show series will be a comedic casino, cabaret show “Lets Get Lucky!” on Thursday, March 3 at Harlow’s.

Photos by David Alvarez

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

City Theatre's 'From Berlin to Broadway: A Kurt Weill Cabaret'

2010-04-26T06:54:12Z

When people think of Kurt Weill, the German genius behind countless musicals and operettas performed throughout the last century, they usually think of three things: prostitutes, liquor and war-torn Germany.
In Sacramento City Theatre’s latest production “From Berlin to Broadway: A Kurt Weill Cabaret”, director Adrienne Sher brings all of these things together through brilliant numbers, accentuating the mystery of the work with an undercurrent storyline that ties it all together, and all on her first musical.
With a great minimalist set, designed by SCC’s Shawn Weinsheink, the audience is taken to the docks where the majority of the numbers take place.
The show itself is a collection of pieces from Weill’s life’s work left behind after his death in 1950. The show depicts the course of his life moving from Germany to France to America, and shows the differences in his musical craftsmanship through the writers that he worked with including Ira Gershwin and Langston Hughes.
The brightest spots in the production came from a cast with talent all over the map. Many strong voices could be heard, including Martha Kight, Carley Neill and Kim McCann-Lawson.
The dancing aspect of the show was lacking and often inconsistent, but a brutally staged piece involving a woman (Amsale Darden) who keeps coming back to her man (Julian Sandoval) for more brought the pace to a fervent pitch that kept the audience on the edge of its seat.
The play’s ensemble is made up of a rag-tag bunch of multitasking actors who constitute the band, many playing multiple instruments throughout the production. The main showman was Zack Sapunor playing upright bass, and his use of slap-bass and using hands for rhythm brought the music to a height that many others couldn’t reach. However, the idea of actors all taking part in the band aspect of a musical is rather enjoyable, and pulls the cast together onstage into a cohesive whole.
In the end, the only downfall to the production was a dramatic lack of energy on everyone’s part. Perhaps opening jitters, perhaps under-rehearsed, but the audience occasionally were very aware they were looking at tired, worried actors.
MAX’S RATING - A CHEER AND AN INVITATION TO SEE IT AGAIN WITH A GERMAN WOMAN OF THE NIGHT.

The Bohemnians had a Ball

2010-04-12T01:46:22Z

Lavish fantasies become realities at Sacramento's first Bohemian Ball last night:

Here's a peek in case you missed it:

Burlesque cabaret, corsetry/lingerie fashion show, clothing and accessory vendors and Fire Performances, DJs with live percussion created an eclectic alchemy of breaks, dub and middle eastern music;Organic dinner buffet and afterparty treats; Russian Imperial recipes were recreated by the chef of Sacramento's exclusive caviar and sturgeon restaurant, Cafe Americain; Hookahs, Liquid Love Elixirs, Absinthe tasting and many surprises.

SacPress Photos | Kati Garner

Review: A Single Man

2010-01-08T09:30:12Z

A Single Man
Directed by Tom Ford

By Tony Sheppard
Capitol Weekly

Colin Firth plays George Falconer, a professor in 1962 Los Angeles who loses his long time partner in a distant car wreck and struggles through the lonely aftermath, trying to get through each day without him. There’s nothing unique about losing a loved one but Falconer, as a gay man in that period, has only one person he can share his feelings with, his best friend Charley (Julianne Moore) with whom he also shares a complicated past. At work and in his daily life, he maintains a stoicism that hides the lost romance that was always hidden.

“A Single Man” is based on the novel by Christopher Isherwood – the Chris of “Chris and Don” and the writer of the source material for “Cabaret.” The film is directed by fashion designer Tom Ford. There are some directorial choices that are a little too self-conscious at times, but the result is still powerful and one of the top picks of the year (it’s a 2009 film opening slightly late in Sacramento). Firth is excellent in the lead role [side note: Firth himself is the child of two college educators] and is supported well by Moore and by Matthew Goode as lost love Jim (seen in flashbacks – and also seen in another release this week: “Leap Year”). All grown up since 2002’s “About a Boy,” Nicholas Hoult plays a concerned student in one of George’s classes and rounds out the cast nicely.

It’s perhaps too easy to look at “A Single Man” in the context of the era depicted and sympathize with George for the time in which he lived. This was California a decade before Harvey Milk moved from New York City to San Francisco and a period when ‘moral turpitude’ was still very much an issue, especially for educators. But, almost 50 years later, and despite much greater acceptance of gays in society, many individuals still live in fear of adverse family reactions and even the loss of employment for simply being themselves. One of the complications for George is that he isn’t welcome at Jim’s funeral—and is only even aware of it because of the kindness of a single sympathetic family member. This is not something that will be hard to appreciate for gay members of the audience, especially those who have had to cope with similar inhospitality and homophobia. And the fictional George and Jim, as well as the real life Chris and Don, would still not be able to marry in today’s California.

But, politics aside, the movie is excellent and reminiscent of both “Lost in Translation” and “The Visitor” in terms of capturing a mood and a moment in the life of a middle aged man who no longer expects to form the type of personal connections he has previously. It would make an interesting double-header with the character study of middle-aged isolation, albeit more self-inflicted, depicted by George Clooney in the similarly excellent “Up in the Air.”

"A Single Man" opens at the Crest Theatre, January 8th.
For showtimes and other details visit www.thecrest.com.

Cosmopolitan Cabaret announces 2010 season

2009-11-25T03:44:12Z

On Monday, Cosmopolitan Cabaret announced its 2010 season, the cabaret's first scheduled season with a full lineup of shows. Nov. 30, California Musical Theatre, which runs the Cosmopolitan Cabaret as well as the Music Circus and Broadway Sacramento, will begin selling tickets for the three shows making up the season.

The 2010 season will begin Jan. 26 with My Way: A Musical Tribute to Frank Sinatra, followed by a murder-mystery non-musical play called Shear Madness and end with Suds, an upbeat love story with a 1960s top-40 soundtrack.

Last September, the cabaret began its first show, Forever Plaid, as an open-ended run. It ended after a year, earlier than had been hoped. But it lasted 387 performances and drew 46,000 people before closing as the longest-running, professional-equity theatre production in Sacramento history.

"We were hoping it was going to run for five years and be a smash hit," said Christopher Bower, CMT's director of marketing. "But we didn't really have a certain date in mind (to close), we were just going to see how it went."

Last spring, CMT management decided to move to a normal cabaret season with several productions per year.

"We got hit pretty hard with the economy going down the tubes right after we opened, but it started to get its legs and we decided last spring that it might be better to go with a season format," Bower said.

As CMT executive producer Richard Lewis saw ticket sales dwindling, he decided to close Forever Plaid, according to an article in the Sacramento Bee. On Sept. 22, CMT opened Late Night Catechism: 'Til Death Do Us Part, a one-woman show which ended Nov. 22.

The production featured a minimalist set, with Emmy-Award winning actress Nonie Newton-Breen playing a nun who offers humorous lessons on various Catholic sacraments.

She will reprise her role as a nun for six weeks beginning Tuesday, Nov. 24 in Sister's Christmas Catechism, followed by a one-week encore show of 'Til Death beginning Jan. 5, 2010. Both shows have improvised material with heavy audience interaction.

Bower said that there is much to be learned from the first year, and the CMT won't know if the cabaret is a success until having completed several more seasons. He also said Forever Plaid was so funny and well done, once the word got out, people started buying tickets quickly.

"Artistically, the show itself got great reviews and great audience response," Bower added. "Financially, (the year) had its ups and downs but it's a learning process. We didn't really know what to expect, we'd never run a cabaret-style theatre before."

Cosmopolitan Cabaret is located on the corner of 10th and K streets.

The following is the Cosmopolitan Cabaret's 2010 season schedule and plot summaries, taken from www.californiamusicaltheatre.com:

My Way: A Musical Tribute to Frank Sinatra

Jan. 26 - May 9 (previews Jan. 26 – 28, opening night, Friday, Jan. 29).

The four-person musical review celebrates the music of this icon of cool: a singer whose style, voice and attitude defined much of 20th century music. Two dynamic couples perform 58 songs made famous by the Chairman of the Board, including "Strangers in the Night," "I’ve Got You Under My Skin" and “New York, New York.”

Shear Madness

May 25 - Sept. 5 (previews May 25 – 30, opening night, Tuesday, June 1).

Taking place in a beauty salon, this uproarious whodunit includes colorful characters, spontaneity and topical humor. And the audience gets to solve the crime! "Shear Madness" has had long-running engagements around the country including Chicago, San Francisco, Washington D.C. (9,000 performances and counting) and the original Boston production which opened in 1980 and is still going strong.

Suds

Sept. 21 - Jan. 9, 2011 (previews Sept. 21 – 23, opening night, Friday, Sept. 24)

Suds is a delightful musical about a teenage girl and the guardian angels who come to teach her about finding true love. This bubbly musical set in a laundromat features hits from the '60s including "Where the Boys Are," "These Boots Are Made for Walkin’," "Respect," "I Feel Good" and "Do You Want to Know a Secret."

Subscriptions are available for purchase beginning Monday, Nov. 30, at the Wells Fargo Pavilion Box Office, 1419 H St., Sacramento, or by calling (916) 557-1999.

Subscription tickets are discounted more than 20 percent off the price of the tickets sold separately. Tuesday, Wednesday, Thursday and Sunday evening performances and Thursday matinee performances are $79 for the three-show package. Friday and Saturday evenings and Saturday and Sunday matinee packages are only $89. Subscriptions for premium tables on the first tier are $89 and $99 respectively. Discounts are available for groups from 12 to 199 by calling (916) 557-1198.

Single-show tickets for each of the productions will go on sale at a later date.

"Graham-a-Rama" provides unique cabaret experience

2009-09-10T03:44:16Z

Graham-a-Rama, a weekly cabaret show put on by local music director and pianist Graham Sobelman, was only planned to run a few weeks. But after the success of the first few shows in February, Sobelman has continued the show nearly every week since then, has guest appearances confirmed as far out as January and will continue the show until it "runs its course."

It has gained somewhat of a cult following, selling out nearly every show. Most of the audience has been to multiple shows, Sobelman said.

Graham-a-Rama, one of the few cabaret shows in the grid, is a mix of original music, standup comedy, musical theatre and rock 'n' roll covers. The instrumentation consists of Sobelman on a grand piano, a bass player, a drummer and occasionally a guitar player.

"Maybe that's why it's done so well," Sobelman said. "There's nothing else like it."

Each show has different scripted portions with local guest vocalists using a number of costumes and props including an inflatable sheep, and also an improvised crowd participation element including trivia, mad libs and sing-alongs.

It started with a group of musical theatre friends hanging out — Sobelman has been playing piano for musicals in the area since 1994 — taking songs and performing them out of context. Sobelman became friends with theater actress and singer Nancy Zoppi (who will perform in Graham-a-Rama this Sunday), whose father, Bobby Zoppi, helped provide the Geery Theater as Graham-a-Rama's venue.

The theater, located at 2130 L St., is housed in a green Victorian and only holds 49 seats. It's such an intimate performance, during one of the shows, audience members were asked to sit on stage as a nod to the musical Spring Awakening, Sobelman said.

So far Sobelman has staged 25 Graham-a-Ramas, sharing the stage with about 40 guests and performing over 400 songs. The show has received media attention nearly every local media outlet including The Sacramento Press, The Sacramento Bee, Sacramento News & Review, and Capitol Public Radio.

"I'm happy with how it's been," Sobelman said. "I never take anything for granted, and I'm not expecting it to sell out every week."

"I've enjoyed every single show, but obviously I like working with Nancy Zoppi," he said. Sunday will be her fourth time with Graham-a-Rama."

Graham-a-Rama is impressive in its juxtaposition of serious songs with standup comedy. One moment you might be laughing, and the next thing you know, a performer is singing a sad song about unrequited love.

One of the funniest moments, Sobelman said, was during a performance of the ballad "The Sun and I" (click link for video) from the musical Hot Mikado. About 20 seconds into the song with the audience totally silent, an audience member "who was out of her element," wearing a ton of jewelry and sporting a fake tan, stood up and left the theater, he recalled.

The audience (and performers) erupted in laughter.

In subsequent shows, "Ms. Jangles" as she is known now, has become a recurring character in skits. Re-enactments of the whole episode have also taken place.

"We make fun of everybody," Sobelman said. "But we don't set out to offend anybody."

Tickets can be purchased here for $14.50. Mature audience are recommended.

Photographs courtesy Tony Sheppard.

Sirens sizzle at anniversary cabaret show

2009-07-28T04:08:00Z

Sacramento’s Sizzling Sirens heated up Shady Lady Saloon Sunday night.

For their one-year anniversary show, the six-person burlesque troupe took the stage for an hour and a half of flirtatious numbers and plenty of naughtiness.

Attendees, who were encouraged to dress in '20s-themed attire, were decked out in suspenders, fedoras, sequined flapper dresses, pearls and pin curl. The bar's authentic saloon decor was more than fitting for
a Cabaret show.

The celebration started at 9 p.m., and a sexy jazz performance by The Harley White Jr. Orchestra set the sultry mood for the evening, further set by the Saloon's dim lighting. The spotlight went to the corner stage, where the sirens took turns tantalizing the audience.

As soon as the girls began writhing and wiggling their bodies to tunes of jazz and blues hits, the bar quickly filled to maximum capacity, with many of the male clientele positioning themselves feet away from the stage.

The dancers took turns putting on both solo and duet performances, using props like chairs and feather boas while they tantalized the audience.

Their scanty clothing became props as well, as the girls used their corsets, pearls, elbow-high gloves, garters and lingerie decorated with lace and bows as yet another way to tease the audience while they peeled away layers of clothing and accessories.

In between the ten sets, emcee duo The Freebadge Serenaders, a jazz duo, entertained the audience with wisecracks pertaining to the evening and revved the crowd up for the next striptease. Not much revving up was needed however, as the audience gladly whistled and hollered appreciatively with every unbuttoning of a corset and removal of a fishnet stocking.

The siren team for the evening was made up of Lorelai Love, Ava Aurore, Alex Digitalis, Shauni Fatale, Jay Siren (instructor of the group) and Lucinda Buttons.

Love serenaded the audience with velvety blues hits from previous decades like “W.O.M.A.N.” by Etta James and “Love me Like a Man” by Bonnie Rait.

A halftime show performance by the Serenaders included what they called “the least sexiest instruments alive: the banjo and the washboard.”

Raffle tickets, sold for $5, gave audience members the chance to win gift certificates to Shady Lady, Isabella Corsetry, Muse Salon and dance lessons at The Firehouse 5.

The cabaret-themed party continued until around 2 a.m. while guests listened to jazz, sipped on handmade cocktails from the bar and checked out the sexy Sirens while they mingled.

In the past year the Sirens have graced the stages of many Sacramento venues, including Press Club, Badlands, Parlare and The Park Ultra Lounge for the annual Hair Wars competition. Next up for the girls is the “We wash. You watch.” fundraiser car wash Aug. 8 at Suzie Burger. They will give an eyeful while they give scrub-downs to bikes, cars and mopeds.

The Sizzling Sirens host burlesque fusion dance classes at Midtown’s The Firehouse 5 every Sunday and also offer private and group lessons. For more information, visit The Sizzling Siren's website.

All images taken by Anthony Bento

Graham-A-Rama cabaret sells out - in a good way!

2009-03-13T06:08:09Z

After only six weeks of shows, the Sundays-only Graham-A-Rama cabaret series at the Geery Theater performed for a full house last week. Here are a few photo highlights from the show....

The pre-show crowd waits to be allowed in:

The crowded Geery Theater:

Graham-A-Rama VI leads Kevin Caravalho and Joelle Wirth (with drummer Alfonso Portela in the background):

From the back of the house:

Caravalho (right), Wirth (center) and impresario Graham Sobelman (left):

Graham-A-Rama VII "We're Seriously Irish" plays Sunday March 15th at 7pm and 9pm at the Geery Theater, at 22nd and L Streets. For an earlier Sacramento Press interview with Sobelman, including reservation information, visit: INTERVIEW

This Week: 7 Days, 7 Things To Do

2009-03-09T23:49:41Z

This storyline is simple. We all know that there are 365 days in a year, 52 weeks in that year, and 7 days in each week. Sacramento365.com aims to showcase this artistic & cultural city's events, 365 days a year. If you ever feel like there is just nothing interesting to do in this great city or you're tired of doing the same things all of the time, my hopes are that these articles will inspire you to explore what Sacramento has to offer and realize the diverse & interesting place we call home. There is something unique going on every day! Every week I will outline an event a day for that week for your enjoyment. Get out of your comfort zone & try something new.

Week 10: March 10-16, 2009, Check out:

Tuesday, March 10: Metro Expo 2009

Organized by the Sacramento Metro Chamber of Commerce, Metro Expo 2009 is a Business-to-Business networking extravaganza! Visit one of the 200+ exhibitors and hob-nob with the decision makers of over 1500 regional businesses. The event begins at 12:30pm with Opening Ceremonies followed by sales, education, and networking workshops throughout. The event ends with a networking reception from 5:00-7:00pm. Tickets for the full event are $30/members and $45/non-members. Tickets for the reception only are $15/members and $25/non-members. Location: Sacramento Convention Center, 1400 J Street, (916) 808-5291.

Wednesday, March 11: Karaoke @ Townhouse Lounge

Does this weather make you feel like singing the blues? Lately you might be feeling like you want to get up and dance! Either way. there is nothing like a night of karoake to get your spirits up! Check out the TownHouse lounge every Wednesday and Saturday nights to witness some local talent (likely along with some less talented folks...) and maybe try a song or two for yourself. Located at 1517 21st Street.

Thursday, March 12: The Spanish Harlem Orchestra

Capital Public Radio's 30th Anniversary Celebration: a dance concert with The Spanish Harlem Orchestra. Held at the Memorial Auditorium, the concert begins at 8:00pm. Tickets are $25 a person. Reserve your seat before tickets are gone! Call (916) 278-8900.

Friday, March 13: Camellia International Folk Dance Festival

A festive, entertaining day filled of ethnic folk dance performances and workshops. Held @ Sac State. Tickets range from $7 for individual shows/workshops to $25 for the full event. (916) 923-1555.

Saturday, March 14: Eat Mochii to Help save the Sacramento Ballet

Treat yourself to a tasty cup of frozen yogurt at Mochi Yogurt this Saturday and they will donate 20% of the proceeds to help save the Sacramento Ballet! As part of the Second Saturday Art walk, Body sculptures, DJs and artists will be present from 6pm to 10pm. Mochii Yogurt is located at 1530 16th Street (corner of 16th and P Streets). (916) 441-2601.

Sunday, March 15: Graham-O-Rama Cabaret

Join Graham Sobelman and his weekly guests for an all around good time! This week Tristan Rumery & Christina Day star in "We're Seriously Irish". Enjoy live entertainment with singing, comedy and encouraged participation from the audience! This show is not for the conservative crowd- expect lots of racy humor and adult content. $15 a person- cash only, at the door (also get a $5 off coupon for the next week's show!). Held @ the Geery Theatre, 2130 L Street. (916) 798-6352.

Monday, March 16: Thistle Dew Playrights Workshop

If you are interested in participating in bringing new plays & musicals to Sacramento (i.e. Thistle Dew Theatre...) and have Monday nights free, check out the Playrights Workshops held at Thistle Dew Dessert Theatre every Monday night. They call it "Monday Evenings at Seven". Bet you can guess what time it starts. This is a FREE workshop where readers, writers, theatre critics, directors, producers, actors, and theatre aficionados are invited and welcomed. Thistle Dew Dessert Theatre is located at 1901 P Street, (916) 444-8209.

Sacramento365.com wants YOU to get out and see a show, visit an exhibit, take your family or friends to a festival... basically, just get out there and discover all the amazing things happening throughout our community... 365 days of the year! And if you're a visitor, we hope you'll find plenty of reasons to stay an extra day or two and see why Sacramento is such a great place to live and visit. See you next week...

*** If you have an event you would like to promote on Sacramento365.com click here to enter your event/venue/organization information. It's FREE to do and does not require a login account or password***

It's not just cabaret, it's Graham-A-Rama!

2009-02-21T22:06:52Z

Courtney Glass and Connor Mickiewicz perform in Graham-A-Rama III: "Not the Marrying KInd" on Sunday, February 15th, 2009 at the Geery Theater - video and screen capture by Mike Yee

With little fanfare or exposure, one of the best and least known shows in town opened a few weeks ago, on Sundays at the Geery Theater on the corner of 22nd and L Streets. Featuring local stage actors and singers, the Graham-A-Rama cabaret series is a perfect fit for the Geery’s intimate space, giving the feeling of having been invited to a private party of some kind – like the ultimate insider experience, even for outsiders!

I asked the man behind Graham-A-Rama (and behind the piano) Graham Sobelman, a few questions about the series:

Could you describe the basic concept and format for Graham-A-Rama?
GS: I think initially it was mostly an excuse for me to see my theatre friends. Most of us go from show to show and unless you're actually in a show with someone, you never get to see them. So, I thought doing a Sunday evening cabaret show would give me a chance (or an excuse) to see them.

Additionally, I feel like I know some incredibly talented singers in the area that I think are underexposed. I've played for dozens of shows over the years and there are some really great singers in town. A cabaret show seemed like a great venue to share them with Sacramento and also a chance for them to perform songs that they love, not just the songs in the shows they're cast in.

The initial format was to have 2 singers share the evening. Keeping it casual. While working on the first show, we decided it would be fun to include some audience participation (sing-a-long, trivia, etc).

What was the inspiration? - I've heard tales of legendary living room singalongs!
GS: We tried to sort of emulate the sing-a-long parties at my house, where we'd stay up all night and sing around the piano. In that venue, people can sing whatever songs they want - they can sing harmonies whenever they want and there are no inappropriate choices. I love TV theme songs - that's how the TV theme song sing-a-long got included [in Graham-A-Rama]. So, hopefully, these shows give a sneak peak into our late night craziness around the piano.

Last week's "Not the Marrying Kind" with Connor Mickiewicz and Courtney Glass was great - are all the shows themed in some way?
GS: Last week's was the first totally themed show. They worked really hard putting that together. The first shows had more thematic segments - each person had 2-3 sets and we grouped the songs thematically. Tony had a "sex, drugs, and rock and roll" section. Nanci had an “auditioning-in-NY” section. Scott and Kelly had a “songs-I'll-never-get-to-sing” section.

What might audiences expect in the coming weeks?
GS: I'm considering a St. Patrick's Day section for one of the March shows. Mar 22 is called "Wig in a Box" - there will be wigs everywhere. I'm thinking about doing an 80's pop music night with 5-6 singers. I'm bringing a friend's cabaret show from SF up in April. And in early May, I'd like to do an all-star show featuring the best numbers from the first 10 shows.

So now we know how you spend your Sundays - what else do you have in the works?
GS: I’m working on finishing my band's 2nd album (the first one is on iTunes "This is ain't Betty"). I am music directing a few shows around town this spring, and I'd like to use the Geery for a couple of staged readings of some musicals. It's a great venue for intimate performances.

Next up: On Sunday, February 22nd, Graham-A-Rama reprises the show that started it all, with Tony Wichowski and Nanci Zoppi.

Graham-A-Rama showtimes are 7pm and 9pm on Sundays at the William J Geery Theatre, 2130 L Street, Sacramento. Tickets are $15 (cash only) at the door and reservations can be made by calling (916) 798-6352. Note: Reservations are only held until 15 minutes before showtime. Find upcoming schedules and all things Grahamy at www.grahamsobelman.com. Video clips from past shows can be found on youtube by searching for grahamaramacabaret.