Newest articles on The Sacramento Press tagged as "musical"

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).

'Forbidden Broadway' vet Selby sings praises of Cosmopolitan Cabaret's game-for-anything cast

2012-01-27T03:04:26Z

William Selby remembers well when he first heard about a little cabaret show that was generating buzz among New York theater fans.

“I was a full-time actor at the time, and I had a roommate who was a waiter at this place – Palsson’s (Supper Club) on West 72nd Street,” Selby said. “He came home one night raving about something called ‘Forbidden Broadway’ and did a number for me.

“I fell off the bed laughing – I knew I loved it right then and there.”

Selby wasn’t the only one who embraced Gerard Alessandrini’s concept of a satiric revue that both celebrated and skewered musical theater.

Since its opening 30 years ago this month, “Forbidden Broadway” played almost continuously in New York (after more than 9,000 performances and 20 editions) before closing in 2009. Additionally, Alessandrini’s parodies of both popular and pompous Broadway tuners have spawned a worldwide cult fueled by a continuously updated score and countless tours and special engagements.

One such production, directed by Selby, opens in Sacramento Jan. 27 for an eight-week run at California Musical Theatre’s Cosmopolitan Cabaret.

Selby joined his first “Forbidden Broadway” cast in 1985 when he was selected for a Washington, D.C., production.

Just as he imagined, Selby found it was love at first spoof.

Beyond the joy of performing twisted versions of the Great White Way’s greatest hits to wildly appreciative audiences, Selby said he became a part of something more permanent than a Playbill listing.

“One of the nice benefits of being part of ‘Forbidden Broadway’ is that it’s a family,” he said. “I’ve made some of the truest friends I’ve had.”

“I’ve always come back to it because I love it,” Selby continued.

After 15 years of playing dozens of theater legends in their best and worst roles from San Diego to Singapore, Alessandrini and producer John Freedson suggested Selby join the team’s directorial staff.

“By that time, you know what works,” said Selby.

Since making his directorial debut in Minneapolis in 2001, he has led shows in New Orleans, Chicago, Los Angeles, Long Beach, Pittsburgh, Cleveland, Detroit, Kansas City, Milwaukee, Long Island, N.Y., and at sea onboard a Regent Seven Seas Cruise Lines voyage.

The production at the Cosmopolitan Cabaret marks his 15th show at the helm.

While he said he keeps “pretty busy” with “Forbidden Broadway,” both as a director and performer, the Emerson College alumnus continues to take acting gigs that are far from his “FB” roles, including playing the prompter opposite Keith Baker in “Barrymore.”

Selby said working on both sides of the “Forbidden Broadway” footlights gives him invaluable insight on what works – and who works – on stage.

He said he was quick to pick the four performers ultimately selected for Sacramento’s production from the L.A.-based auditions.

“I know in the audition if they can do it – it’s a matter of confidence,” Selby said.

Freedom from fear of failing is an important trait shared by successful “Forbidden Broadway” cast members, he continued. Most of those who try out aren’t professional impressionists, “But as we always say, you don’t have to be a great impersonator, just be willing to try.”

Selby gushed about the way his cast (Marc Ginsburg, Jerry Lee, Jessica Reiner-Harris, Melissa WolfKlain) has shed all self-doubts and vanity to take on the diverse numbers (and costumes) demanded of “Forbidden Broadway” performers.

Jerry Lee and Jessica Reiner-Harris have River City roots, and WolfKlain recently spent eight months at the Cosmopolitan Cabaret performing as the soubrette in “A Grand Night for Singing,” and Cindy in “Suds.”

Ginsburg is a Philadelphia native and former New Yorker now living in Los Angeles ~~Sacramento~~ .

“These guys have totally nailed it,” Selby said of the quartet that escorts their audiences through a whirlwind tour of classic and contemporary musicals from “Hello, Dolly!” to “Hairspray,” and from “Man of La Mancha” to “Jersey Boys.” “Even after all of these years, I don’t take the show lightly. They have to perform the numbers as if they’re actually doing the original shows.”

Selby stressed that one does not need to be a fan of said original productions – or musical theater in general – to enjoy a “Forbidden Broadway” revue.

“You don’t even need to be aware of all of the shows,” he said. “The costumes alone are hysterically funny.”

Selby said Alessandrini and his creative team are very conscious that their audiences aren’t all New Yorkers with easy access to the Times Square TKTS booth, and dismiss more-obscure titles from their list of shows ripe for mocking.

One of the things his New York-based team does in tailoring a “Forbidden Broadway” show for a particular city is to look at what tours recently played in that area. (“Mary Poppins,” which recently played at the Sacramento Community Center Theatre under the California Musical Theatre banner, is featured in Sacramento’s “FB” revue.)

But he also said they try not to underestimate audiences as they’ve found audiences in the hinterlands who were crazy for numbers culled from lesser-known shows.

Call “Forbidden Broadway” a parody, a spoof or a mock-musical, but Selby said it’s not an all-out farce.

“You can play it too broadly,” he said, switching gears to offer up an example of a Carol Channing impression gone awry.

“It can be grotesque,” he said. “There’s a level, and you have to keep that level.”

It’s a balancing act his current cast has perfected, he said.

“They’ll give you what you ask for – they’ve found capabilities even they didn’t know they had.”

Selby said all four shine as newly minted mimics.

“Jessica does a tremendous Patti LuPone. Marc’s Mandy Patinkin … well, I was proud of mine, but his is better. … Melissa – her Carol Channing is so funny. ... Jerry is a terrific Robert Goulet. These four have very strong voices.”

Along with kudos to his cast, Selby applauded the California Musical Theatre/Cosmopolitan Cabaret creative team, including Executive Producer Richard Lewis, Artistic Director Glenn Casale and ~~Company Manager~~ Cosmopolitan Cabaret Associate Producer Marlene Shire-Anderson.

“I’ve decided this is the best team by far that I’ve ever worked with,” said Selby. “They dot every ‘I,’ cross every ‘T.’”

JUST THE FACTS
WHAT: “Forbidden Broadway,” a musical revue parodying classic and contemporary musical theater hits from “Man of La Mancha” to “Wicked.”
WHEN: Jan. 27-March 18, 2012 (7 p.m. Wednesdays; 2 and 7 p.m. Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 p.m. Sundays)
WHERE: Cosmopolitan Cabaret, 1000 K St., Sacramento
TICKETS: $33-$43; call (916) 557-1999 or go online at www.tickets.com
FOR INFO: www.calmt.com

Editor's Note: Edits have been made to this article after publication.

Photo Essay: The Wedding Singer Musical

2012-01-14T23:06:52Z

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

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

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

Say hello to 2012 at these New Year's Eve nightlife events

2011-12-29T22:06:32Z

Can you belive 2011 is practically over? New Year's Eve is this Saturday and if you're still searching for plans, we here at Sacramento365.com have gathered up some activities for you.

If you're looking for a great, family friendly New Year's Eve experience, complete with fireworks, be sure to head to Old Sac for the New Year's Eve Sky Spectacular.

But, for those of you who are looking for some adult celebrations--no kids allowed--here're a few options to greet 2012 (see even more in our Top 10 & Holiday Event Section). Sacramento nightlife is kickin'!

1. New Year's 2012 Bash with Mickey Avalon: Ace of Spades, 7pm
Hailing from Hollywood, Mickey Avalon is known to the world as one of the hottest underground American rappers and has become a fan-favorite.

2. New Year's Eve Gala: Chicago: Davis Musical Theatre Company, 8pm
Ring in the New Year with Broadway favorite: Chicago. The Tony Award winning performance of the “truth-is-stranger-than-fiction” play is opening for a special preview, accompanied by a catered buffet dinner, champagne, dessert, party favors, a live DJ, and more.

3. Townhouse New Year's Eve Party: TownHouse Lounge, 8pm-2am
On the 365th day of the year, The Townhouse presents a very special NYE party with some of your favorite DJs on both floors: Electro/House/Progressive with Mike Diamond & My Cousin Vinny & Indie/Pop/Dance with The X-GVNR (Pop Freq, Get Wet) & Jon Droll.

4. NYE at the Hyatt Regency: Hyatt Regency Sacramento, 8pm-2am
Start the evening with a cocktail in the acoustic lobby lounge listening to the sounds of Quinn Hedges and Ryan Hernandez, then enjoy a gourmet four course meal in Dawson’s, followed by the big event in Sacramento’s largest nightclub with DJ Rated R and the Cheeseballs.

5. New Year's Eve 2012: The Golden Bear, 8pm
What better way to welcome 2012 then spending your evening partying it up at The Golden Bear? There is no better way! Live and direct--DJ Crook on the 1s and 2s spinning all your favorite joints and jams. Cheers with a champagne toast at Midnight, plus take advantage of New Year's Eve drink specials all throughout the night.

6. NYE 2012 Celebration: MiX Downtown, 8:30pm
Celebrate the end of 2011 and the start of 2012 inside Sacramento's favorite rooftop nightclub and lounge, which is also celebrating its third year of amazing parties and fabulous events. Complimentary champagne at Midnight, party favors, and lush decorations get you in the mood for a hands in the air night of dancing and partying with friends.

7. New Year's Eve Bash with John Nemeth: Torch Club, 9pm
John Németh is a rising blues star; a singer steeped in the tradition and reminiscent of B.B. King, Ray Charles and Junior Parker, and a harmonica player of riveting intensity and virtuosity.

8. NYE Dance Party with DJ Larry Rodriguez: Fox & Goose, 9pm
DJ Larry Rodriguez's Dance Party celebrates its 15 year anniversary on New Year's Eve with round, warm sould & funk. DJ Larry Rodriguez is bringing some of Sacramento's favorite dance party kings Mike C. and Tim Matranga to round out the night.

9. Roaring '20s NYE: Crescent Club, 9pm
Take a trip back in time to America's glorious Prohibition Era as you celebrate the New Year with gangsters, glamour, and gambling. The evening’s entertainment includes a Speakeasy Casino, Ballroom Swing Dancing, Gypsy Jazz, Blues, & Cabaret, featuring live music by the notorious Crescent Katz.

10. D30 New Year's Eve with DJ Serafin: District 30, 9pm-3am
In addition to the innovative sound of DJ Serafin, enjoy a huge balloon drop, dazzling confetti rain, complimentary champagne toast at Midnight, delectable confections at Midnight, and complimentary party favors.

------------------------------------------------------------------------

Find more detail on these events along with many more at Sacramento365.com, the year-round source for Sacramento events.

Disclosure: Rachael Lankford is the Managing Calendar Editor for Sacramento365.com, the year-round source for Sacramento events.

Sacra-Melo: A musical parody playhouse aboard the Delta King

2011-12-02T04:55:40Z

The audience booed the villains and cheered the good guys, cued by the piano keys played by Musical Director John Cocuzzi Saturday during Sacra-Melo's production of "It's A Wonderful Life" aboard the Delta King.

Sacra-Melo, a combination of the words “Sacramento” and “melodrama,” is a musical parody playhouse, co-founder Gary Winterholler, 46, said. He and his wife, 46-year-old Cammie Pavesic, started it in January.

"I have done some work for another theater in town, and I loved it. I went and auditioned for the next show, but they did not cast me, and I said, ‘Let's start our company,’ " Winterholler said.

The first musical parody Sacra-Melo performed was the "Phantom of the Opera," which premiered Sept. 30 and ran for 12 shows.

"It comes from vaudeville, that kind of stand-up comedy and burlesque wrapped into one," Pavesic said of musical parody melodrama. Sacra-Melo's musical parody melodramas come with live music played by Cocuzzi, which she said is an important part of their performance and something that is unique to Sacra-Melo.

With a cast and crew of 16 people for their current show "It's A Wonderful Life," the Sacra-Melo actors all agreed that their company is best described as a family.

The characters in the play interact with the audience during the show, addressing phones that ring or spilled drinks, and add those elements as ad-lib comedic material.

"We get to play with the audience, and we get the elimination of the fourth wall," Winterholler said. "You are an actor when you're sitting in the audience."

Sacra-Melo’s improvisational style means the actors are not “married to the script,” Winterholler said. They have the opportunity to ad-lib, depending on the situation presented during their shows.

Saturday's show was no exception.

When one of the stage curtains failed to open, Gian Montesini, 44, playing the role of Mr. Potter, said, "The beauty of live theater," as his reaction to the curtain failure.

The audience laughed at the blunder – something that would have been catastrophic for traditional plays, but with Sacra-Melo, it was an opportunity for some laughs.

"It's not your traditional musical theater that has been done to death, your traditional fluff comedy that has been done to death or your thought-provoking Shakespearean plays," Montesini said.

Director Cindy Lopez, 35, said Sacra-Melo fills a gap that is missing in local theaters. Winterholler added that they are the only musical parody playhouse in Northern California.

"This is pure fun and pure entertainment," Lopez said. "We're not gonna try to make anybody cry."

Some of the cast for "It's A Wonderful Life" were also cast members of their production of "The Phantom of the Opera," while some were selected during an audition Lopez held in October.

A lot like any other family, Winterholler said that being part of Sacra-Melo had trials and tensions, but also a lot of love, which had cast members coming back despite hectic, and at times stressful, rehearsals. They had four weeks of rehearsal for "It's A Wonderful Life."

"It's super cool, and it feels like we all fit in together," said Jaya Dardick, who at age 11 is the youngest member of the cast.

Winterholler said that it is a collaborative effort with all the members to come up with their jokes.

"Everybody that you see here is everybody. We don't have extra people. We do our set changes ourselves … (and) extra bits of cooperation bring us together even more," Actress Bethany Hidden-Cauley, 27, said. This is her first production with Sacra-Melo.

Not all actors are comfortable or can do very well with the type of environment at Sacra-Melo, Montesini said. "It takes that kind of actors to fit in, and that's why we’ve become family, because we're weird like that.”

"How many times have you watched a theater in a boat?" Montesini asked. He said that Sac-Melo's location at the Delta King adds to the overall experience in watching the show.

Click here for more information about Sacra-Melo, ticket prices and show schedules.

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

2011-11-15T04:49:58Z

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

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

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

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

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

The best things happen while they're dancing (and singing): Runaway Stage opens 'White Christmas'

2011-11-13T00:12:51Z

photographs by Barry WIsdom

There's no bigger fan of the 1954 Paramount Picture production of "White Christmas" than yours truly. Frankly, I do not trust anyone who doesn't want to eat up this all-dancing, all-singing holiday confection with a great big spoon ("Yum! Yum!").

The Technicolor/VistaVision musical offers a solid score by Irving Berlin, and a host of cinematic triple-threats including Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen. (OK - the women are really just double threats: the diminutive Vera-Ellen's singing voice was dubbed and Clooney is pretty much stiff as an overcooked gingerbread woman).

The film also features a batch of wonderful supporting performances. These include turns by Dean Jagger, Mary Wickes and, if you look quick, George Chakiris (Sharks leader Bernardo in 1961's "West Side Story") as a chorus boy who backs Clooney in her solo nightclub performance.

It took 50 years, but a stage version of "White Christmas" was finally unwrapped for überfans such as myself, opening in San Francisco in 2004. I still have my program.

The plot is basically the same as the story conceived by screenwriters Norman Krasna, Norman Panama and Melvin Frank: a pair of World War II veterans become a successful song-and-dance team, get roped into reviewing a sister act as a favor to "an old pal in the Army," then head to Vermont, where the sisters are booked at a ski lodge/resort for the holidays.

There, they mount an impossibly lavish show to save the "Tyrolean haunted house"-turned-lodge that just happens to be owned by their former commanding officer. Romance, hilarity and sparkling production numbers ensue.

There are a few alterations for the stage show, including the addition of songs from Berlin's deep catalog ("I've Got My Love to Keep Me Warm," "I Love a Piano," "Falling Out of Love Can Be Fun" the expansion of intimate numbers into full-blown spectaculars ("Snow"), and a reworking of a few characters. Emma, the nosy housekeeper in the film, is now a retired Broadway vet who wants to be in the show, and granddaughter Susan is an aspiring performer. Both characters enjoy featured solos.

Today, this stage adaptation of "White Christmas" is becoming an annual yuletide treat for repertory and regional theaters throughout the United States.

On Nov. 11, Runaway Stage Productions opened the "Sacramento community premiere" of the musical (which features the company's 18-member resident orchestra and an immensely talented cast). Directed by Bob Baxter, "White Christmas" continues through Dec. 4 at Sacramento's 24th Street Theatre (at the Sierra 2 Center), 2791 24th St. (For tickets, call (916) 207-1226.)

I was lucky enough to shoot dress-rehearsal shots of the show a day earlier.

Enjoy!

Broadway Stage in Sacramento

2011-09-11T22:58:51Z

If you’ve ever longed to see a Broadway Musical onstage, with a live 18-piece orchestra, here’s your chance, and in Sacramento! The Runaway Stage is presenting The Drowsy Chaperone through Oct. 2, 2011, with a cast of 19 talented performers. Singing, dancing, acting, they do it all with incredible talent and timing.

A campy 1920s musical comedy within a play, the show is narrated by “the man in the chair” - played by Steve Minnow. He shows us how to beat the blues by listening to old musical comedy records. (yes, records). My favorite line is when he drops the needle on his antique record player and says “You hear that static. I love that sound. To me, it’s the sound of a time machine starting up.” The characters come to life in his apartment, and his ability to stop the play’s action and comment on the storyline ties everything together with verve and nostalgia.

The 24th St theatre is large (with real theatre seats), the audience was large, and if you miss this show, you’ll regret it. “Maybe not today, maybe not tomorrow; but soon, and for the rest of your life.”

http://www.runawaystage.com/broadway.html

Student Review of 'Tommy' Opening Night

2011-05-22T19:10:05Z

The Who’s ‘Tommy’

Opening Night

UC Davis Wright Hall Main Theatre

Thursday, May 19, 2011

With an impressive cast of young performers, “Tommy” lives up to its past Broadway reputation in this UC Davis reproduction. The musical drama is not an easy feat—it is a rock opera composed completely of musical numbers, all of which are performed live on stage and accompanied by a live band.

The story, tragic in many ways, is quite appealing. It captures the early childhood of a young boy named Tommy, and follows him throughout a series of family-induced trauma. The powerful message of hope and belief is clearly portrayed by the end of the play, as Tommy overcomes his struggles and emerges as a world hero.

A pleasant surprise is the vocal abilities of each actor. Each performer delivers his or her musical numbers effortlessly. The songs, reminiscent rock ’n’ roll scores from the ’60s English rock band The Who, are sure to emit some toe-tapping from the audience.

The costumes are terrific throughout the entire production. Each piece is assembled to appropriately represent the elapsed decades in both of the show’s acts, and they will certainly generate some fashion nostalgia among any Baby Boomer audience members.

The entire set resembles a large pinball machine. This is a clever dynamic of the production, and each of the set’s pinball elements are utilized throughout the show. The set has also been designed to mechanically rotate actors and props between scene changes—a theatrically innovative and pleasing presentation for theatergoers. A large screen simultaneously displays projected images according to each scene change. Although this is an obvious technical component of the play, it does not distract from the rock opera’s retro feel.

The concept of “rock opera” may blur the lines of music genres, but do not be skeptical. UC Davis’ Theatre and Dance Department has successfully created a melting pot of theatrical and musical entertainment. Audience members will be satisfied to know they are getting their money’s worth for this well-rehearsed show, as they leave the theater humming the catchy tune of “Pinball Wizard” the entire way home.

"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.

They're Playing Our Song

2011-03-18T21:19:53Z

Currently in its second weekend (of four), New Helvetia Theatre’s production of “They’re Playing Our Song” is another winner from the young company. Founded two years ago, NHT has received high praise for productions that have included “Hedwig and the Angry Inch,” “tick…tick…BOOM!” and “[title of show].”

“They’re Playing Our Song” should appeal to fans of both musicals and plays, as a musical that probably has more distinctive dialog than production numbers. It’s not that the songs are weak, it’s just that the rest of the material comes from the pen of Neil Simon, and so it has that tone that makes it somewhat like watching a Woody Allen movie with musical interludes.

The songs themselves are particularly interesting in the context of the show, in that they are co-written by Carole Bayer Sager (lyrics) and Marvin Hamlisch (music) who are also the inspiration for the story which is based on their 1970’s romance. In it, Vernon and Sonia are a composer and lyricist respectively, who meet to collaborate as songwriters. However, they are both somewhat sensitive and perhaps a little high maintenance, while also being both critical and defensive. Continuing the Woody Allen comparison, it’s like a working relationship and budding romance in which Woody Allen meets his gender-opposite counterpart. In other words, it’s funny.

“They’re Playing Our Song” unites two NHT “veterans” Nanci Zoppi and Jerry Lee as the leads, each of whom are well suited to the roles. And the character’s similar temperaments are also reflected in their respective three-member greek choruses that act like combination muses and personal backup singers (and who very efficiently become the stage crew between scenes). The set is simple but effective, with crowded shelving units creating a sense of divided spaces and also semi-shielding the full band that accompanies the show, and two of the hardest working folding chairs in theater.

Direction is by NHT Founder and Artistic Director Connor Mickiewicz, musical direction by local cabaret mogul Graham Sobelman, choreography by Kiera Anderson, stage management by Caitlin Sapunor-Davis, and collateral material design (poster, tickets) by Paul Le. Additional cast members, familiar to local cabaret and theater fans, are Rosemary Babich, Joseph Boyette, Rebecca Mason, T. Patrick Van, Hilary Wells, and Mike Yee.

“They’re Playing Our Song” continues with shows Thursdays-Saturdays through April 2nd – with an 8pm show each day and an additional 2pm show each Saturday (with the exception of theSaturday, March 19th matinee which starts at 1pm). All shows are at the neat Artisan Building at 1901 Del Paso Blvd, and tickets are available through brownpapertickets.com.

More information at www.newhelvetia.org

Tickets at www.brownpapertickets.com/event/153042

Note: The show photographs were taken, with permission, during the dress rehearsal - some set and/or costume details may have changed.

Sacramento Concerts, Music Events, and The Local Music Scene This Week

2011-03-18T16:06:56Z

Here are some of the many music events happening in the Sacramento area this week. For more detailed information on these events and many more go to www.eMusiConnect.com.

Sacramento Area Concerts & Music Events

Through Sunday, March 20th: 9 to 5 The Musical at The Sacramento Community Center Theatre on 1301 L Street in Sacramento. Shows at 8PM, 2PM, and 7:30PM depending on date. Tickets are $18.00 - $70.00.

A Grand Night For Singing at Cosmopolitan Cabaret on 1000 K Street in Sacramento. Continues WED-SUN. Show times are at 8PM or 7:30PM with some 2PM matinees. Tickets are $33.00 - $48.00.

Friday, March 18th - Saturday, March 19th: Sacramento Ballet In-Studio Celtic Experience at 1631 K Street in Sacramento. Enjoy beer and wine and an intimate performance beginning at 7PM. Tickets are $25.00.

Saturday, March 19th: Sacramento Choral Society & Orchestra presents Verdi's Requiem at Mondavi Center on the UC Davis Campus. Performance at 8PM. Tickets are $30.00 - $50.00.

Saturday, March 19th - Sunday, March 20th: Sacramento Master Singers Celtic Connections III at First United Methodist Church on 2100 J Street in Sacramento. SAT at 8PM, SUN at 3PM. Tickets are $20.00.

Sunday, March 20th: Camellia Symphony Orchestra presents a Family Concert at Tsakopoulos Library Galleria at 828 I Street in Sacramento. Performance at 2PM, Instrument petting zoo at 1PM. Free Admission.

Tuesday, March 22nd: Paul Thorn at Harlows. Show at 7:30PM. Tickets are $22.00 ADV.

Wednesday, March 23rd: Marsha Ambrosius with Melanie Fiona at Harlows. Show at 9PM. Tickets are $30.00.

Wednesday, March 23rd: Richrad Thompson Electric Trio at Ace of Spades at 1417 R Street in Sacramento. Show at 7:30PM. Tickets are $35.00 - $40.00.

Wednesday. March 23rd: Lady Gaga Monster Ball Tour at Power Balance Pavilion (Arco Arena). Concert at 8PM. Tickets are limited $52.00 - $177.50.

Thursday, March 24th: Crocker Art Museum presents Open Art: CORE Dance Collective World Premiere of Silent Noise at 216 O Street in Sacramento. Performance at 7PM. Tickets are $15.00 - $25.00.

The Local Music Scene:

Friday, March 18th:

Jerry Perry presents Island of Black and White - The Bellboys - James Cavern at Old Ironsides 9PM/$7

Mary Youngblood at 7PM/$20ADV and Primo with GPD at 10PM at Harlows

Gino Matteo at Torch Club 9PM/$12

Kevin Seconds - Kepi Ghoulie - Dino The Girl at Fox & Goose 9PM/$5

3 Dance Floors of DJ Top Hits, Hip-Hop, Latin at Faces $5 before 10PM/$10 After

Wonderbread 5 at Power House Pub 10PM/$15

CrookOne TGIF at Golden Bear 10PM/No Cover

Adam Varona - Christian De Wild - Ross Hammond at Distillery 10PM/$6

Set Theory at Marilyns 9PM/$5

80's & 90's DJ Mix at Mix Downtown 9PM

Coco Montoya - Mick Martin & The Blues Rockers at The Boardwalk 8PM/$20-$22

DJ Illest at Dream Ultra Lounge 9PM

DJ G-Roy District 30 9PM

As I Lay Dying - Winds of Plague - After The Burial at Ace of Spades 6:30PM/$20

DJ Billy Lane at Park Ultra Lounge 10PM/$15

Rough House with DJ Shaun Slaughter & Roger Carpio at Townhouse 9PM/$5

Get Down To The Champion Sound with DJ Esef at Capitol Garage 10PM/$5

Hot Tar Roofers - Perpetual Drifters at Luigis Fungarden 8:30PM/$5

98 Rock Local Licks Live with Stepchild - Fallrise - Black with DJ Blend downstairs at Shenanigans 9PM/$5

Sean Powers Shadow Puppet Theatre - Gilberto Rodriquez at Lunas Cafe 8PM/$6

Saturday, March 19th

Richard March at Old Ironsides 9PM/$5

The Newzmakers at Marilyns 9PM/$5

Early States - Wesley Avery - Greenlight District at Ace of Spades 6:30PM/$20

Simpl3Jack - Prieta - Honyock at Luigis Fungarden 8:30PM/$5

Sean Kilcoyne - Chris2Me - Rebel Radio at Fox & Goose 9PM/$3

Wonderland at Mix Downtown 9PM

Cura Cochino - Rabbits - Ungolian at The Distillery 10PM/$6

Country Music & Line Dancing 8PM with DJ's on Three Floors at Faces $5 before 10PM/$10 after

DJ Peeti-V at Park Ultra Lounge 9PM

White Minorities - Mudface - Left Hand - Deadset at The Boardwalk 8PM/$10

Laurie Morvan at The Torch Club 9PM/$10

DJ Whores at The Golden Bear 10PM/No Cover

Superlicious at Power House Pub 10PM/$10

DJ Slick D at District 30 9PM

DJ Larry Rodriquez at Press Club 9PM/$5

The Ricky & Del Rock Show - Dungeons & Dragqueens at Blue Lamp 9:30PM/$8

Oh Dang! at Townhouse Lounge 9PM/$3

Sunday, March 20th

Dragalicious Show & DJ Hits at Faces 9PM/$5

Blues Jam at 4PM & Bone McDonald 8PM at Torch Club 8PM/$7

Industry Night at Golden Bear 9PM

Saving Abel - Red Line Chemistry - Desperate Union - First Class Citizen at Ace of Spades 6:30PM/$16

Reggae Basement with DJ Wokstar at Blue Lamp 9:30PM

All-singing, all-dancing 'Shining On' a gleeful homage to Broadway's best

2010-09-22T20:02:04Z

Sometimes, reading (and writing) an acerbic review that drips acid like one of those drooling, double-jawed xenomorphs from "Aliens" can be more entertaining than the show itself.

Imagine an evaluation that begins, "If Dave MacDonald's Best of Broadway cast had dropped its sequin-covered panties and urinated all over the stage like an elderly Carol Channing, they literally could not do worse..."

Sure, such a critique – clearly inspired by the delicious sarcasm of "Glee's" musical-hating cheer coach Sue Sylvester – might be a whole lot of fun on some admittedly sick, sick level, but comments like, "This is the most offensive thing I've seen in 30 years of reviewing – and that includes an elementary school production of 'Hair,'" will just have to wait.

For “Shining On,” the 37th edition of the recently resurrected Mickey-and-Judy-flavored “let’s-put-on-a-show” musical extravaganza, is a fun and fast-paced song-and-dance revue whose exuberant community-theater cast delivers so many hits culled from past Best of Broadway productions that one doesn’t have time to think twice about the occasional misses.

It’s a comely comeback for BOB, which suffered financial losses in 2008, forcing MacDonald to sit out 2009. But though BOB returns a leaner machine on a smaller stage (Fair Oaks Veterans Memorial Amphitheatre), its multigenerational cast members still boast big hearts, big voices and big moves that warrant a 2011 season.

Producer-director MacDonald’s early concerns of mic/sound-system problems in the open-air expanse of the Fair Oaks Veterans Memorial Amphitheatre proved to be largely unfounded, with the singers coming in loud and clear save for an unfortunate early glitch that dropped the cone of silence at the show’s start, marring Kathryn Skinner’s otherwise noteworthy rendition of the title song from the stage adaptation of the movie “Fame.”

Skinner, a leggy chanteuse, also commands attention with every well-directed gesture in her two other solos: “Diamonds Are a Girl’s Best Friend” (from “Lorelei”) and “Crime of the Century” (from “Ragtime”).

She’s but one of several experienced vocalists featured in the two-act production that’s broken up into several segments highlighting a variety of musical-theater styles, from the current trend of adapting rock music catalogues into stage shows (“Boogie Nights,” featuring a compilation of wall-to-wall disco hits; “Mamma Mia!,” based on the music of ABBA; “We Will Rock You” based on the music of Queen), to a nod to classic Broadway tuners such as “Babes in Arms,” “Roberta” and “Lorelei.”

There are also sections featuring numbers from newer, perhaps lesser-known shows, such as “King” (in a well-staged, inspirational tribute to Martin Luther King Jr.) and the “Les Misérables” sound-alike “A Tale of Two Cities.” In other words, there’s something for everyone.

Joining Skinner on the list of solid soloists whose first appearances of the evening earn smiles of welcome recognition on each subsequent entrance are Pelenta Lee (whose “Blame It on the Boogie” is one of the many highlights from “Shining On’s” “Disco Down Broadway Suite”), Holly Durham (a sure and sassy “The Lady is a Tramp”), Robyn Moran (“You’ll Never Be Alone” from “A Tale of Two Cities”), Enrique Ruiz (“I Want It All” from “We Will Rock You”) and Cheryl DuBose (“Come Rain or Come Shine” from “St. Louis Woman,” “Rejoin the Battle” from “King,” and “Till We Reach That Day” from “Ragtime”).

Dewight Mitchell, who duets with DuBose in an emotional and lovely “Wheels of a Dream” (from “Ragtime”), is another stellar soloist of the first magnitude, whose impressive pipes match his physical presence in diverse solos that range from “That’s the Way I Like It” (from “Boogie Nights”), to “Smoke Gets in Your Eyes” (from “Roberta”), to “Make Them Hear You” (from “Ragtime”), to “I Want to Break Free” and “We Will Rock You” from “We Will Rock You.”

But singing is only part of BOB’s successful recipe. It wouldn’t taste nearly as good without a heapin’ helping of Terpsichore, which the 26-member dance ensemble ably provides, easily moving from disco to jazz, Latin and early-’80s dance-hall days.

Standouts are hard to single out, with all of the featured dancers – including Monte Solorio, Enrique Ruiz, Sydnie Kinderman, Randy Solorio, Anthony Ramirez, Jessica Will, Courtney Lee, Brittany Kinderman and Cheylene Della Maggiore tapping, strutting, waltzing and doing the hustle with style and grace.

Perhaps it’s the age of most of the dance team members, but nowhere do they shine brighter than in the “Rockin’ to Broadway Suite” segment, which features high-energy numbers from “We Will Rock You.”

Kudos go to choreographers Kourtney Staab Spencer, Sam Williams, Tonya Kageta for tackling so many styles and directing so many dancers so well.

The vocal leads, similarly well-dressed in costumes “coordinated” by Cathy Carpenter and Joan Pohlman, also come to life in this segment, moving briskly from the top of the set’s two-story staircase/platform down through the audience.

The pluses far outweigh the minuses, though there are a few: Musicians Chris Schlagel, John Doolittle and Elaine Lord (led by Eric Daniels) are great, but it was occasionally hard to hear them; the intimate pairing of vocalists and dancers from different generations was sometimes jarring and appeared to be unnecessary given the number of alternates); and while the dancing and choreography was exceptional throughout, the caliente was sorely lacking in the “Broadway Goes Latin Suite” segment.

Featuring Latin-flavored numbers from “Four Guys Named José ... and Una Mujer Named Maria,” “Kiss of the Spider Woman,” “Smokey Joe’s Café” and “Zoot Suit,” some of the numbers lacked spice in terms of their music (“Guantanamera”), and almost all of the group dance numbers were disappointing in terms of staging. The exception was Cheylene Della Maggiore’s passionate solo dance to “Spanish Harlem,” and the ensemble dance number “Los Chucos Suaves” (sung by Enrique Ruiz) from “Zoot Suit.” Unfortunately it was a case of too little too late.

Those who remember that great “Gym Mambo” dance sequence from “West Side Story” will be disappointed by the lack of inventiveness and energy strangely absent from this segment (given how good most of the dance numbers are).

But as stated earlier, there’s so much coming at the audience from all directions, including a few children’s ensemble numbers (providing for major costume changes), any missteps are easily overlooked.

“Shining On” is a wonderful Broadway sampler that offers an interesting mix of the familiar and the fresh, well performed by a talented, all-ages cast that wears its heart on its sleeve.

dress rehearsal photographs (Sept. 16, 2010) by Barry Wisdom

______________________________

JUST THE FACTS

WHAT: “Shining On,” the 2010 edition of David L. MacDonald’s Best of Broadway musical revue

WHEN: 7:30 p.m. Sept. 17, 19, 24-26, Oct. 1-3

WHERE: Fair Oaks Veterans Memorial Amphitheatre, 7991 California Ave., Fair Oaks

WHO: Produced and directed by David L. MacDonald; choreographed by Sam Williams, Sara Rewinkle, Tonya Kageta and Kourtney Staab Spencer; musical direction by Erik Daniels; choral direction by Corey Rickrode (adults) and Enrique Ruiz (children's); vocal coaching by Jennifer Miles-Peek; costume coordination by Cathy Carpenter and Joan Pohlman

HOW MUCH: $15-$20

INFO: (916) 436-6344; bestofbroadway.org

dress rehearsal photographs by Barry Wisdom (Sept. 16, 2010)

MacDonald's Best of Broadway returns; will reprise audience faves in 'Shining On'

2010-09-14T02:21:35Z

photos by Barry Wisdom

Imagine being happily married for 36 years – more than three decades of bliss blessed with talented children and grandchildren. Along the way, you’ve earned the respect and love of your community, and while there have been a few tumultuous years marred by major moves (and even war), things seemed like they would continue forever.

Then, out of the blue, you hit a rough patch when financial problems create a wedge between you and your beloved spouse. Money and even friends become scarce, and before you know it, you’re in a trial separation.

Ultimately, the financial problems are resolved, but the time apart and the fear of history repeating raises real concerns over whether getting back together is a good idea. Do you reunite because you miss your partner? Do you get back together for the sake of the kids?

That was the scenario facing David MacDonald, whose “longtime companion” – the Sacramento arts institution known as Best of Broadway – went bust in 2008 after having the bad luck to add a second venue and expand its performance schedule at the onset of an economic downturn.

Though MacDonald’s beloved all-singing, all-dancing (and out-of-debt) revue returns this year with a “best-of” production opening Sept. 17 at the Fair Oaks Veterans Memorial Amphitheatre, the Greater Sacramento area’s Ziegfeld is still concerned that the confidence he and his board have in the community’s love for musical theater is not folly.

“We saw attendance that was less than half of what it was in 2007,” said MacDonald, who staged the inaugural BOB as a fundraiser for Family Promise at Hiram Johnson High School in 1973. “We had had so many requests for more performances in 2007, that we doubled the number for 2008.”

In 2007, MacDonald had already added Rocklin’s Whitney High School as a satellite venue, having established Luther Burbank High School as BOB’s Sacramento base in 2001.

MacDonald, who liked the idea of continuing to provide a major arts event in Placer County, was optimistic about the growth of locations, shows and cast members. There certainly were all the indications, with as many as 1,000 community singers, actors and dancers of all ages lining up to audition, standing-room-only houses and glowing reviews.

“It would have been great,” he said, “if not for the economy.”

“We didn’t dream it would affect the show the way it did,” he continued, recalling 2008’s plummet in ticket sales. “There was a real fear thing happening in August and September.”

The result was vacant seats both in Sacramento and Rocklin, and an empty war chest for MacDonald’s 2009 campaign. It killed him to make the announcement that – for the first time in more than three decades – the show would not be going on.

“One of the hardest things I’ve ever had to do was not put on a show last year,” he said. “But until we could pay our way out of indebtedness and get back on an even keel, it wasn’t a legitimate possibility to put on another show.”

“We weren’t sure if we were ever going to mount a show again. But in the back of my mind, if we ever could figure a way back, we would.”

It took two years, a tightened belt, a scaled-down cast, shorter schedule and another change of venue as well as a tried-and-true “best of” program to make it happen, but MacDonald and his board decided to go forward and stage a comeback, albeit a cautious one.

“It’s a big, big difference,” MacDonald said.

No longer able to afford the rising costs associated with renting public-school theaters, MacDonald had to find an economically feasible space for BOB 2.0, symbolically titled “Shining On.”

“Our feeling was we needed to find a new home and center ourselves at one location,” MacDonald said.

That new home, the Fair Oaks Veterans Memorial Amphitheatre, came with a new, like-minded partner in the form of the Fair Oaks Theatre Festival.

“The Fair Oaks Theatre Festival related to us,” MacDonald said, “and the partnership kind of fit the needs of both our organizations. So, we’ve made Best of Broadway a co-production between the two of us, sharing resources.”

Like any new relationship, this new theatrical ménage-à-trois doesn’t come without compromise. Challenges presented by the move to the amphitheater’s outdoor stage include a smaller performance area and backstage space, a sound system with an increased vulnerability to radio interference, lighting that won’t be 100 percent effective until sundown and a load-in date just four days prior to opening.

“It’s a quick turnaround,” MacDonald said, noting that the schedule was dictated by the Fair Oaks Theatre Festival’s run of “You’re a Good Man, Charlie Brown,” which runs through Sept. 12. “Normally we have three weeks of onstage rehearsal time.”

“We could have put another week of rehearsal in, but doing that pushes us further into October, which presents more of a weather problem.”

While veteran BOB-goers will find much has changed since the curtain fell in 2008, they will still find MacDonald’s commitment to introducing Sacramento audiences to little-known, but award-winning musical-theater numbers, along with showcasing standards from the American Popular Songbook, is still firmly center-stage.

“On stage, people will find a hybrid of materials used over the last 10 years,” MacDonald said, “highlights and real strong segments from shows past that have been revamped.”

Composed of 60 numbers divided into 11 segments over two acts, BOB and its 120-member cast will offer theatergoers a whirlwind tour of musical-theater history, including numbers from the familiar (“The Band Wagon,” “Babes in Arms,” “Roberta”) and the obscure (“Four Guys Named José and Una Mujer Named Maria,” “Boogie Nights,” “A Tale of Two Cities”).

“And there’s a small segment from the show ‘King,’ based on the life of Martin Luther King Jr.,” MacDonald said. “It’s always a goal to do a section that’s inspirational and that has a positive message for the community.”

“We’re also doing a bit from the show, ‘We Will Rock You,’ based on the music of Queen.”

MacDonald acknowledged that not every stage musical will stand the test of time, but that even in a turkey of a show there are sometimes giblets of greatness in the form of beautifully written songs with “tremendous musical content and great dance possibilities” that can garner standing ovations as stand-alone numbers in a cabaret or revue.

“I have a tremendous love for Broadway theater,” MacDonald said. “It’s a policy of mine to visit New York every year and see eight or nine shows in a week’s time. I’ve made it a goal of mine to study and research as much musical-theater background as I can, and I want to introduce people to new experiences in theater.”

Among those who have been inspired by MacDonald’s presentations over the years have been young cast members who have since graduated to Broadway and beyond.

“I’ve been lucky to have seen some very talented people in the show over the years,” said MacDonald, dropping the names of such former cast members Luke Hawkins (Off-Broadway’s “Cirque du Soleil: Banana Shpeel”), Rebecca Riker (“A Chorus Line” national tour), Teal Wicks (the L.A. and San Francisco productions of “Wicked”) and “Drop Dead Diva” star Kate Levering (a Tony nominee for the 2001 Broadway revival of “42nd Street”) as just a few of the BOB vets who’ve made careers on stage and screen.

MacDonald said that despite the new interest in musical theater that the Fox series “Glee” has generated, the number of people auditioning this year was down – a fact he attributes to having skipped a season, as well as a lack of funds for advertising.

The majority of this year’s cast members are returning members, MacDonald said, with maybe 30 percent set to make their BOB debut in “Shining On.” A diverse group, MacDonald said the show’s cast members, who range in age from 14 to early-70s, are “super, super strong” and are excited to bring back Sacramento’s late-summer theater tradition.

“One of the really neat things is some of my best performers are back – they’re rallying,” said MacDonald, who mentioned singer-dancer Kathryn Skinner as one of those who are pulling double duty to participate.

A Bay Area-based airline pilot by day, Skinner – the daughter of local bandleader John Skinner – makes “a tremendous effort to work around her schedule so she can be a part of our show,” MacDonald said. “She’s an amazing singer and dancer and delivers a very solid opening number.”

Another frequent-driver is Cheylene Della Maggiore, a California State University, Chico, dance student who commutes from Chico daily to rehearse and perform. “She’s been performing for us since she was 8,” MacDonald said.

“When we didn’t do a show last year, I would get e-mail from her every week asking, ‘When are we going to do it?’”

Another veteran cast member, Randy Solorio, was also ready and willing to join in the comeback. Solorio, who made his BOB debut when he was 15, is now a Sacramento State University assistant gymnastics coach who also acts, dances and models professionally.

“Randy has been tremendous in assisting the choreographers in developing lifts for the dancers,” MacDonald said.

“Though we’ve undergone some changes, I want folks to know that this year’s production is every bit what it used to be,” MacDonald said. “The difference is we’re adding the stars in the sky along with it.”

“People who haven’t seen it before will be absolutely amazed,” he said. “People who have seen it will be thrilled to death that we’re back.”

___________________________________________________

JUST THE FACTS

WHAT: “Shining On,” the 2010 edition of David L. MacDonald’s Best of Broadway musical revue

WHEN: 7:30 p.m. Sept. 17, 19, 24-26, Oct. 1-3

WHERE: Fair Oaks Veterans Memorial Amphitheatre, 7991 California Ave., Fair Oaks.

WHO: Produced and directed by David L. MacDonald; choreographed by Sam Williams, Sara Rewinkle, Tonya Kageta and Kourtney Spenser; musical direction by Erik Daniells; choral direction by Corey Rickroab; vocal coaching by Jennifer Miles-Peek

HOW MUCH: $15-$20

INFO: (916) 436-6344; bestofbroadway.org

'Urinetown': Campy musical makes you want to go again and again

2010-07-26T06:17:40Z

It’s not surprising only dedicated musical theater fans know of “Urinetown: The Musical.” Though it was nominated for a whopping 10 2002 Tony Awards, including Best Musical (winning for book, score and director), its title alone keeps many mainstream-oriented theater companies from considering it for their conservative audiences.

Thank the Lord the Elk Grove-based Flying Monkey Productions isn’t one of those companies. Blessed with a solid musical quintet, lively choreography and detailed-oriented direction, FMP’s mounting of “Urinetown” at California Stage is a dark chocolate-coated confection that boasts outstanding lead voices among its youthful cast. Continuing through July 31, it’s a supremely entertaining production that deserves to be seen by a wider audience than the cast and crew’s friends and family.

Set in a world where a 20-year drought has eliminated private bathrooms, forcing all citizens to use pay-as-you-go public “amenities” (don’t even think about free peeing outdoors), “Urinetown” offers gibes at everything from city politics and municipal utilities to old-fashioned boy-meets-girl romantic comedies and contemporary Broadway musicals.

It’s a quirky mélange this tuner serves up, mixing happy-go-lucky show tunes (by Mark Hollman and Greg Kotis) that provides knowing winks to musicals like “Wicked” and “Annie,” with a story that centers on the right to life, liberty and the pursuit of a free flush.

Kotis, who also wrote the show’s book, acknowledges this throughout via the running commentary of Officer Lockstock (played here by the officiously dry and funny Will Finan), who also serves as the show’s narrator. Lockstock’s dialogues with Little Sally (Kristen Burns) – one of the unwashed rabble who’s forced to frequent Public Amenity No. 9, the filthiest toilet in town – helps in preventing one to have to think too hard, which is a plus when you’re watching a musical called “Urinetown.”

When Lockstock and his oddly androgynous partner Officer Barrel (Blake Thomas) cart away an old man who pees without paying (Joey Lemons) to the mysterious Urinetown, it triggers an underground movement that pits the man’s son Bobby (Lafras le Roux) and his rebel ranks against the evil Urine Good Company chief Caldwell B. Cladwell (Byron Roope) and his pack of cronies, that include Amenity No. 9 operator Penelope Pennywise (Julia Soto), the crooked Senator Fipp (Andrew Perez) and secretary (Cass Olson).

The recently matriculated Hope Cladwell (Julia Mosby), who arrives to work at UGC with her father, sympathizes with the rebels and eventually falls for Bobby.

Will the rebels win the right to pee for free? Will the evil UGC continue to oppress? Will Bobby and Hope marry?

No need for spoilers, as Lockstock reminds us continually, this isn’t a “happy” musical.

But director and FMP co-founder Ryan Warren does present a happily surprising musical that surpasses expectations for community theater geared toward youth. Le Roux’s Bobby Strong, Mosby’s Hope Caldwell and Soto’s Penelope Pennywise all offer excellent solo turns with amazing voices that linger in memory.

Warren, choreographer Ryan Blanning, vocal director Julia Soto and music director Cynthia Cates have created an ensemble that deserves ample applause. The members have carved out character niches for themselves that extend beyond song and dialogue and catching someone not in that character every second they’re on stage is rare – note Shane Alan Bradley’s tongue-flicking performance as Hot Blades Harry in “Snuff That Girl.”

Sure, teens and twentysomethings who are playing middle-aged power brokers and wheelchair-bound seniors require one to exercise a higher degree of disbelief suspension, but the cast’s infectious talent, energy and dedication make it easy to forgive a few years’ of real lines and wrinkles.

Not that this admirable staging of “Urinetown” is ready to sail wholesale into a Broadway revival. There’s the spotty lighting that too often has the leads placed in black holes across stage, inconsistent costuming, distracting makeup prosthetics, and an ensemble member or two unsure of dance steps and lyrics on opening weekend.

But the truth is you’re going to be seeing these young actors, singers and dancers on bigger stages soon enough, and for those who’ve seen one too many Rodgers-and-Hammersteinesque happy endings, “Urinetown: The Musical” is a wonderful option for a summer afternoon or evening at the theater.

“Urinetown: The Musical” is produced by Flying Monkey Productions and presented at California Stage, 2509 R St. The show continues through July 31, with performances at 8 p.m. July 29, 30 and 31, and at 2 p.m. July 31. Tickets are $15 general and $12 on student rush night (July 29 only, with valid I.D.). For tickets and information, visit flyingmonkeyproductions.org <http://flyingmonkeyproductions.org> or call 451-2420.

Photos by Barry Wisdom

Music Circus opens for 60th season

2010-07-06T05:14:51Z

The big top is flying up as the Sacramento Music Circus returns to the Wells Fargo Pavilion for its 60th anniversary season and 500th production.

The seven-show 2010 season opens July 9 with Monty Python's "Spamalot" and closes Aug. 29 with "42nd Street."

As always, season ticket holders contribute to the show selection by filling out surveys sent by the Music Circus months prior to the season opening. The highest-rated shows are selected assuming Music Circus can obtain rights to the show. This year "Funny Girl" was the second highest-rated show on the survey, which marketing director Christopher Bower described as "surprising."

"If there is something we're maybe on the fence about but it surveys so well, then we definitely want to do it," Bower said.

Mayor Kevin Johnson will be speaking at the July 14 performance. Johnson will address the 60th year anniversary as well as how important Music Circus is to the community.

The 60th anniversary should be a celebration in itself. The company will not host any special ceremonies or galas, outside of having the mayor as a speaker. The goal for this year is to continue putting on beautiful musical theater shows and regain attendance.

"We've definitely taken a hit (from the economy)," Bower said. "We used to average around 94 percent (capacity) from '99 to 2008. In 2009 we did 74 percent."

This year he remains "cautiously encouraged" as indicators thus far have shown 2010's numbers should be higher, especially because some performances are already sold out.

"We're still here. We're still putting on good shows," he said.

Tickets can be purchased from the Wells Fargo Pavilion Box Office located at 1419 H St. Ticket prices range from $41 to $53 for single shows. Three-show packages can also be purchased for $135. Children under 4 are not admitted. For more information visit californiamusicaltheatre.com.

From the California Musical Theatre press release, the 2010 Music Circus season shows include:

"Spamalot"
July 9-18
Adapted from the screenplay "Monty Python and the Holy Grail," Spamalot is one of three premieres for the Music Circus. The show won three Tony Awards in 2005, including Best Musical and was nominated an additional 12 times. The performance tells the tale of King Arthur and the Round Table.

"Joseph and the Amazing Technicolor Dreamcoat"
July 20-25
The biblical story of Joseph, much like "Jesus Christ Superstar" (and from the same creators), features varying styles spanning country and rock'n'roll. The script will be the newest London revised version. Also, never done before, the Sacramento performance will include a chorus of 50 children.

"Oklahoma!"
July 27 - Aug. 1
Returning after a six-year hiatus, "Oklahoma!" is back for its 13th production at the Music Circus. The renowned musical follows the travels of one of America's remaining frontiers as it marches into statehood. "Oklahoma!" has captured patriotic and pioneering spirit for over 60 years.

"Dirty Rotten Scoundrels"
Aug. 3-8
The second of the three premieres for this year's season. "Dirty Rotten Scoundrels", based on the film by the same name, features two swindlers attempting to rob a vacationing woman in the beautiful French countryside. A 10-time Tony Award-nominated show.

"Funny Girl"
Aug. 10-15
Originally performed by Barbra Streisand, "Funny Girl" returns to Sacramento after 18 years. The autobiographical performance is of Fanny Brice and her rise from lowly comical singer to stardom. The show has been nominated for eight Tony Awards.

"The Marvelous Wonderettes"
Aug. 17-22
"Wonderettes" is the third of the three premiers for the 2010 season. Opening off-broadway in 2008, the original New York cast members return to their roles as four high school girls at prom, discussing big-time dreams of the future. The show is set in 1958 Springfield.

"42nd Street"
Aug. 24-29
The 1981 Tony Award-winner hasn't been to Sacramento since 1999. On 42nd Street, one dream-filled girl learns to shine as she is given the opportunity to star in a musical hit about movie musicals and Broadway classics.

All photos courtesy of Christopher Bower of the California Musical Theatre

"Little House on the Prairie, the Musical"

2010-04-21T14:40:20Z

Ma. Pa. Half-Pint. Mary. Almanzo. For those of us who grew up in the 1970s and '80s, these names mean something.

“Little House on the Prairie, the Musical” opened Saturday at the Community Center Theatre. Melissa Gilbert, who starred as Laura Ingalls Wilder in the original television series, plays the beloved “Ma”. And what a gift she gives audiences that have cherished her all these years.

The musical version of Wilder’s classic series published 75 years ago does a wonderful job of capturing the essence of her story. It is a tale of family, hardship, community and love. This adaptation does a fantastic job of portraying our infant country through the eyes of settlers in the Dakota Territory in the early 1880s.

It also is the story of a young woman struggling to find her way in a country in which being a “wild child” was left to the boys. The heroine, Laura, is as tied to the prairie as she is to her family. She is a spirited and sassy child whose escapades with her sister Mary and archenemy, Nellie Oleson, leave the audience laughing. In the song before the finale, Gilbert sings to her daughter -- the character she played for 10 years -- about finding and loving herself. It is a full-circle moment for fans.

This play is a must-see. For those of us who are decadeslong fans, it is a walk down memory lane. Youngsters new to the story will witness a beautiful portrayal of our country with an engaging storyline. It is a treat for young and old alike.

“Little House on the Prairie, the Musical” runs through April 25. For more information, visit www.littlehousethemusical.com.

Broadway Sacramento Little House on the Prairie, the Musical

2010-04-16T06:03:31Z

Laura Ingalls Wilder's personal story of her and her family's homesteading in the Dakotas, as a musical, has been expanded into a great American story of hard work and overcoming the odds to settle the Great Prairies.

This production harkens back to musicals such as “Paint Your Wagon,” “Seven Brides for Seven Brothers” and even the masterpiece “Oklahoma!” Although there is no composer Richard Rodgers and librettist Oscar Hammerstein II here, the production is very solid musical theater.

It would be difficult to find someone not familiar with the stories. As a fourth grader, I had the stories read to me in a rural Washington country schoolroom shared with my second-grader sister. It was the highlight of my day to listen to Mrs. Preuss read of a time that I now know was not that distant. Laura Ingalls Wilder was still alive at the time. A younger generation grew up watching Michael Landon's television adaptation, which ran from 1974 to 1983 and is still in syndication.

“Little House on the Prairie, the Musical” has a rousing score by Academy Award winner Rachael Portman. Donna Di Novelli's lyrics are integral in moving the story forward. The book by Rachel Sheinkin, while painting a broader scope, still stays very close to Wilder’s original story.
Michele Lynch's musical staging strongly evokes that of the earlier musicals cited above. It becomes believable that the pioneers would break out in song and dance in response to what is happening to them. Lighting, scenic design and costuming by Mark McCullough, Adrianne Lobel and Jess Goldstein respectively create a sense of the wild, open prairie. Especially the lighting. Creative use of sparse set pieces creates the feeling of the inside and outside of the structures the settlers are building on the prairie. Direction by Francesca Zambello (Disney Broadway, "The Little Mermaid") moves the action on at fast pace.

All of the principal actors in “Little House on the Prairie, the Musical” are musical theater vets, even 10-year-old Anastasia Korbal, who plays little sister Carrie. Steve Blanchard's wonderful voice and great acting is the Pa of your imagination. Kevin Massey and Alessa Neeck as Almanzo and Mary do great jobs on their respective solos. Kate Loprest plays Nellie Oleson, a character who gives comic relief typical in musical theater. Yet she handles her solos beautifully. It is easy to imagine Loprest in a previous role as the evil Amber Von Tussle in the Broadway production of “Hairspray.”

The role of the central character, Laura, is a difficult one. Laura starts being the wild child who thrives on the family's moving time and again westward, most like her Pa. She grows into a serious young lady going off to teach school, raising money to send the now-blind Mary to the school for the blind. And in the end, she must be believable as the woman who marries the love of her life, Almanzo. Kara Lindsay pulls this off like the veteran she is.

She appeared as Laura Ingalls in the original Guthrie Theater production of “Little House on the Prairie, the Musical.” She is a joy to watch and listen to as she portrays Laura's growth and transformation.

Melissa Gilbert plays Ma, another major character. She does not have the same strong voice of the other principals. Fortunately, she only has one major solo she needs to carry. But what she lacks in singing quality she more than makes up for in acting skill, warmth and charm.
Her Ma is an equal partner to Pa in demonstrating the wisdom, love and affection, for both their children and each other, and the partnership needed to raise a family as homesteaders on the prairie. Having played Laura in the television series, she is also the spiritual link of the “Little House” iterations.

For families that have children who are not familiar with Laura Ingalls Wilder's “Little House” books “Little House on the Prairie, the Musical” is an excellent introduction. A wonderful afternoon or evening at the theater could easily be followed up with an introduction to reading starting with “Little House in the Big Woods.” Heck, it's a great family show on it's own.

And for the rest of us? For Broadway Series fans who found “Chicago” somewhat risqué, never mind “Spring Awakening,” this is your show. While “Little House on the Prairie, the Musical” may not be the next great American musical, it is a great show with a wonderful story, high production values and excellent performances that can be enjoyed by all.

"Little House on the Prairie, the Musical" California Musical Theater, Broadway Sacramento At the Comunity Center Theater April 14-25 Tickets $18-$65 Wells Fargo Pavillion Box Office, 1419 H Street, Sacramento Comunity Theater Box Office, 1301 L Street, Sacramento by phone (916)557-1999 Tickets.com www.BroadwaySacramento for more information

Got plans tonight? Unique theater opportunity!

2010-03-01T21:32:18Z

Image 1: Composer John Bucchino works with actor Nanci Zoppi and Musical Director Graham Sobelman at the It's Only Life masterclass

Image 2: John Bucchino explains his process of writing and composing during the It's Only Life masterclass

Image 3: New Helvetia Founder and Artistic Director Connor Mickiewicz sings "Playbill", accompanied by composer John Bucchino at the It's Only Life masterclass

It's Only Life

After an amazing first year, which included the critically praised productions of Hedwig and the Angry Inch and also Tick, Tick...BOOM (so good they had to bring it back), New Helvetia Theater hosts a unique musical event tonight at the Crest Theatre.

Tonight's one-night performance of It's Only Life not only reunites some of the fledgling theater company's most admired performers (plus some great newcomers to the New Helvetia stage) but teams them with the work's composer/lyricist John Bucchino at the piano.

John came to Sacramento for this unique performance and has been working with the cast in preparation for the show. I had the privilege on Friday to watch them interact in a masterclass setting and it just made me even more eager to see the show. There's something special about watching actors interpret a song and then hear directly from the writer what motivated the song and lyrics: It's a transformative experience, both literally and figuratively, as the song is then re-interpreted and brought to life with a new level of emotional investment and authenticity.

It's Only life is tonight at the Crest Theater at 7pm, followed by an after-party around the corner at Parlare Eurolounge.

For more information:

www.newhelvetia.org
www.thecrest.com
www.johnbucchino.com

525,600 reasons to watch 'Rent'

2010-02-02T05:56:30Z

It's the "Season of Love" at the California Musical Theatre as the Broadway Musical Rent: The Broadway Tour comes to Sacramento.

The musical follows a group of young artists who live in New York's East Village during the 1990s. Rent is a passionate story of friendship and love that challenges many tough subjects like AIDS, poverty, homophobia and drug addiction.

Rent is a modern take on the opera La bohème, which was written by Giacomo Puccini in 1896.

The show is the eighth-longest running on Broadway. Its success has been recognized multiple times, having received Tony Awards for Best Music, Best Score and Best Book, as well as Pulitzer Prize for Drama in 1996.

The musical is making its way to Sacramento in a new tour production that will include Adam Pascal and Anthony Rapp, two actors who were a part of the original Broadway production and the film adaption.

Pascal will play the role of Roger, and Rapp the role of Mark.

"They are amazing. Not only are they wonderful performers, but they gave the show a renewed focus," said Nicolette Hart, who plays Maureen in the show. "They brought everyone closer to the heart of the show."

Hart said that the tour has been a gift for her, and she has been able to figure out what the character meant to her and how she wanted it to look.

“I definitely infuse myself into the character, and I would be lying if I said that the character didn’t infuse itself on me,” Hart said.

Though Rent has become more widely known with the release of the film, Hart points out that there are advantages to seeing the real thing.

“There is nothing like seeing it live,” Hart said. “The stage version is the purest form of the show and I think it is the best way to get to the heart of the musical.”

Two hours before each performance, the Community Center Theater box office will also be selling tickets for seats in the front row for $23. They will only allow two tickets per person, and the tickets must be paid for in cash.

“There are limited seats and it's first-come, first-served,” said Christopher Bower, director of marketing and public relations for the California Musical Theatre. “Last time the show was here people were camping out… not that I encourage that kind of behavior.”

Since it may take some luck to purchase the discounted front-row seats, tickets may also be bought online or through the box office at (916) 557-1999 or (916) 808-5181.

Rent will be performed at the Community Center Theater at 1301 L St.

The show runs from Feb. 3-7 with two showings at starting at 2 p.m. and 8 p.m. Thursday through Sunday.

Tickets range from $25 to $65 depending on show and seat.

Photos from the Original Production Photo Gallary for the Rent: Broadway Tour 2009
http://www.siteforrent.com/interactive/photo-gallery/originalproduction/rent-the-broadway-tour-2009

My Way: A Musical Tribute to Frank Sinatra Opening This Week

2010-01-24T21:23:26Z

Get ready to tap your toes and remember the past. The Cosmopolitan Cabaret is celebrating Ol' Blue Eyes with My Way: A Musical Tribute to Frank Sinatra.

The show will follow Sinatra's music from his swinging beginning in the 1940's, through the 1990's, bringing jazz, big band and swing to life. It will feature such Sinatra songs as "New York, New York," "Fly Me to the Moon," "Strangers in the Night," "I've Got You Under My Skin" and "My Way."

My Way was co-created by David Grapes and Todd Olson, who are responsible for four musical revues, including ones about Johnny Mercer’s American Songbook and Tony Bennett. Their musical tributes have played in over 200 theaters worldwide.

Chris McSwain, from the California Musical Theatre, said that the show portrays Sinatra's life through his moods and attitude.

Glenn Casale directs, with musical direction by Chris Schlagel. Casale has directed Tony-nominated and Emmy-winning productions throughout Europe. Schlagel has directed Sacramento's Music Circus productions for 20 years.

The show has four cast members: Michael G. Hawkins, a 20-year Music Circus veteran, Karole Foreman, Laura Dickinson and Jeffrey Christopher Todd.

"Since the show is a tribute to Sinatra, the singers are able to play themselves and perform the songs as they relate to them," said McSwain.

He said the show will "take people back, and for the younger generations, introduce songs they knew about and give them a backwards glance."

The Cosmopolitan Cabaret, 1000 K St., at 10th Street. Tuesday-May 9, with two performances on weekends.
Tickets are $33-$38, available by calling (916) 557-1999; (916) 808-5181; or (800) 225-2277.

Photos by Charr Crail

1. Left to right: Chris Schlagel (at the piano), Michael G. Hawkins, Karole Foreman, Jeffrey Christopher Todd and Laura Dickinson
2. Jeffrey Christopher Todd and Laura Dickinson
3. Left to right: Laura Dickinson, Jeffrey Christopher Todd, Michael G. Hawkins and Karole Foreman
4. Karole Foreman and Michael G. Hawkins

Review: Madea's Big Happy Family

2010-01-14T09:06:38Z

Arco Arena was turned into a musical theatre Wednesday night for Tyler Perry's "Madea's Big Happy Family." The play featured a high-tech set that revolved around the stage to create different scenes for a 15-part cast backed by a 12-part band in the orchestra pit.

Beginning around 8 p.m., thousands, including former Kings players Bobby Jackson and Shareef Abdur-Rahim and current Kings player Francisco Garcia, laughed, cried and sang along to the play.

Perry, who is best known for his recent work as writer, producer, director and actor in a number of Hollywood films (Diary of a Mad Black Woman, Why Did I Get Married, Madea Goes To Jail), wrote this play to honor his mother who passed away last month. Madea, the play's main character and a recurring character in Perry's works, was inspired by his mother, he told the audience after the show.

Madea (played by Perry in drag) is a candid, belligerent smoker who holds the dysfunctional family together like glue. Interspersed through the play's dialogue are musical numbers which range from gospel spirituals to an R&B medley.

At one point Madea jokingly requests Don McLean's "American Pie" for the white people in the audience.

But for every comic element, there seems to be a serious moment as well. The play deals with issues like religion, drugs, and rape. The moral of the play, given by a dying grandmother to her family is, "If you're loving real love, then you've lived life."

The characters have surprising depth during serious parts of the play, but the comic elements remain slapstick. At one point, Madea slaps a drug-dealing young father and chokes his girlfriend for being stupid.

Madea's stage presence is perhaps the most slapstick element of the play. Perry, who is 6'5", is an imposing man who does not possess any woman-like qualities whatsoever, belying Madea's feminine appearance.

The play ends in a sing-a-long of R&B tunes which covered everyone from Rose Royce to Luther Vandross.

During several moments, Perry clearly ad-libbed lines, throwing the band off queue. He later apologized, sans drag, saying, "The show is only a week-and-a-half old."

He also thanked the audience for its energy, and for giving him a standing ovation even though it's been five years since he's graced a stage. The audience left, feeling a little more like a big happy family, with hugs and other displays of affection.

Don't Believe the Hype

2009-11-06T07:54:31Z

I'll be the first to admit it. I was drawn to Spring Awakening for all the wrong reasons.

I was disappointed, but I won't fault anyone but myself for that.

And, as much as I'd like to blame the marketing for this musical, I can't. I knew Rachel Berry was not going to grace the stage. I knew better than to think the practically perfect cast of Glee would surprise me in Sacramento with their best Duncan Shiek. Regardless, I approached Spring Awakening with a complete lack of common sense.

I can honestly say I had no idea what my Spring Awakening experience would be like. Regrettably, I did very little research on the plot or protagonists. The only thing I knew was that "everyone" was doing it.

While Spring Awakening deserves high marks for originality, for a gawk-worthy garage band and an impressive set, I can't help but think eight Tony Awards? Really? For what? For the storyline I could not grasp? For the lack of anything connecting us to a provincial German town except the Quaker clothing?

For the characters who were underdeveloped? For the choreography that I've been mocking all morning? Or, for the dramatic and disjointed musical numbers that had virtually no effect or lasting impact on me?

Obviously, there is an audience for Spring Awakening. Ticket-holders who'd returned to their seats after intermission applauded enthusiastically at the end. I, on the other hand, was looking forward to going home.

I was not offended or unnerved by the content. For me, it just didn't add up.

That being said, I have to give credit to the cast. They were believable. The angst and nudity on stage was "real." Apparently I prefer "fake." I don't want to relive everything awkward about adolescence. I've already done that. Once was enough.

The bottom line? Don't believe the hype.

Spring Awakening is showing through Nov. 15 at the Community Center Theatre, 1301 L Street. Tickets are available at the Community Center Theatre Box Office, by calling 916-557-1999 or online at www.californiamusicaltheatre.com. For more information, visit www.SpringAwakening.com.

Wednesday: Sacramento to experience a 'Spring Awakening'

2009-11-03T07:47:06Z

Sex. It's controversial today, and it has been for more than a century. That's why Frank Wedekind’s 1891 play, Spring Awakening, which has strong sexual themes and language, was not produced in the playwright's native Germany until 1906.

It opened to English audiences for the first time in New York in 1917, and closed after one performance.

Times have changed. The winner of eight 2007 Tony awards including "best musical" and a 2008 Grammy for "Best Musical Show Album opens Wednesday as part of California Musical Theatre's Broadway Sacramento season. Well, sort of. Spring Awakening was not offered as part of the season subscription package, because the theater's executive producer, Richard Lewis, said he did not want to "force" the show on an audience.

Christopher McSwain, community affairs director for California Musical Theatre, urged people not to reject the play merely because it deals with sex. It's more about the consequences of not communicating openly with teenagers about sex, he said.

"If asked to give a blanket statement so that people could judge whether or not it's right for them and sum it up in five or so words, we say "recommended for 17 and over," McSwain added. "But if there are 16-year-old musical theater fans who are dying to see it, they will be able to buy a ticket."

As part of the marketing strategy, Broadway Sacramento held a Spring Awakening event Friday at Mix,1531 L St. It featured theme drinks, TV screens playing scenes and stills from the show, and music from the score. (Full disclosure: California Musical Theatre is an advertising partner with The Sacramento Press and The Sacramento Press helped plan the Mix event.)

It's a timeless musical, McSwain said. With a score by pop-rock musician Duncan Sheik, Spring Awakening is geared to a young audience despite the age of the script.

"I hope that the kids who see it recognize the value in actually talking about their lives and finding connections," said Spring Awakening director Michael Mayer. "Without getting preachy, I think this play can have a positive impact on society as well as provide a terrifically entertaining and very, very moving theater experience."

The show's producer, Tom Hulce, echoed this sentiment. Hulce is most famous for playing Wolfgang Amadeus Mozart in the Academy Award-winning 1984 film Amadeus.

"Kids have found one of a dozen different things in the play to be particularly meaningful to them, that give them either a hope they didn’t have before, or an understanding they didn’t have before, or an ability to talk to people that they didn’t have before," he said. "The issues of how we raise our children, how we can best answer their needs, and what is the right way to help young people become themselves is universal."

One way to get closer to the story and gain a different perspective is to buy a seat on the stage. "Without joining the actors union, how else do you get on a Broadway stage?" joked McSwain.

Having members of the audience onstage is in keeping with Spring Awakening's theme: It's a story about experiences we all share, not just 19th century German schoolkids. A $25 seat onstage might land you next to the drummer or even a singer, McSwain said.

"What we hear is: Is Sacramento ready for this?" McSwain said. "We figure it's playing Des Moines (Iowa) and East Lansing, (Mich.), (so) if Des Moines can handle it, maybe we can. I think we're at least as hip and edgy as Des Moines, don't you think?"

Spring Awakening runs Nov. 4-15 at the Community Center Theater, 1301 L St. Tickets are $18 to $65, available here.

*Photograph one credit Paul Kolnik. Photograph two credit Joan Marcus.

Stars Wars: In Concert to Come to Arco Arena

2009-10-08T03:40:36Z

"Star Wars" fans will be in for a treat on Oct. 9 and 10 when "Star Wars: In Concert" will make its Sacramento debut at Arco Arena.

"[The show] is a fully multimedia, full-evening concert that takes two hours, which includes a 20 minute intermission," said David Barber, the North American press representative for the tour.

Clips from each movie will be used to tell an abridged version of the story, effectively summing up the entire adventure in roughly one-sixth of its actual length.

"Lucasfilm cut the montages to fit John Williams' cut-downs of the music made for the event especially by Williams — all custom work," said Barber.

Narrating the entire show will be none other than Anthony Daniels, who played C-3PO and will be on stage to guide the audience through the entire show.

"[The] audience will experience the music played live by an 86-piece orchestra and sung by an 80-person chorus, the Star Wars Symphony Orchestra and Choir, to specially edited scenes from all six 'Star Wars' films — including special effects such as laser displays and other surprise effects," said Barber.

Barber also said there will be an exhibit featuring "over 70 items including original concept art, music manuscripts, costumes, props and other archival items," some of which will be shown to the public for the first time ever.

"[The exhibit] is in the concourse lobby areas of the arena — the corridors that go around the outside of the arena seating areas in a circular fashion," said Barber. Each piece of the exhibit travels in its own self-contained box on one of 12 trucks.

The tour started on Oct. 2 and is currently in L.A. at the Nokia Theatre before making the trek to Sacramento. Friday’s show starts at 7 p.m. and Saturday’s at 3 p.m. Doors open two hours before. Tickets are $75, $55 and $35. Pricing determines where the seats are, meaning the most expensive tickets are the closest to the stage.

'Six Women with Brain Death' keeps Sacramentans smiling

2009-09-13T05:20:49Z

The Six Women actresses proclaim, "You have to laugh and scream and blow off steam so you don't expire," and that is exactly what the audience did at Friday's showing of the revival of Sacramento's cult classic Six Women with Brain Death (or Expiring Minds Want to Know).

As the show begins, six frazzled, women parade across the stage in a grocery check-out line, reading the outrageous headlines of The Expirerer, a spoof of today's tabloid magazines. The women quickly transition from their comedic sketch into a full-energy musical number introducing the audience to the "World of Expiring Minds."

The first act consists of a series of life and pop culture scenarios from the viewpoint of overworked, burnt-out, middle-aged women. A wide range of topics are explored, including the housewife who gets too emotionally involved in daytime soap operas, the musical audition of the "Divas of Midtown", and the reminiscing of high school friends at their 20-year high school reunion.

The highlight of the first act is the Rambi scene, a comedic combination of the Disney classic Bambi and the action-flick Rambo. Five women, costumed as Disney-esque woodland creatures, including the rabbit, Thumper, and the skunk, Flower, speak in the sing-songy voices of Disney characters while casually mixing profanity with politeness. The animals wait for Rambi, who is costumed in antlers and camo and carries a machine gun. The scene concludes with Rambi helping the animals protect themselves from evil hunters, combining the best of both fantasy and gore.

The second act starts at a slower pace than the first, giving the audience a breather after being bombarded with tabloid culture puns and irony-clad lyrics. It picks up again with the game show act, "Wise Up or Die," in which Jolene, a book-smart woman, tries to find out who she is. The host, Baby Ruth, presents Jolene with three panelists experts: Type A is a straight-laced business woman, Type B is a housewife, and Type C is a buxom, sex goddess. The panelists question Jolene, mostly about her sexuality, and conclude that Jolene is not a spontaneous person and self-help books cannot provide all the answers.

The musical hilarity continues in two skits featuring the women in garish purple choir robes, auditioning for the Grand Ol' Opry and proclaiming "God Is an Alien" in a gospel-themed parody. The show ended with a thunderous applause and groups of women left the theater clinging to one another in fits of laughter.

The energy and pacing of the show can be likened to the roller coaster of emotional ups and downs that challenge middle-aged American women. Many of the sketches have a slow beginning with a series of bizarre, left-of-field comedic sketches that end with an over-the-top, yet hilarious, musical number. While all the comedic bits are farcical in theory, at times some fall a bit flat and overdo the mockery of tabloid culture.

Six actresses star in Six Women and tackle a variety of characters in the different sketches. The comedic timing and edginess carries the show. Both Raylynn Sanders and Dottie Harris lead the vocals with booming voices and resonating tones that fill the intimate Studio Theatre. However, Sanders is the dynamo of this show and really brings a zany personality into each character she takes on.

Six Women is Sacramento's longest-running musical. Studio Theatre owner Jackie Schultz opened Six Women in 1996 and the show continued to run until 2006. The current run of Six Women, presented by the Lambda Players, is a special tribute to Schultz, who is currently battling Chronic Fatigue and Immune Dysfunction Syndrome.

Director Kitty Czarnecki, a former Six Women actress, has made several changes to the revived show. She added modern quips, including references to Twitter, High School Musical and "Jon & Kate Plus 8."

"I tried not to go back to the original [show]," she said. "I have looked at this as a fresh piece and I have adapted the show to the cast."

The show will run through Oct. 4 at the Studio Theatre, 1028 R St. in Downtown Sacramento. Shows are on Friday and Saturday nights at 8 p.m., with a Sunday matinee at 2 p.m. Ticket prices range from $13 to $17 and can be purchased in advance through the Lambda Players website or by calling the box office at (916) 444-8229.

Grease is the Word

2009-08-17T03:00:11Z

“Grease is the word” was heard throughout the Crest Theatre Sunday during the first Grease sing-a-long put on by Outword Magazine.

Nearly 400 people filled the Crest Theatre, singing and dancing to all of the classics, such as “Grease Lightning,” “Summer Love” and “You’re the One That I Want.”

For me the highlight of the event was the participation of attendees including myself who went all out dressing up as their favorite characters while dancing, singing and even strutting across the stage in costume.

“This was a great idea," said Allison Reyes, who attended the event. "I came because my 3-year-old daughter hasn’t ever seen Grease, so it kind of brought all the generations together: my mother, grandmother and my daughter.”

Among the festivities was the audience judged costume contest, a huge hit among die hard Grease fans such as myself, featuring some of the most memorable Grease characters. Eugene, the dorky overachiever (played by David Fulk) won the top prize of $100. I won second place and four tickets to the Trash Film Orgy Halloween as Sandy, the lovable goody-two-shoes whose bad side came to surface. Knicky, the tough ‘T’ Bird with a reputation to protect (played by Nathan Seither) took third place, winning 10 tickets to the California State Fair.

“This is my 76th time seeing the movie,” Fulk said.

Outword Magazine publisher and president of the Rainbow Chamber of Commerce, Fred Palmer, said, “I thought a sing-a-long would be really fun and family-friendly, and we added a costume contest to get people involved and have even more fun.”

Palmer said he hopes to put on more sing-a-longs in the future. He is working on sing-a-long Xanadu and The Little Mermaid.

For future Outword events check out http://www.outwordmagazine.com/

Photos courtesy of Elaine Cooper

Life after 'Brain Death'

2009-08-13T04:22:51Z

This Friday, Sacramento will welcome back its longest running musical in Sacramento theater history, Six Women with Brain Death (or Expiring Minds Want to Know), as a special tribute to former Studio Theatre director, producer and actor Jackie Schultz.

Schultz opened the Studio Theatre in 1994 with a mission to promote theater from the female perspective. She opened Six Women in 1996 and it immediately sold out three months in advance. The show continued to run until 2006, when Schultz's battle with Chronic Fatigue and Immune Dysfunction Syndrome (CFIDS) along with opportunities to explore other ventures required her to end the show.

Six Women is a fast-paced, musical satire of life and pop culture from an entirely left-of-field, feminine standpoint. The show consists of a bizarre yet hilarious combination of songs and sketches targeted at middle-aged women and the unique problems and challenges presented to them by our American culture.

The authors explore a wacky range of topics including grocery line tabloid headlines, TV soap operas, the fantasy life of Barbie and Ken, severed heads of aging prom queens, and the unforgettable forest detour where Bambi meets Rambo (the infamous Rambi scene). Schultz says Six Women makes you "laugh like you have never laughed before."

This cult-classic revival of Six Women will be presented by the Lambda Players under the direction of Kitty Czarnecki, a former actress in the musical.

This is the Lambda Players 21st season as an active theater troupe in the Sacramento area. They are an all-volunteer, non-profit organization with a mission to educate and entertain through the live-theater medium, with a focus relevant to the gay, lesbian, bisexual and transgender population.

The Lambda Players transitioned from purely a traveling theater troupe to a full-fledged community theater with a full-time home in 2004 when they moved into a 41-seat theater on 17th Street, which they named the Lambda Players Theatre.

In September 2007, the Lambda Players made the Studio Theatre their home. Chris Crittenden, the president of the Lambda Players, says the Studio Theatre has been a "great theater to perform in for the past two years." However, at the conclusion of this show, the Lambda Players will be moving their troupe to 1127 21st St., in the Lavender Heights area of Sacramento, a location that they feel better supports their mission.

Czarnecki is a returning alum to Six Women. Czarnecki acted in the show under the direction of Schultz for two and a half years. Six Women is unique as there are no set roles and the actors each play a handful of roles throughout the show.

"It is a very quirky show with a cult-following appeal," she said. "I have a better understanding of what it means to people. Being in the show is like a sisterhood. You create a bond like no other."

Over 50 actors performed in the original 10-year run of Six Women and some audience members loved the show so much they saw it from 20 to 50 times. Schultz believes that Sacramentans felt Six Women was "our show."

While the contents of the vignettes comprising Six Women remain the same, Czarnecki ensures the audience will have several new surprises in store. One major difference from the original show relates to the demographic make-up of the cast members themselves. In the original show, the cast members were all petite women in their 30s. In the new show, Czarnecki has actors ranging in age from 21 to 45 and ranging in dress size from 2 to 22. Czarnecki believes that the current actors are "more representative of women across the board, making it easier for women to relate to [the show]." Czarnecki is especially excited for the Rambi scene. "I hope it makes people laugh like it makes me laugh," Czarnecki said.

"Jackie has been so involved in the theater world and this show is her baby, so this is a tribute to her," Crittenden said. Czarnecki is "thrilled that it honors her."

Schultz has had a very public 12-year battle with CFIDS, also known as myalgic encephalomyelitis. CFIDS is not well understood by the medical community, and is oftentimes diagnosed through a time-consuming and difficult process of eliminating other diagnosable illnesses. CFIDS consists of a series of debilitating disorders affecting the brain and multiple body systems. Symptoms include muscle and joint pain, memory problems and severe exhaustion where patients cannot maintain their energy for any length of time. Some patients also report digestive disturbances, depression, poor immune response and cardiac and respiratory issues. As Schultz says, "The truth behind it: It's complicated. The complexity of the disease is mind-numbing."

Perhaps the most frustrating aspect of this disease is that there is no definitive cause, no medical tests to diagnose it, no known cure, and the recovery rate is low. Many patients with CFIDS carry a heavy psychological burden as they struggle to get others to recognize their needs due to the ambiguity of CFIDS as an actual medical syndrome. Since most of the symptoms of CFIDS are invisible to the outside observer and can be highly variable in severity, it is difficult for outside observers to understand the difficulties that people with this illness must contend with.

"My battle [with CFIDS] has been hell," Schultz said. "There is no answer. There is no cure. In California, there are very few resources [for patients with CFIDS]."

While Schultz can no longer act she says she is "the biggest cheerleader on the planet" and looks forward to the return of Six Women with Brain Death. The show runs for eight weeks from Aug. 14 to Oct. 4 at the Studio Theatre, located at 1028 R St. in Downtown Sacramento. Shows will be on Friday and Saturday nights at 8 p.m. with a Sunday matinee at 2 p.m. Ticket prices range from $13 to $17 and can be purchased in advance through the Lambda Players website or by calling the box office at (916) 444-8229. Photos included in this article are coutesy of Lambda Players president Chris Crittenden.

'Bare' in concert brings act Downtown

2009-08-12T23:57:06Z

For one night only, Artistic Differences Theatre Company is bringing back the critically acclaimed musical, Bare in concert, this Thursday to Downtown Sacramento.

The show will take place at Harlow’s restaurant at 2907 J St. at 7 p.m. Bare tells the story of two homosexual high school students learning to cope with their environment at a Catholic boarding school and the personal struggles that ensue.

Introduced to Sacramento last summer, Bare originally debuted at the Hudson Theater in Los Angeles in October of 2000. It has since spread to other locations and theatre departments, eventually making its way to Sacramento through Artistic Differences in 2008.

Daniells, Executive Producer of Artistic Differences, created the company and began producing the first musical, Falsettos, in July of 2006. The act received rave reviews from local media outlets according to Daniells, which encouraged the expansion of the young organization to continue further productions, like Bare, in the Sacramento area.

“Word of mouth spread and audiences tripled by the second weekend, which was unfortunately also its closing weekend,” Daniells wrote in a letter on the company’s website. “With plans to increase our staff, establish a board of directors and one day open our own venue, we haven't forgotten our goals. We strive to be the premiere producer of lesser known musicals in the greater Sacramento area.”

Artistic Differences then took a year off to try and discover another musical they wanted to pursue for production. Kevin Caravalho, the director of performances for the company, had been following Bare since its debut in Los Angeles. When Caravalho found out the sponsors had dropped out and Bare lost exclusive rights, he said he had to convince Daniells that their wait for another gem was over.

"When I found out the rights had come through, this show that I had been obsessed with for the past couple years, I knew we had to do it," Caravalho said. "Erik was like, ‘Well, maybe we can do it in the next couple of years.’ And I said, ‘Erik, if you listen to just a few of these songs you’re going to change your mind… So I gave him the CD, and no more than 10 minutes later he called and said, ‘We’re doing it this summer.’

Caravalho said what drew him to Bare was the dynamic it creates for the 18 to 25 yr. old demographic. There are very few productions he's seen that he said speak to the younger audience with the impact Bare provides.

"They’re so real," he said. "A lot of the shows out there are a lot of thrills and smoke and mirrors without getting to the heart of the anxiety of the American teen. It’s one of the few shows that I’ve found really speaks to that age bracket and really had substance and meant something to them. But not just them.

"Gay, straight, young, old, guys and girls, as well. It really crosses all those boundaries. It just has that music that instantly speaks to you."

General admission for Bare is $40, but the price drops to $32 for eligible students and senior citizens. Tickets can be purchased through the company website at artisticdifferences.net.

Hair brings the '60s to Sacramento

2009-07-17T22:56:19Z

The spirit of the '60s was alive Thursday night as the Artistic Differences theater company staged a dizzying performance of the musical Hair to a sold-out crowd.

Second in a series of three summer concerts entitled "Summer of Rock," Hair incorporated the entire Harlow's audience. A six-piece rock band backed a cast of 17 singers who danced through a standing-room-only crowd of more than 250 people.

The "tribal rock concert" opened with a live Jimi Hendrix-like performance of the "Star Spangled Banner" reminiscent of the Woodstock version. It flowed seamlessly into "Aquarius," a hit song in 1969.

Hair's plot revolves around Claude (multiple actors), an East Village New Yorker who receives a draft notice. During a psychedelic drug-induced hallucination, he struggles with the decision, envisioning an unending cycle of killings.

Director Nora Aboali and Music/Artistic Director Maggie Hollinbeck created a multimedia masterpiece for the occasion. A light show, a video projector and props like day-glo joints infused a new generation of technology into the old Broadway show.

On the projection screen, modern images of President George W. Bush complemented a psychedelic slide show of archival images. This juxtaposition of young and old was also mirrored in the audience, filled with diverse people of all ages.

Actors donned glowing bracelets, peace-symbol earrings and ripped jeans. Wireless headset microphones allowed them to move down aisles and continue to sing.

They climbed chairs and poles and even danced with audience members, many of whom were of hippie/baby boomer age themselves. At intermission, they passed out flowers.

During one song, an actor kissed an audience member on the forehead. In another, an actor bear hugged a spectator.

Eleven different cast members sang vocal solos on different songs. Each solo helped the cast build a collective persona.

The night ended with the famous refrain "Let the sun shine/Let the sun shine in/The sun shine in," while the cast held hands to form a ring around the audience.

Artistic Difference's "Summer of Rock" series continues Aug. 13th with Bare, a musical about two homosexual students struggling at their respective Catholic boarding schools. Also at Harlow's, tickets cost $15 in advance and $20 at the door.

Lambda Players host auditions for longest-running play in Sac

2009-06-25T05:02:26Z

The longest-running play in Sacramento theater history is back after a three-year hiatus and is seeking talented singers to fill six roles in the comedic musical revue.

Auditions for "Six Women with Brain Death, or Expiring Minds Want to Know" were held Monday and Tuesday night at the Lambda Players Studio Theatre, and hopefuls were asked to bring 32 bars of uptempo comedic song with sheet music and one comedic monologue one to two minutes long.

A call went out to experienced actors in their 30s to 50s with backgrounds in the music industry and a strong sense of humor. Callback dates have yet to be determined but will be within the next few weeks, as rehearsals begin in July.

The musical comedy, which opens Aug.14 and will run until Oct. 4, is series of humorous songs and sketches that poke fun at life and pop culture. The play had a previous stretch from 1996 until 2006, and the Lambda Players are determined to keep the play and Schultz's theater spirit alive in Sacramento.

Press-on nails, tabloids, self-help books and Barbie and Ken are just some of the seemingly lighthearted and humorous topics brought up throughout the scenes. Behind the comedy, however, is the analysis of mixed messages and expectations that women get from the media and culture.

The upcoming two-month run of the play will be a tribute to the previous director, choreographer, actor and owner of The Studio Theatre, Jackie Schultz, who suffers from chronic fatigue and immune dysfunction syndrome.

Schultz has suffered a public battle with the disease for the past 12 years, and her health has declined considerably over the past year. Her condition forced her to sell her 92-seat theater in 2005 and will no longer allow her to direct.

Kitty Czarnecki, one of the major Sacramento theater players, will be taking over Schultz's position. Previously co-producer and owner of Sacramento's Garbeau's Dinner Theatre, Czarnecki will have a busy month in July when she is also teaching a children's theater camp in El Dorado Hills.

The Lambda Players is a nonprofit, all-volunteer organization that began in 1989 to fill the void of local gay, lesbian, bisexual and transgender theater. Their goal is to provide a safe place for actors and actresses of all sexual orientations to act, educate and entertain.

The players moved into the Lambda theater in 2007 and plan on keeping "Six Women" alive by making the theater its permanent home.

The Lambda Players Studio Theatre is located at 1028 R St.

Which event will you be attending this Memorial weekend?

2009-05-21T00:39:16Z

Although many of the events this weekend do not really reflect the true meaning of the foundation of this holiday, there are still some great things to do! Whatever your plan is this weekend, do take a moment to reflect on what Memorial Day is about and be thankful for our fellow Americans who put their lives on the line for the sake of our country. Just in case you aren't sure as to what Memorial Day is all about and why it is a National Holiday, here is the definition from Wikipedia: "Formerly known as Decoration Day, Memorial Day commemorates U.S. men and women who died while in the military service. First enacted to honor Union soldiers of the American Civil War (it is celebrated near the day of reunification after the civil war), it was expanded after World War I to include American casualties of any war or military action." So here's to a great weekend and thank you to all those who made it possible!

Wednesday 5.20

Music: Izabella w/ Montana Slim -- $10
Where: Harlow’s (27th & J St)
When: 8pm
Why: Izabella is a dance-inspired rock and soul band hailing from the Bay Area. I haven’t seen them yet but hear they’re great! This is what their website has to say: “This six-piece family of musical explorers is avowed for producing danceable, dynamic grooves. Izabella's live performances exude joy and inspiration for all in attendance. Their unique blend of fist-pumping guitar, funked-out keys, poly-rhythmic beats, and impassioned vocals is unparalleled in the genre. As this musical collective continues to blaze their own trail, they remain in constant connection with their community of fans who ultimately make it all happen.”
Details

Thursday 5.21

Museum: Diverse Perspectives Tour -- $6/$4/$3
Where: Crocker Art Museum (216 O St)
When: 1pm
Why: For those of you out there with wheels to get around on, The Crocker Art Museum will be shining the spotlight on their works at eye-level. This is a special exhibit for wheelchair users and their friends and all are welcome!
Details

Art: Lecture by Catherine Clark-- $5 (Free to CCA members)
Where: Center For Contemporary Art (1519 19th St)
When: 7pm
Why: Catherine Clark, from the Catherine Clark Gallery in San Francisco, will discuss the work in the Center for Contemporary Art, Sacramento's "The Conundrum of Abundance," an exhibition of paintings by Chester Arnold, Scott Greene, and Julie Heffernan. They all share an affinity for abundance in their paintings. While the imagery differs, the works share a pre or post-apocalyptical narrative that simultaneously embraces this abundance, and questions it. This should be a great, informative event.
Details

Music: Third Thursday Jazz Summer Concert Series -- $10 (Free to Crocker Members)
Where: Crocker Art Museum
When: 5:30-8pm
Why: Guitarist and singer Perry Mills leads his band in playing rock-rooted and jazz-schooled music. Enjoy a spotlight tour during intermission.
Details

Festival: Sacramento County Fair-- $3 (Kids & Seniors Free!)
Where: Cal Expo
When: 10am-10pm, May 21st-25th (10am-7pm on Memorial Day)
Why: The County Fair features competitions showcasing talent from our region, arts and crafts displays, agricultural exhibits, a hypnotist, SPIKE the fire juggler, a carnival with 30 thrilling rides, and of course, an assortment of food ranging from traditional fair favorites to contemporary cuisine. Local bands and musicians will get your summer rockin’ and rollin’ on two stages this year. Each night, talented artists are guaranteed to impress audiences! The Demolition Derby, Roving cowboys, wandering jugglers, hands-on fun with physics and the popular Sunflower Saddle Ranch are the types of entertainment you can expect- It's a surprise around every corner! Individuals, families and groups can enter and participate in contests during the Fair including a Cookie Bake-Off, Potatomobile Races, Gift Wrapping, Memory Pages, Grab Bag Art, Trim-a-Tree and more. Frugal fun for the whole family!!
Details

Friday 5.22

Festival: 36th Annual Sacramento Jazz Festival--$45 ($50 at door)
Where: Old Sacramento/Convention Center
When: May 22nd-25th: Fri, 1pm-11pm; Sat & Sun, 10am-11pm; Mon, 10am-4pm
Why: Jazz music of all types will permeate Old Sacramento and the area around the Sacramento convention center. More than 60 bands at 23 venues, more than 20 nationally-known all-stars, and a dozen featured bands. Special events include a big Friday parade, specialty concerts, a rousing Sunday gospel service and respectful Memorial Day salute to service, and sixteen bands made up of teenage musicians on their own stages.
Details

Music: Wonderbread 5 -- $12
Where: Harlow’s
When: 10pm-1:30am
Why: For over a decade, the unstoppable, international rock and roll party machine known as the Wonder Bread 5 have been thrilling audiences, and exceeding client's expectations around the globe. (And on Saturday you can catch Mercy Me at Harlow’s too!)
Details

Theatre: Let's Go! Musical -- $20/25/30
Where: Crest Theatre
When: May 22nd-24th: Fri-Sun 8pm & Sat-Sun 2pm
Why: "Let's Go" will take you on a roller coaster ride of emotions through its inspirational story. With jaw-dropping dance numbers and soulful renditions of your favorite songs, you'll be dancing and singing along with the cast! The performers in Let's Go! have a passion for their art and a desire to be deemed number one. Throughout the first act, the singers and dancers battle to find out who is the best. The magic begins when the rivals realize the only way to be number one is to act as one. United through a tragic loss, the performers come together in Act II and put on a show you'll never forget. Whether you are a fan of Country, R & B, Rock, Gospel, or Hip Hop, this musical has it all! At the end of each show, meet the Let's Go! Cast and hear their real life stories. This is a rare chance to meet the people behind the characters you see on stage and best of all- they’re from Sacramento!
Details

Music: Jackopierce -- $25 ($20 in advance)
Where: Marilyn’s on K (St)
When: 9:00pm
Why: The songs range from acoustic pop (the title-track, "Promise of Summer") to John Mellencamp-tinged country-rock ("Everything I'm Not"). Heartache is ever-present on a Jackopierce record. Jack O'Neill and Cary Pierce founded the duo in 1988 and after a decade-long run they decided to call it quits with a sold-out farewell tour 1997. In 2002, they reunited and have played 15-20 shows per year, always to sold-out venues.
Details

Music: Concert in the Park -- $Free
Where: Cesar Chavez Park
When: 5pm-8pm
Why: This week check out Silver Darling, Kris Anaya, & Buildings Breeding (their CD release!) followed by the featured band Two Sheds. Afterward, continue the fun with the “Weekly Concert Crawl” (Post Concert Specials)! Show your concert wristband and receive specials like happy hour pricing on food & drinks every Friday night at local bars and restaurants. Just ask for the Concert Crawl Deal.
Details

History: CARRIED WITH COURAGE: Historic Flags from the Capitol Collection -- $Free
Where: CA State Capitol Museum
When: Mat 22nd-23rd 9am-5pm
Why: This exhibit features a number of conserved Civil War flags from the Capitol Historic Flag Collection. Some of these flags were flown on display on the parade ground, while others have accompanied Californians into battle. Many of the flags to be exhibited have never before been seen by the public. This exhibit is a unique opportunity and will offer the public a once in a lifetime chance to view this remarkable collection.
Details

Saturday 5.23

Dance: Sacramento Ballet's Season Finale -- $38
Where: Sacramento Theatre Company
When: May 23rd & 24th: Saturday 7:30pm, Sunday 2:00pm
Why: The Sacramento Ballet is bringing their year to an end. These two shows will be the final performances for the Ballet’s 2008–2009 Season. Presenting highlights from its recently sold-out performance at the Mondavi Center’s Studio Theatre, these performances will showcase Amy Seiwert's "Well it's not a cry," Nolan T'Sani's "Ballet de Murphy," Molly Lynch's "A Journey" and Jared Nelson's "Jump Jive," along with additional Sacramento Ballet repertory favorites in a powerful display of the creative and artistic excellence that is the hallmark of what Sacramento Ballet’s Artistic Directors Ron Cunningham and Carinne Binda have consistently and brilliantly brought to the stage. Support the SacBallet!
Details

Festival: Handmade Parade-- $1
Where: Giovanni Hall (1333 58th St)
When: 10:00am-5:00pm
Why: Handmade Parade welcomes everyone to come and enjoy a wide range of fine art, folk art and crafts at this semi-annual event- with free craft demos, make & takes, and knitting & crochet demos to boot! The first 200 people there will receive a bag of freebies and discounts from our vendors and sponsors.
Details

Fundraiser: Walk 'N Rock for Kids Benefit-- $donation
Where: Raley Field
When: Walk 8:00am, Concert 8:00pm
Why: The morning will be filled with music at Raley Field and along the route. After the walk, enjoy entertainment, interactive booths, kids activities, more music, food and fun! Bobby Jackson will be the official spokesperson for this event- Don't miss it! Later that evening, Hope Productions and our corporate partners will host an exclusive VIP reception and a benefit concert featuring: Journey! (Tickets on sale) This will be open to the general public. The proceeds from the concert will be divided among the nonprofit partners.
Details

Family: Family Fun Program-- $Free w/ Museum admission ($7/6/3)
Where: California Auto Museum
When: 1:30pm-3pm
Why: Celebrate Mom all month long and make her a special keepsake, a race car themed picture frame complete with your picture next to your favorite Museum car! Just in time for the 93rd Indianapolis 500, you can also decorate your own miniature wooden race car.
Details

History: Memorial Day Ceremony -- $Free
Where: Historic City Cemetary
When: 10am
Why: Join the Historic City Cemetery Committee in honoring veterans who have made the ultimate sacrifice for our freedom. Music, speakers, color guard and dignitaries guided tours will be featured.
Details

Sunday 5.24

Music: A Fashion Night Stand -- $10
Where: MIX Downtown
When: Pre-party 6pm, Runway 9:30pm
Why: An upscale & fashion forward one night affair showcasing some of the best local fashion & talent rounds out the Memorial Day Weekend! Enjoy a runway main event featuring fashions by local boutique Madam Butterfly & local designers of Velvet Leaf, with styling by Suede Salon & showcasing Cast Images runway talent. Stay for the post-show party hosted by 100.5 The Zone until 2:00am. Walk the TwinSoup Pink Carpet, enjoy photo-ops, free swag bags valued at $250+ each, TwinSouptinis & more!
Details

Music: Graham-A-Rama -- $15
Where: Geery Theatre
When: 7pm & 9pm
Why: Join in the fun this weekend with Graham Sobelman as he welcomes Jerry-lee to the set! Also performing are the Graham-A-Rama puppeteers! A fun filled-hilarious time! This humorous display of talent occurs every Sunday at the Geery theatre so even if you can’t make it his week, keep it in mind…
Details

Monday 5.25

Theatre: Tommy the Musical-- $20 ($15 in advance)
Where: Crest Theatre
When: 7pm
Why: Sacramento's own Nancy Zoppi will be playing Tommy's mom- She is the daughter of a good friend of mine and an amazing performer! This show is not to be missed! Presented by Artistic Differences.
Details

Also keep in mind for that the Sacramento County Fair & the Sacramento Jazz Jubille are both continuing through Monday. If you didn't get a chance to go over the weekend, it's not too late!!

These events and many more can can be found on Sacramento365.com, the year-round source for Sacramento events.

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.