Newest articles on The Sacramento Press tagged as "plays"

Back on the Boards: Part One

2011-12-06T22:23:55Z

A lot has happened for me in the last 20 years - I got married, moved (from England) to Sacramento, had three (count-em!) kids and changed jobs. Enough to make my life interesting and full. One thing I left behind in 'Blighty' was my love of acting. Before coming to America, I had trod the boards in various roles, none of them remunerative sadly but all of them stimulating and fun.

Fast Forward 20 years and things seem to have settled down a little. The kids are all at school, my commute is three miles each way and my circle of acquaintances has never been larger. Time then, to branch out again.....

My two oldest children have been in several 'pay to play' theatrical shows, mainly at the eternally popular Runaway Stage on 24th Street, close tto our home in Curtis Park. They have done various 'Jr.' shows - 'Aladdin', 'Seusical', 'Guys and Dolls' etc, all wih a huge cast and a commitment to help sell tickets AND work behind the scenes AND supply the costumes.....

The kids all love doing the plays of course, but one problem with this system is that, unless your child shows unusual talent at an early age, the chance of them getting any significant role beyond '#3 Squirrel' is nill (although it increases exponentially the more plays they attend and the older they get). I don't have a problem with this, it's just the way things are.

Recently though, they attended a couple of workshop plays run by Michael Peters at the Studio Theater on 10th/R St. Again, 'pay-to-play' but thankfully with no neccessity to sell a bunch of tickets to our long-suffering friends. In addition, the cast size was small enough that all the kids involved had lines, real lines - not just the 14 year old veterans. We discovered that not only did our daughter have a voice, it was a loud and confident one too!

So, back to me....

After the last play, a play that combined 'Alice in Wonderland' and 'Charlie and the Chocolate Factory', I wanted my son to audition for the next production at the theater. This play was 'The Lion the Witch and the Wardrobe' - not a children's workshop, a 'proper' play. My wife thought it would be nice if I could also get a part so that we could do it together. The fact that the Director wanted the actors to use English Accents gave me some confidence, I have to admit.

So, I prepared two resumes and took 'actorly' headshots and signed up for the audition.

Well, the auditions came and went and sadly, my son did not get offered a part. By comparison, I did - they gave me the part of 'Aslan', the Great Lion of the story.

(Read part two to find out how it went).

_____________________________________________________________________________

The Lion, the Witch and the Wardrobe performs for three weekends from December 2nd until December 18th, with performances at 8pm on Fridays, 2pm & 8pm on Saturdays, and 2pm on Sundays.
Box Office at (877) 532-7171, The Studio Theatre, 1028 R St., Sacramento, CA 95811.

Disclosure: I am currently playing the part of Aslan in the Bob & Ro Production of 'The Lion the Witch and the Wardrobe' .

"A Christmas Carol" at the Sacramento Theatre Company

2011-12-06T01:51:26Z

Add The Sacramento Theatre Company to your list of holiday activities this year: “A Christmas Carol,” which runs through Dec. 24 at the Wells Fargo Pavilion, captures the magic and joy of Christmas. The Dickens classic, adapted by Richard Hellesen, is the most consistently produced Christmas show that STC runs and has been a part of the holiday programs on and off for the last 24 years.

For more than150 years Charles Dickens’ “A Christmas Carol” has been a classically loved and widely acclaimed story of the evolution of a Ebenezer Scrooge from a selfish and sour man to a generous and hospitable fellow. This heart-warming tale of redemption is a Christmas production that has reminded audiences for over a century of the true meaning of life.

On Sunday, the theater was filled with families, students, and theater-goers of all ages. The actors captivated the audience with an outstanding performance, especially by Matt K. Miller, who played Scrooge. His performance captured the splendor of the classic tale of a man rediscovering his Christmas spirit.

The stage effects really transported the audience to a different time and place. Simulated fog poured into the theater to create the dark mystical feel of London and actors dressed in elaborate period costumes that included the Ghost of Jacob Marley in chains and rags and wealthy women in beautiful silk gowns.

The stage was simple with selective yet dramatic props. Many key elements rolled on and off stage throughout the show while an over sized clock remained center stage the entire show. Scrooge’s four-post bed and fireplace, a desk in his office and other key elements diversify the space to show Scrooge as he travels through time.

Through music and dance this performance stands out among the many renditions of “A Christmas Carol.” The uplifting songs in the first act juxtapose against the dark and sinister attitude of Scrooge and help reveal the extent of his rottenness to the audience.

Music director, Sam Schieber, and choreographer, Jerald Bolden are both new additions to this year’s production team. Music that was adapted and arranged by David De Berry uses Christmas carols and songs from the 1800s to accompany the story of Scrooge rediscovering his Christmas spirit.

By the end of act two Scrooge’s outlook on life is in alignment with the blissful songs that the characters sing and bring the story full circle as he joins in singing with the community.

Matt K. Miller makes a wildly captivating Scrooge. Everything from his facial expressions to his posture and tone of voice evolve as Scrooge realizes the true meaning of life by the visiting Christmas ghosts.

Miller does a wonderful job portraying an eerie gloom and distaste for Christmas in the opening scenes of the play. As Scrooge is taken by the Ghost of Christmas Past, Sydney Christoffersen and Bella Bagatelos who both play the part, the thick layers of his hardened heart seamlessly peel back when Miller starts snapping his fingers and bouncing to the songs of his youth and recognizing the faces of old friends.

Miller has performed in many productions at the Sacramento Theatre Company and this is his fourth time playing Scrooge for the company’s production of “A Christmas Carol.”

“Miller has always been excellent,” said season-ticket-holder, Marion Silva. “He does a really great job playing Scrooge. He has really gotten into this character.”

Jim Lane plays an especially creepy and tortured version of The Ghost of Jacob Marley. He is dressed in rags and covered in chains when he emerges from a dark and foggy clock in Scrooge’s home. His voice echoes throughout the speakers of the theater, creating a haunting mood. Lane delivers a chilling performance.

Scrooge’s nephew, Fred, played by Jerry Lee, brings a lightness to the dark and mystical nature of the opening scenes of the show. He portrays a jovial and lighthearted man who continuously looks for the good in Scrooge despite his unenlightened and stingy perspective of the world.

Barry Hubbard and Jackie Vanderbeck make a marvelous team playing Mr. and Mrs.Cratchit. Mr. Bob Cratchit is employed by Scrooge and always defends him, despite Scrooge’s cruel attitude toward him. Vanderbeck portrays Mrs.Cratchit as a sound minded woman who looks out first and foremost for the well being of her family.

Hubbard and Vanderbeck evoke sympathy and compassion in the audience as Mr. and Mrs. Cratchit struggle to make ends meet in the midst of their youngest son suffering from medical problems, not having enough money to help him.

The redemption of Scrooge is climactic when he finally gives BobCratchit a raise in order to help save the life of his son, Tiny Tim, played by Zac Ballard.

Zac Ballard is adorable and lovable as Tiny Tim. He does an excellent job playing a crippled boy with leg braces by moving his legs with labor and looking to family members for help moving about the stage. He wins the audience over with his innocent and angelic attitude.

The props and set design are minimal but dramatic. A large grandfather clock is in the center of the stage throughout the play, symbolic of the looming presence of time slipping away from Scrooge. The clock is so oversized that it almost appears to be a looking down on Scrooge like a God. In addition to the clock, a large four-post bed rolls on and off stage to signify Scrooge leaving and returning to his sleeping quarters as he visits his past, present and future.

“The set seems true to London back then, covered in soot and fog. It looks musty and smelly and cold,” said Carolyn Schilling, season ticket holder.

The use of heavy fog and varying lighting techniques create a dark mysterious world that Scrooge lives in.

The Ghost of Christmas Future is the most disturbing of all of the ghosts, dressed similarly to the grim reaper.

Rather than speaking, the ghost points his long bony fingers to direct Scrooge’s attention to what his future will look like if he doesn’t change. The Ghost of Christmas Future appears out of a trap door beneath the stage and slowly glides up to Scrooge’s level while fog pours out around him and lights flash dramatically.

This is just one of the many effective design elements that lighting designer, Victor En Yu Tan, scenic designer, John Klonowski, and additional lighting design and effects by Jordan Burkholder create in the show.

Costume designers, B. Modern and Jessica Minnihan, created appropriate period costumes that range from rags to the gowns of the wealthy.

All of the elements of the production come together to make the Sacramento Theatre Company’s “A Christmas Carol” a classic holiday thrill that reminds audiences of the true meaning of life while providing a marvelous show for all ages to enjoy.

This season The Sacramento Theatre Company is inviting local choirs to sing Christmas carols outside the theater before the show starts. Choirs that are interested in singing may contact the theater.

Show times are as follows:

Wednesday 7 p.m.
Thursday 12:30 p.m. and 7 p.m.
Friday 7 p.m.
Saturday 2 p.m. and 7 p.m.
Sunday 2 p.m.

Tickets prices are as follows:
General $40
Children (Age 4-12) $20
Discounts are available for seniors, students and groups.

To purchase tickets, visit the box office website here.

For more information about “A Christmas Carol” visit the Sacramento Theatre Company website here.

All Photos: Barry Wisdom

B Street Theatre's 'Collapse' hits all the emotions

2011-06-14T05:14:29Z

If you are thinking about seeing B Street Theatre’s “Collapse” this summer, have high expectations. Within the first 10 minutes on opening night Sunday, the audience was already in an uproar of laughter.

The play takes place around February 2009 and opens with an extremely comical scene between Hannah and David, a married couple trying to have their first child. Though Hannah is the one who is lying over her husband’s lap about to have a hormone shot injected into her left butt cheek, she is the one pep-talking an uneasy and uptight David.

Their relationship becomes more and more strained and hilarious as Hannah's off-the-wall sister, Susan, unexpectedly stops in for a long-term stay without permission. There are all sorts of side stories inside the main plot as well. For example, insecure and passionate David suffers from post-traumatic stress disorder.

He was in the I-35W Mississippi River bridge collapse a year and a half before the play’s start, and he hasn't been to work in a month. He also suffers from ulcers, but still attempts to be an alcoholic, dumping many of his beers into the living room plant, unbeknownst to his wife.

Then, of course, there is Susan, the loose cannon with great one-liners, losing her job and apartment and agreeing to deliver an unmarked package from her psychic to some character named “Bulldog” in exchange for a plane ticket to Minneapolis, Minnesota to her sister’s house.

Hannah is a classic control freak, though she is extremely lovable. She spends the whole play taking care of everyone else and does not realize until the end how to let things go. She is also still recovering from a miscarriage that had happened a week after the bridge collapse, and she has a deep, burning desire to start a family.

In her search for some peace in her chaotic life she meets Ted, a charming sex addict, while standing outside of what she thinks is an Alcoholics Anonymous meeting that she hopes her husband will attend. She soon finds out it is actually a Sex Addicts Anonymous meeting.

Though her intentions are pure, she soon succumbs to Ted's efforts and kisses him in a coffee shop after a long heart-to-heart conversation full of sexual innuendos and awkward moments.

The ironic twist is that Ted is impotent. David and Hannah have the audience in tears in their last scene as they realize their strong love for each other.

There is a lot going on, the play is fast-paced and energetic. There is never a dull moment, and yet the plot is well-defined.

Founded in 1986, B Street Theatre, located at 2711 B St., has been bringing undeniable talent to people of all ages ever since, and “Collapse” is no exception.

Opening night was Sunday, and 170 people crowded into the darkly lit stage room for the 7 p.m. showing. The play runs through July 24 and is directed toward a more adult audience.

Don't let this two-act, 90-minute play (with no intermission) fool you. It was a Global Age Project 2010 finalist, and playwright Allison Moore created a beautiful piece filled with just about every emotion and struggle on the map, and still it manages to leave the audience feeling lighthearted and carefree at the end.

“I like that it was funny and real,” said audience member Melissa Hightower, “because it was based on a real event that the writer experienced.”

Much praise is also due to directors Buck Busfield and Laura Baker for their obvious and widely successful efforts.

Vicki Reece has been ushering at the B Street Theatre for a year now, recruited by an old college roommate, said she is a strong believer that every play at B Street is wonderful.

“(Co-director and Producer) Buck (Busfield) picks plays that are just universally good,” Reece said. “I have enjoyed 100 percent of the plays at B Street Theatre.”

She's right, judging by “Collapse.” Plan on laughing, crying and being constantly surprised.

“It was funny and powerful,” said audience member Ali Lippman. “What was most powerful about it was (the actors’) interactions with each other.”

The chemistry between the actors was evident, and rightly so, as they each have quite a bit of experience under their belts.

Jason Kuykendall, who plays David, may seem familiar because he has also been in “Searching for Eden,” “The Adventures of Sherlock Holmes” and other productions. Not to mention, he's had television roles on “General Hospital” and “State of Grace.”

Elisabeth Nunziato, playing Hannah, has been acting with B Street since it was founded and been in numerous plays, such as “The Wishing Well” and “Circle Mirror Transformation.”

Amy Resnick, in the role of Susan, has also been in many productions and originated the role of Susan at the Aurora Theatre Company in Berkeley at the world premiere of “Collapse.” She has also toured the United States during her career, and she's had roles on many popular TV shows such as “Law & Order.”

Adrian Roberts, who plays Ted, graduated from the American Conservatory Theater's master of fine arts program. He spent two seasons with the Oregon Shakespeare Festival and has been in several other theaters. He has also appeared on TV in shows such as “Scrubs” and “Criminal Minds.”

The schedule is fairly flexible, with show times of 6:30 p.m. on Tuesdays, 2 p.m. and 6:30 p.m. on Wednesdays, 8 p.m. on Thursdays and Fridays, 5 p.m. and 9 p.m. on Saturdays and 2 p.m. on Sundays. Tickets range from $18 to $30.

“At B Street, you know you are going to get something different,” Hightower said.

A four-man play that blows your mind? Yes, that is brilliantly different.

For more information visit B Steet Theatre online.

Antigone

2011-05-17T03:41:51Z

Good theatre truly touches the soul, it taps into something deeper inside of us than our everyday hum drum lives have to offer. Antigone accomplishes this beautifully.

A timeless telling of a classic story. The actors are dressed in a time neutral fashion, the set simple, and there are almost no props- leaving our actors nothing to hide behind. Bold and brazen they bare their hearts and their stories for the audience.

This is the story of Antigone, daughter of Odepius, is masterfully narrated by an enchanting Greek Chorus who lays out the events of Antigone as she attempts to secure a respectable burial for her brother Polyneices, even though he is considered a traitor to Thebes. The law forbids both burial and administering any religious rights- upon pain of death. This edict was laid on the land by Antigone's own Uncle Creon, now acting King of Thebes.

So many things are so right about this production. Beautiful lights, set, story, actors and actresses, well directed and crewed. I can absolutely and whole heartedly recommend this production to the more sophisticated theatrical audience in the mood for an impactful and moving theatre experience.

At the California Stage

1723 25th street (25th & R)
Sacramento, CA 95816 Remaining Show Dates:

Friday, May 20 8:00 PM
Saturday, May 21 8:00 PM

Friday, May 27 8:00 PM
Saturday, May 28 8:00 PM

For More Information:

http://koltruncreations.com/

(916) 454-1500

Capital Stage to drop anchor on J Street

2011-02-04T02:18:21Z

A theater troupe that has made its home in a docked paddlewheel boat wants to trade its Sacramento River location for one in the heart of Midtown.

Capital Stage Company got its start in 2005 in a 115-seat theatre inside the Delta King, which is now a floating hotel and restaurant in Old Sacramento. The group opened its newest show, "Reasons To Be Pretty," there last Friday.

Now in their sixth season, the professional theater troupe's founders hope to increase the company's visibility and street presence by moving to busy J Street, a main artery through downtown and Midtown, co-founder and Producing Director Jonathan Williams said Thursday.

"I can't tell you how many times we've been called the 'best-kept secret in Sacramento,' " Williams said. "No business wants to be the best-kept secret."

The company's other founders are Producing Artistic Director Stephanie Gularte and Marketing Director Peter Mohrmann. Keith Riedell is the general manager.

Williams, the project manager, said they hope to start work next month to turn an old gun shop into a 125-seat, urban-modern theater. They took over the lease for a building at 2215 J St., where the Old Sacramento Armoury had operated for decades. To make sure no one misses the new location, they painted the front exterior red.

Their renovation plans are currently being considered by the city's zoning administrator. A public hearing on the plans and building permit may be scheduled for Feb. 24.

But first, the company's founders are scheduled to meet Wednesday with members of the Midtown Neighborhood Association to address concerns. The founders have discussed the plans with two other neighborhood groups. The primary issue involves parking, Williams said.

The number of parking spaces businesses are required to have depends partly on occupancy and hours of operation. The troupe has applied for a parking waiver with conditions that are still being determined.

The theater may be required to lease 32 or more off-street parking spaces for performances, but that number is also being determined, said city Associate Planner Robert Williams, who is no relation to the troupe's co-founder.

An arrangement is being discussed with the owner of a parking lot across the street, Jonathan Williams said.

"We're very aware that parking is a big issue for people," he said. "We've been working on a plan that will make everyone happy about this moving forward."

The old gun shop may seem like an odd place to build a theatre at first. But the building's impenetrable construction actually works. The absence of windows means no light needs to be blocked. The thick concrete walls make the structure pretty soundproof, he said.

Capital Stage Company has raised half of the $300,000 budgeted for the renovation through a private campaign. On Friday, the company launched its public campaign.

Supporters can get their names added to the new theater's walls or seats by donating $2,500 or $1,000, respectively. People can also donate any amount through the troupe's website. The company plans to open the theater in time for its seventh season, which starts in September.

The troupe has aimed for a niche by offering intimate performances of cutting-edge plays. The stage will grow from about 500 square feet to 720 square feet in the new theater. But the company won't have to sacrifice intimacy – seats will be placed on three sides of the three-quarter thrust stage, keeping all theatergoers close to the stage.

Sacramento doesn't have many small- to mid-sized theaters, and many companies can't afford a space of their own. Capital Stage Company has had "a great run" at the Delta King, he said.

"It's actually a really nice little theater," Williams said.

The Delta King Theatre packs a lot of character with its on-ship location and wooden seats. However, about 15 seats have only partial views of the stage. The capacity of the new space will allow the company to keep growing, he said.

"We cut our teeth in this space. We figured out how to be who we are in this space," Williams said Thursday as he sat in the theater. "As we are evolving and growing up, we need our own home now."

Jonathan Williams, co-founder and producing director of Capital Stage Company, discusses plans for a new theatre at the company's present home, the Delta King paddlewheel boat.

Suzanne Hurt is a staff reporter for The Sacramento Press. Follow her on Twitter @SuzanneHurt.

Big Idea does "Much Ado About Nothing"

2010-11-08T06:24:47Z

Kirk Blackinton and Liz Tachella Bowman gave hilariously snide performances Friday night in Big Idea Theatre's rendition of William Shakespeare's "Much Ado About Nothing."

The story revolves around two pairs of lovers whose paths toward and away from love run into unforeseen circumstances. The puppy love of Claudio and Hero hits a tragic roadblock, while the love-hate relationship of Benedick (Blackinton) and Beatrice (Bowman), by the design of their conniving friends, becomes more loving and less hateful.

Directed by BIT company member Katie Chapman, the production has been a project of hers for the past decade. Set in the years between the World Wars, giant propaganda posters sit in the stage background while the cast members perform in cocktail dresses and military fatigues. The script is unedited, save for the removal of lines and one reference to a mustache instead of a beard.

The standout performance of the night was given by Blackinton. The audience edged toward the front of their seats every time he appeared on stage, anticipating whatever scathing reproach — or approval — of marital love his character might conjure. His line delivery was clear, deliberate and varying in tempo. Equal to Benedick's wit is his tongue, and Blackinton released onslaughts of dialogue, stringing sentence after sentence feverishly together, only to pause at the climax of his lines and finish with comic emotion. If the audience was any indication, he stole the show.

In opposition to Benedick — at least in the beginning — is Beatrice, and Bowman matches Blackinton's line-delivery with reciprocating snark. Laying down thick sarcasm is a specialty for the two characters, and where civility is lost, laughter is won.

A late-blooming gift to the audience came at the halfway point in the character of Dogberry (Jes Gonzalez). Playing the haphazard Constable bestowing night-watch responsibilities to whichever miscreants he finds in the street, he flamboyantly acts the part of a clueless lawman, reliably providing hilarity to the very last scene.

The play is not short on comedy, but its humor is balanced against the villainy of Don John (Gian Montesini) and the resulting turmoil between Hero (Heather Judkins), Claudio (Brian Harrower) and Leonato (Gregory Smith). Fallout between independently affable characters is more or less predictable in fiction, and it is little surprise that Don John's evil scheme to keep Hero and Claudio apart would have some ill-effect on their intention to happily wed. Nevertheless, watching Judkins sob in the middle of the stage as both Harrower and Smith deride her for actions of which she is innocent was heart-wrenchingly authentic.

For a full plot synopsis, click here.

Unless fluent in Shakespearean syntax, the dialogue is often difficult to follow, in the beginning. Letting go of occasional jargon lapses is essential for those unfamiliar with his style to enjoy the production. As the play progresses, and as the ear develops to the English of past centuries, plot and character developments seen and heard are easier to comprehend.

Choosing to set the play in the early 20th century is somewhat enigmatic. While the costumes are appropriate and the war posters are present, there isn’t any other indication as to why this story meshed with that part of America's history.

"Much Ado" nevertheless provides two full hours of knee-slapping humor, with only a short-lived side of heartache. It's focus on the merry makes for a lighthearted night at the theater, and given the intimate nature of the Del Paso Boulevard location, the audience can expect no less than full immersion.

This will be the final show of BIT's 2010 season. It runs through Dec. 4. Show times and ticket prices can be seen here.

Photos courtesy of Big Idea Theatre

Othello - Shakespeare Festival

2010-07-26T07:13:34Z

The play Othello is about a black officer whose marriage to a white woman ends very tragically due to the ingenious scheming of an "honest" friend of Othello.

I love the storyline of Othello. I had seen the movie Othello starring Laurence Fishbourne about 10 years ago and again about 1 month ago. I read the play, also about 1 month ago, and even read another book, "Othello - Shakespeare Made Easy" so that I would be able to better interpret the language in the play. I had even seen a very contemporary version of the play in a movie called "O" starring Mekhi Phifer and Julia Stiles. So it seemed fitting that the only thing left for me to see was a live performance of the play that I love so much.

I was very surprised when I first arrived at the William Carroll Amphitheatre, which is located just behind Fairytale Town, in William Land Park because I was just at Fairytale Town the previous week and I didn't even notice the stage area at all. So needless to say, I felt at home in a very familiar environment. I had brought a dinner picnic for myself and my husband and a blanket to curl up in. The ambiance was wonderful. The people that were in attendance were at ease with the comfortable atmosphere that the park-like seating gave.

On the opening scene, I will admit that my heart gave a start, because I thought that I was watching the wrong play. Iago, the scheming, honest friend was dressed like he was ready for battle in the Civil War! Rodrigo, who Iago was talking to was dressed in a suit! Where were the Elizabethan clothes that I was expecting to see? But I'm not one to let one distraction take away my joy.

But then in Act I, Scene III, at the Venetian Senate Chambers, the Duke, was a woman! Now, I, too, am a woman, but I did not expect, nor did I want to see a woman in the role of the Duke when in those times, women did not have any place in government.

This is when I looked back at my program and I see that the "place" is set in "Venice" and "Cyprus" accordingly, but the "time" is set in "the Late 1920's". That explains why the female Duke was dressed in sequined flapper dress.

I also did not like that Rodrigo, the jealous suitor, was African American and that were other African Americans playing various roles in the play. What I believed to be important in this tragedy of Shakespeare is that here was this man, Othello, a black Moor, who was able to woo and win the senators daughter, Desdemona despite his race and background. In the original play, Iago shouted to Brabantio (from his hiding place) that an "old black ram is tupping your white ewe" which, in the original play, leaves little doubt as to who is "tupping" his daughter, but in the play at the William A. Carroll Amphitheatre, the "old black ram" could have been any number of "black ram" because Othello was not the only "black ram" in the play. Having an African American play the part of Rodrigo really took away the prejudice that I think that Shakespeare might have been trying to get the audience to see because Rodrigo felt like he was better than Othello and that he should have been able to have his chance at "winning" Desdemona's love. Having other African American's throughout the play also took away Othello's individuality as the "black Moor", who had come so far with his position of office. He, therefore, in the original play, stood out amongst the sea of so many white Venetians as someone who had achieved a lot. In the play in the park, Othello did not stand out as the successful Moor in Venice.

However, I think that the actors did fabulous in their acting job. The actor portraying Othello, Gregory Jolivette, was very good. He has a face that shows a lot of different, yet convincing emotions. When he was reunited with his wife, Desdemona, you could see the love for his wife on his face. Not just in his smile, but his whole face expressed his love for her. And when he was way past any convincing that his wife was not having an affair, you could not only see the anger in his face, you could feel it in your stomach. Very scary to see that anger.

The actor portraying Desdemona, Kirsten Myers, shocked me when she sang "Willow, Willow". I always think that I can tell by the way someone will perform in a song based on how they speak. Well, I sure didn't expect Kirsten Myers to have such a beautiful voice. I didn't think that she had a bad voice to begin with, it just seemed a ordinary. Great acting with a actors voice. However, her singing voice was beyond ordinary. I also thought that she held great poise on the stage during the performance, even when her hat was accidentally knocked off by Othello during an embrace, she didn't falter.

Iago, Iago, Iago. How did they find someone so befitting of the role of Iago in Rod Breton? My only previous knowledge of a performance of Othello, as I said earlier, was in the 1995 movie version of Othello which portrayed Kenneth Branagh as Iago. Rod Breton made me feel the same about him as Kenneth Branagh did for me in the movie version: unbelievable loathing and hatred for you! That is some great acting to be able to get someone to feel such strong negative feelings towards you based on your acting skills. Ingenious

I like the acting of Alondra Mendoza who portrayed Bianca. One word to describe her acting: saucy! She was such a spitfire in the play and I really enjoyed seeing her on stage. She added a little extra "umph" to the play.

For my first Shakespeare play that I have ever attended, I was sadly disappointed because I wanted to see the clothing and correct ethnic and gender roles portrayed in the play. I wanted to experience the full Shakespeare atmosphere. I don't mean to sound as if the play was horrible. It just didn't hold up to what I envisioned as a Shakespeare Festival rendition of Othello. I guess if you close your eyes so that you won't want to be distracted by the weird time period version of Othello, you will probably enjoy the play much better.

Master Barber & Beauty Shop celebrates 35 years in new location

2010-03-04T08:57:25Z

Master Barber Shop was established in 1958 and was acquired by Earlie D. and Mary Brown in December of 1974. During that time, the shop was located on Stockton Blvd. and 7th Ave. Since those early days, Master Barber & Beauty Shop, has had several locations. Each location being better than the last. In 1989, sons Rodney and Marichal, joined the family business.

The late owner and master barber, Earlie D. Brown, established business in the hair industry in the mid 1940's with Brown's Barber Shop (two locations, San Francisco and Marin City). What started out as nothing more than a dream and a dime and a nail in his pocket has turned into a family business. He died in February 1998. Mary Brown and sons, Rodney and Marichal, now handles daily operations.

In 2007, The Brown Family, added community activities at the salon. Art on Stockton Blvd. became one of Sacramento's largest celebration of African American Art, Poetry, Literature and History. The shop has featured such fine artists as Milton Bowens, Malik Seneferu and Shonna McDaniels, poets; Terry Moore, NSAA, Steven 'HurriKane' Clark and Heather Christian and authors; Grace Carter (Rivercity Griot), Joslyn Gains Vanderpool and Anita Royston (Our Black Fathers).

Celebrating 35 years in business, The Brown Family has decided to re-locate to a more comfortable and fitting site, continue striving for excellence in the Hair and Beauty industry and to accompany such events as Art on Stockton Blvd., Jazz @ the Shop, Master Renaissance Poetry, Comedy, Plays and more.

Starting Tuesday, March 9, 2010, Master Barber & Beauty Shop doors will open at 4340 Stockton Blvd., Suite 2 (the former Brown's Paradise building), on the corner of Stockton Blvd. and Parker. The phone number will remain the same, 916.457.8708. Until then, you can find us at 3504 Stockton Blvd. (between 10th and 11th Ave, next to the Colonial Theater). We will keep you updated on upcoming events.

There will not be an event on this date, but everyone is welcomed to stop by and say, Hi, view the new facility and/or have your hair styled or cut.

The Brown Family would like to thank all who have patronized and supported Master Barber & Beauty Shop throughout the years.

Disclosure Note: Marichal Brown is part-owner of Master Barber Beauty Shop.

"The Conductor" Is Worth Seeing

2010-02-08T03:32:54Z

B Street Theatre's new production, "The Conductor: Harriet Tubman and the Underground Railroad," is a great experience.

The play, which is part of B Street Theatre's Family Series, made its debut in time for Black History Month. It tells the story of Harriet Tubman as she helps a slave, Jeremiah, escape to freedom in 1850s America. Jerry Montoya authored this B Street Theatre original production.

"The Conductor" was written with children in mind, but that doesn't mean it is dumbed down. Instead, it portrays the struggles of being a slave in a way that is easy to understand and accessible for young viewers but is harrowing and intense enough that the experience is not diminished.

This makes the play engaging for adults as well as children. That the production presents slave life in a family-friendly manner is perhaps its greatest strength, but "The Conductor" has many other qualities.

The actors portray their characters with conviction and emotion. The stage bursts with personality, allowing the audience to invest in the unfolding events. Skyler Cooper, who plays Harriet Tubman, deserves special mention for transforming a meek mother in one scene to a powerful and convincing leader in the next.

The play's target on young viewers does have its faults, though. The plot is fairly simple and the supporting characters are never fully fleshed out. One character in particular has a quick change of heart that might not seem believable. But "The Conductor" is well told and well acted, and is great for the young audience.

Considering that the venue holds only about 150 people, the production values are quite good. The sets are well designed, if a bit sparse, consisting mostly of a few backdrops and a constructed porch. The sound effects are adequate, with ambient noise such as crowd chatter and hooting owls coming through the speakers when appropriate. The technical side of the play always compliments the solid acting, which is the anchor of the play.

"The Conductor: Harriet Tubman and the Underground Railroad" is moving and powerful, and entertains both children and adults. It's one you'll remember long after you have left the theater.

"The Conductor," B Street Theatre, weekends through March 14, 1 and 4 p.m. Tickets are $15 to $22, available by calling 916-443-5300. B Street Theatre is at 2711 B St.

Thistle Dew Theatre offers drama and dessert

2009-11-12T03:58:02Z

You might have heard of Sacramento's dinner theaters: Suspects Dinner Theatre aboard the Delta King, Tommy T's Comedy and Dinner Theatre and the recently closed Garbeau's Dinner Theatre.

So after attending dinner theater, why not stop by Sacramento's only dessert theater?

"As far as I know, we're the only one in the world," said Thomas Kelly, Thistle Dew Dessert Theatre owner, founder and artistic director.

Kelly, now a retired copy/printshop owner, was a playwright for about 20 years before he opened the theater in 1996. In 1992, he and his wife Eleanor Lediard purchased the 1894 Victorian, 1901 P St., where the theatre is housed.

"It had been a drug house before we got it, totally trashed," Lediard said. "It took us a year to remodel it (into) a very small theater with 39 seats, as far as I know, the smallest theater in Sacramento."

Lediard, a family law attorney, has a law office on the top floor of the house, while the main floor of the Victorian sits slightly above ground. The theater is located on the bottom floor, about three feet below street level.

Shows take place Friday and Saturday nights at 7 p.m. and Sunday afternoons at 2 p.m. Exact times and dates can be found here.

About three years ago, needing "new and good material," Kelly started a Monday night playwright group which critiques plays and offers new wordsmiths community assistance. Now, with nearly 80 active members, each meeting averages about 25 playwrights, and five playwrights in the group have had 12 plays published by Massachusetts-based Jac Publishing.

Being able to help Sacramento's budding playwrights is Kelly and Lediard's proudest achievement of the theater, the married couple said. The theatre now shows exclusively original works by local playwrights.

Currently playing is The Trials of Clarence Darrow, produced by the playwright group several years ago. Written and performed by Paul Hauck, the play depicts the life of lawyer and American Civil Liberties Union leader, Clarence Darrow.

"It's very interesting," Lediard said. "I'm kind of biased because I'm a lawyer, but it's really of interest because the issues it deals with - social equality and civil rights - are all current issues.

Next month, the theater will feature Kelly's original work Wake up, Jay! It's Christmas!, winner of four 2006 Elly Awards including Best Overall Production. Given out by the Sacramento Area Regional Theater Alliance, the Elly Award honors outstanding achievements in the local theater community.

"It's (about) two family pets, a cat and a brand new puppy, left alone Christmas eve," Kelly said. "The puppy just goes berserk, has a lot of fun and kids really enjoy it because the puppy just has a blast."

As for the desserts, Kelly recommends the apple pie and the chocolate cake, the two most popular of five dessert offerings. Desserts come with coffee or tea.

Ticket prices are $25 per person and seats must be reserved by emailing thistledewplaywrights@yahoo.com or calling (916) 444-8209.

Those who wish to join the playwright group should view information here. Those who want to audition for plays should view information here.

'The Man of La Mancha' takes Sacramento on a quest at the Music Circus

2009-08-12T07:49:11Z

It was a solemn scene with chains and bars accompanied only by candlelight. A spotlight and a single pirouette performed flawlessly by one of the male troupe members accompanied by a Spanish song set the mood of the Music Circus sensation The Man of La Mancha.

The setting was that of a prison where Miguel de Cervantes, also known as Don Quixote, played by Walter Charles, told his story of love and never giving up on your dreams as a defense in a mock trial held by the prisoners, to save his beloved manuscript from destruction.

The first act was full of witty puns and adult humor describing Quixote, a wise man who is a little mad, accompanied by his loyal servant Sancho, played by Kevin Ligon, and his quest for the love of Aldonza, a less-than-ladylike “serving wench,”played by Valerie Perri. Quixote then renames Aldonza to Dulcinea as he believes it is more beautiful and fitting for her.

The second act followed with a more serious tone as reality crept through the characters imaginary world. As Quixote’s journey ended, Dulcinea inspired everyone to believe that Quixote’s ideal of living the impossible dream will remain forever.

Cervantes himself was put on trial during the Spanish Inquisition with charges of being an honest man and foreclosing a church. As the lights dimmed, his fellow prisoners who had come to feel close to him, as well as his alter ego Quixote, whom he had created to save himself from those very prisoners, watched as he and his servant were taken away and sang “The Impossible Dream.”

The play was based on the adventures of Quixote and Sancho originally illustrated in 17th century satirical novel, Miguel de Cervantes Saavedra’s, Don Quixote. The novel was later translated into a play and titled The Man of La Mancha.

The live orchestra kept the energy levels high in the theater with skillful playing and creative uses of sound and sound effects that accompanied the wonderful performances of the actors.

The round stage that the Music Circus is famous for was utilized beautifully as the actors constantly moved about in their modest costumes of weathered dresses and torn pants.

The stunning performance was followed by a well deserved standing ovation.

As people left the theater with the look of satisfaction on their faces they simply said, “Amazing.”

The Man of La Mancha will be playing until August 16th, ticket prices starting at $50. For more information please visit the Music Circus website at: www.californiamusicaltheatre.com/index.cfm.

New Helvetia Theatre grows an "Angry Inch"

2009-06-05T04:55:20Z

Swiss explorer John Sutter named portions of Sacramento including Sutter's Fort "Nueva Helvetia" in the year 1840. As of January 2009, Sacramento has a new "New Helvetia" -- only this one is a theater company designed to provide Sacramento with a unique and intimate theater experience and an opportunity to revisit a classic American Musicals.

Its mission: to rediscover hidden gems of musical theater, and to be a birthplace for new musicals and plays. In addition, the theater staff wants to have the educational outreach to build a new generation of theater-goers.

Nonprofit status still pending approval, the group was founded by a young NYU graduate Connor Mikiewicz, who studied musical theater in NYU's CAP21 program, part of the Tisch School of the Arts. On Jan. 17, the group presented New Helvetia's mission and staged its one-night-only debut play Celebration at the Crest Theater. The 1969 play was written by Harvey Schmidt and Tom Jones, who created the long-running hit The Fantastiks, and produced and directed by Mikiewicz himself.

Wednesday, June 3 at the Artisan Theater, the young company gave a preview of its first full-scale production, the popular musical Hedwig and the Angry Inch, directed by Matthew Schneider, Mikiewicz's friend and NYU classmate. The colorful story shows the life of Hedwig, a transvestite rock and roll singer whose botched sex change operation leaves her (him?) with a "angry inch," while exploring the nature of love between two human beings.

Local four-piece band The New Humans appear as the rock band The Angry Inch and provide comic moments in the musical, fronted by Christopher Davis Carlisle as Hedwig, with additional vocals by Nanci Zoppi. Though the script is usually monologue, a new multimedia element adds video, art and sound effects to the stage's production, and Hedwig engages in dialogue with several video monitors throughout the musical.

The band is a local band, Zoppi is a local actress, the art was produced by local artists and the photographs were shot by local photographers, director Matthew Schneider mentioned in a phone interview.

"So by employing the best of the best from the area, we've really set ourselves up for a strong production just by choosing the best Sacramento has to offer," he said.

"One of New Helvetia's mottos is rethinking theater, and I think we've created a new theatrical experience that a lot of Sacramento is unaccustomed to or unfamiliar with," Schneider said. "A new theater company is a wonderful thing, any new invigorating force in the arts scene should be supported by the community."

Schneider recently worked on White Christmas and Pride and Prejudice as part of a team and as a featured player and has toured in cities across the United States, so when Mikiewicz asked him to direct, he felt that his work including experience with Broadway directors and choreographers prepared him to make his directorial debut.

"It's also a new professional theater company finding its sea legs in the middle of a recession. I think things like this pop up when people really need it the most. In addition to that, I think the story is particularly current at the moment," he added. “I think the project of equal rights for the transgender community is up and coming -- that's really the future of the human rights campaign in America.”

The Artisan Theater is located at 1901 Del Paso Blvd. Hedwig and the Angry Inch plays Thursday at 8 p.m., as well as Fridays and Saturdays at 7 and 9 p.m. June 6-27.

*Photographs courtesy Brian Kameoka/ New Helvetia Theatre

"Children of Light" modernizes Greek classic

2009-05-17T22:58:34Z

On Friday night, the stage came to life with "Children of Light," a Greek drama about Elektra (Brittaleigha Baskerville), the daughter of King Agamemnon and Queen Clytemnestra (Janis Stevens, who also directed).

The play is writer Rick Foster's somewhat modernized take on Elektra's story of love, power and murder and he has injected just enough modern wit and sarcasm so that the audience can connect with the play, which is set in ancient Greece.

The story of Elektra and her family has been told by the Greeks for centuries and it is Euripides' version that most interested Foster. He explores her loyalty to her father as she plots the murder of her mother (the Queen), who murdered Elektra's father. She grapples with her conflicting inner-self and hopes for the safe return of her brother, Orestes (Jammy Bulaya). After finding him, and after going back and forth with three poor girls from the village (Sara Sells, Lauren Nardozzi, and Acacia Fisher), the siblings plot out revenge and a plan to take away the Queen's illegitimate power.

Four murders, sexual affairs and a borderline incestuous brother-sister relationship make for an intense 95 minutes but Foster includes just enough humor to lighten up the heavy play while leaving the drama intact.

Examples of this humor are found in lines such as a ditch digger (Eric Baldwin) calling the god Apollo "that guy that likes the rich people" and describing Queen Clytemnestra "getting kinky."

The cast ranges in experience, from the theatrically-seasoned to faces fresh to the stage. Baldwin (ditch digger/ Pylades) has had roles in numerous plays in both North America and Europe. Baskerville (Elektra) is currently majoring in theater arts at American River College. The play is the first performance for Sells (Irene) and Bulaya (Orestes).

"Children of Light" is the ninth of Foster's plays to be produced at California Stage and his work has been shown across the country, from Carmel to New York City. Director Stevens has directed several shows for California Stage and has received numerous awards for her one-woman show, Vivien.

The play will be shown until June 14 at the California Stage, located at 1723 25th Street. For showtimes and upcoming plays, visit calstage.org.

The Vagina Monologues will be Performed by CSUS students

2009-02-19T00:22:12Z

     CSUS will be presenting the “Vagina Monologues” in the University Union on Feb. 19, 20 and 21st. This is the 8th year the monologues will be performed.
     Eve Ensler, a playwright and feminist, wrote The Vagina Monologues. The monologues are a compilation of interviews with hundreds of women on their views of sex, relationships, and violence. The monologues cover issues that range from child birth to the lost women of Juarez, Mexico. The Vagina Monologues are the heart of V-Day, a global movement to end violence against women and girls.
     The monologues are only performed between Feb. 1st and March 31st and the proceeds go to programs that work to end violence against women and girls. The majority of proceeds from the CSUS performance will go to the Violence and Sexual Assault Support Services program that is available to CSUS students.
     The CSUS program offers services to victims and education throughout the campus on Domestic Violence and Sexual Assault. The proceeds help fund events like “Take Back the Night,” and “Walk a Mile in Her Shoes.”
     Twenty percent of proceeds go to Share Institute International, a non profit organization that was started by local American River professors to help women internationally. Among many services, the Share Institute provides assistance to underground schools for girls in Afghanistan. For more information on Share Institute International you can visit their website at vshareinstitute.org.
     If you are interested in seeing the show you can buy tickets at the CSUS University Union or online at tickets.com. You may also call (916)278-4323 to purchase tickets. Tickets are $15 for general admission and $8 for students with identification. The performance Thursday, Feb. 19th will be performed with ASL. For more information regarding the performance you can contact Jessica Heskin at (916)278-3799.