Newest articles on The Sacramento Press tagged as "theater"

Put the "art" into film and theater: hollywood film director comes to Sac on Feb. 21

2012-02-08T04:31:42Z

Films always have a particular "look" -- Pirate of the Caribbean has one kind of look, Austin Powers another, and then a quiet drama like House of Sand and Fog has yet another. Sacramento will get the chance to hear from the art director responsible for the look of these films on Tuesday, February 21, when the Capital Film Arts Alliance (CFAA) brings Hollywood art director Drew Boughton to their speaker series.

"Art direction and production design gives the 'look' of a film that defines the mood and atmosphere of the story, and is integral to all movies, and Drew Boughton is a master in the field," said Laurie Pederson, Board Chair for the CFAA. "The Capital Film Arts Alliance is proud to be able to bring Drew to Sacramento to share his craft and expertise with filmmakers, theater professionals, artists, and art and movie lovers alike."

Boughton's talk will be of interest to more than just the filmmakers locally in Sacramento. He has extensive experience in theatrical design as well that will interest the robust theater community in Sacramento, as well as the visual art lovers and designers.

IMDB listing for Drew Boughton: http://www.imdb.com/name/nm0099284/
Website for Drew Boughton: http://drewboughton.com/

The February 21 meeting is one of a monthly speaker series from the Capital Film Arts Alliance. Experts in the filmmaking field -- from camera and sound to contracts and funding -- are asked to share their expertise and insights to Sacramento are filmmakers. The meeting starts at 7:00 pm at Art Institute of Sacramento at 2850 Gateway Oaks Dr., Sacramento. For more information about this meeting or the Capital Film Arts Alliance, please contact Laurie Pederson at 916-600-6477 or info@capitalfilmarts.com.

Disclosure: Mary Beth Barber is a board member for the Capital Film Arts Alliance

"Where We're Born" - Solid Ensemble Brings Big Talent to Small Space

2012-02-06T03:57:09Z

Where we’re born is more than a location, it’s part of who we are.

Where We’re Born, the stage play by Lucy Thurber, is a strikingly simple and honest look at a young woman’s struggle with life change, the desire to and difficulty of leaving the comfort of your home and history—however hurtful it may have been. It is not a story, but a more like a series of snapshots taken during the course of a few days when the relationships and potentially, lives of three people are forever altered.

The catalyst for all of this is Lilly (Jessicah Neufeld), on a quasi-vacation from college. She arrives back in the small Western Massachusetts hill town she calls home just as a domestic crisis is unfolding between her cousin, Tony, (Brian Harrower) and his girlfriend, Franky (Kelley Ogden), but rather than creating a welcome diversion, she unleashes unexpected drama of her own.

The cast of five, under the direction of Lisa Thew, gives solid individual performances, as well as performing keenly and comfortably as an ensemble.

Harrower gives an especially subtle, but emotional and compelling interpretation of Tony, a guy who spends most of his time drinking beer, smoking pot, playing pool, and listening to rock and roll with his best buddies, but also has a deep-seated need to keep all of the women in his life happy.

David Chernyavsky and John Gregory Young round out the cast as Tony’s ever-present pals.

Ooley’s is a little-known theater, intimate, but more than adequate. KOLT Run Creations makes good use of the space, and there isn’t a bad seat in the house. Even the concessions are notable, provided by Num Nums, homemade for each performance and chosen specifically for each show. (Lime mini-cupcakes: To. Die. For.)

Having just seen another local show earlier in the week, it was impossible not to compare and contrast the quality of the productions. The lead actress in the previous show tripped over numerous lines (more than a week into the run) and--along with others in the cast--over the area rug that kept flipping up throughout the show.

Not fatal mistakes, but distracting flaws.

When the lights came up at the end of Where We’re Born, my guest and I turned to each other and marveled that two hours had already passed.

That’s a rare and excellent entertainment experience.

If only there’d been more people there to share it.

Where We’re Born, February 3rd-26th. Ooley Theater, 2007 28th Street (near T Street). Fridays and Saturdays at 8PM; Sundays, February 19th and 26th at 2 PM. koltruncreations.com or (916) 454-1500. This production contains adult content.

Sac State's 10th Annual Production of The Vagina Monologues to be held Feb 9

2012-02-02T00:52:39Z

Sacramento State’s University Union UNIQUE Programs, Student Health & Counseling Services, and Active Minds are pleased to announce The Vagina Monologues at the Sacramento State University Union Ballroom at 7:30 pm on Thursday, February 9, 2012.

Eve Ensler, a playwright and feminist, wrote The Vagina Monologues. The monologues are a compilation of Ensler’s interviews with hundreds of women on their views and experiences of sex, relationships, and violence and cover issues of intimacy, vulnerability, and sexual self-discovery. Sac State’s production will include only student actresses reciting the dialogues. The Vagina Monologues are part of V-Day, a global activist movement to end violence against women and girls.

The monologues are performed nationwide only during the months of February and March and the proceeds typically go to programs that work to end violence against women and girls. The proceeds from this 10th annual Sac State stage production will go to two organizations- My Sister’s House and the SHARE Institute. My Sister’s House is an organization that addresses the needs of Asian and Pacific Islander women and children impacted by domestic violence. The SHARE Institute’s mission is to establish collaborative relationships that foster the well-being and empowerment of individuals, organizations, and communities.

The Vagina Monologues will be performed at Sacramento State’s University Union Ballroom on Thursday, February 9 at 7:30 pm. Admission is $5 for Sac State students and $10 for the general public, available at Tickets.com or the Sac State Box Office.

For more information, please visit www.SacStateUNIQUE.com or call (916) 278-6997.

Disclosure: Zenia LaPorte is the Programs Advisor for UNIQUE Programs

Good, good, good, good vibrations: Consummate cast overcomes overlong, disjointed script in Capital Stage's 'In the Next Room'

2012-01-30T14:10:52Z

With a title like "The Room Next Door, or the vibrator play," audiences might well expect a jolt or two – and not of the AC variety the newfangled electric gadgets of the late-19th century were known to occasionally deliver.

For those looking for a bit of shock and awe from J Street's "bold, intimate, live" theater, the current Capital Stage production of Sarah Ruhl's comedy does not disappoint. Though Ruhl's script goes for the gag switch a few too many times, and changes polarity with unsettling frequency, the uniformly strong cast led by Michael Stevenson, Elena Wright and Katie Rubin shine brightly and consistently.

Playing through Feb. 26, "The Room Next Door" is set in the late-19th century when the country was getting wired up, and men and women were getting buttoned up. As men's and women's fashions were adding layers and layers of floor-length outer and undergarments (fabulously designed here by costumer Gail Russell), so too were they masking their most primal emotions and desires in what was perceived as civility.

Dr. Givings (well-played with appropriate restraint by Stevenson) is a respected New York gynecologist who proudly refers to himself as a "man of science." His clinical bedside manner is respectful but wholly detached as he prattles on about the accomplishments of Ben Franklin and Thomas Edison and their contributions to the electrification of America while matter-of-factly applying what looks like a hand-held floor polisher to his patients' nether regions.

Convinced of the therapeutic value of the experimental contraption (which he believes cures a host of female-centric ailments, including "congested wombs" and the resulting "hysteria" they cause), Givings offers quick two- or three-minute applications (isn't that always the case?) to "release the juices downward."

He promises the women (and their husbands) who visit his home-based "operating theater" that they will see immediate results.

Among those calling on the good doctor are Mr. Daldry (a suitably stoic Alexander) and his wife, Sabrina (Rubin). Daldry is concerned that his wife is no longer the woman he married and that "there is very little sympathy between us."

"You have no idea what a source of anguish my wife's illness has been to me," he says, pausing just a moment before thinking to add, "And to her, of course."

Other concerns dominate the Givings household as well. Givings' wife Catherine is unable to properly nurse the couple's newborn daughter, who is losing weight. Offering the same clinical compassion to his wife as he does to his patients (whose moans and occasional cries to "God" go unnoticed), Givings flatly tells Catherine, "Your milk isn't adequate."

As he explains, he's not leveling blame, just stating the medical facts.

The grateful Mr. Daldry offers the services of their maid, who recently lost her own newborn, and is willing to serve as a wet nurse.

Frustrated by her inability to properly bond with her baby daughter, as well as with her husband, the always prowling, cat-like Catherine increasingly looks to her husbands' patients for conversation and more. One might think the Givings' home, which begins to feel like Grand Central Station in the second act, would annoy after a fashion, but Wright (in a marvelously antsy, even "hungry" performance) delivers a Catherine who doesn't mind the constant interruptions, but welcomes them to escape her passion-free home life.

"Experiment on me!" Catherine pleads to her husband, longing to witness the bright lights some of her husband's patients have reported seeing during their treatments. Essentially, she, too, would love to be blinded by science.

The era's repressed sexuality is repeatedly used as a punch line throughout the first act, as Sabrina's early trepidation evolves into a daily sprint through the Givings' parlor and into "the room next door" for longer and longer sessions.

These scenes become repetitive and merely stretch out what is already an overlong second act in which one wants to shout out, "Yeah – we get it! The vibrator is getting them off!" The larger joke (one that is also overused) is that the doctor seems oblivious to what his "treatment" is actually doing.

Adding to the bloated second act, and its deviation from massage-and-tickle farce to a more-serious treatise touching on everything from interracial relationships, gender preferences and death and dying, is the focus on two new characters – Elizabeth (Victoria Alvarez-Chacon), the Daldrys' African-American maid who is nursing the Givings' baby, and Leo Irving (Kirk Blackinton), an artist whose recent breakup during a European sojourn has resulted in a stifling creative malaise.

Those who love the vibrator of the title will love what the doc comes up with to alleviate Leo's artist's block.

Under the direction of Peter Mohrmann, there's really not a false moment delivered by the cast. Even in the most-absurd "Saturday Night Live" sketch-like moments of the play, they are true to their characters and rise above Ruhl's material. During the show's quieter scenes, such as in the climax (no pun intended) when Givings and his wife shed convention (and a good many layers of their wardrobe) to finally make a true emotional connection, Stevenson and Wright are absolutely mesmerizing.

Rubin, too, is very good – especially in her scenes with Wright in which the ladies let themselves into Givings' locked operating theater to do a little AC/DC experimentation on their own.

Alvarez-Chacon, who delivers her predominantly poignant lines as mandated by the script, seems a bit out of place. Her character seems like she's on loan from another play. It's not her fault – she, too, does the best she can with Ruhl's occasionally unruly script which is somewhat of a letdown following the pace and comedic tone of act one. Also, a case could be made that her character's speech about sexual satisfaction being best achieved through relations with a flesh-and-blood husband versus a power tool is a bit racist.

At Elizabeth's suggestion of such a scenario, both Catherine and Sabrina pooh-pooh the very thought, as if white, well-to-do women couldn't possibly understand the sexual honesty an "earthy" housekeeper of color such as Elizabeth takes for granted. One could also argue that Ruhl is saying that all lower-income African-American women have a genetic trait that makes slipping and sliding to Morris Day & The Time's "Jungle Love" second nature. Either way, it presents uncomfortable stereotyping.

Whether those who go to "In the Next Room, or the vibrator play" do so for pure titillation, for a glimpse at 19th-century sexual mores, as fuel for a discussion on playwriting, or simply to witness actors on top of their games, there are plenty of reasons to plug in.

JUST THE FACTS
WHAT: The Capital Stage production of Sarah Ruhl's "In the Next Room, or the vibrator play"
WHERE: Capital Stage, 2215 J St., Sacramento, Calif.
WHEN: Plays Jan. 25-Feb. 26, 2012, with performances at 7 p.m. Wednesdays, 8 p.m. Thursdays and Fridays, 7 p.m. Saturdays, 2 p.m. Sundays (special Valentine's Day performance at 8 p.m. Feb. 14)
HOW MUCH: $20-$32; call (916) 995-5464, or go online at www.capstage.org
DIRECTOR: Peter Mohrmann
CAST: Michael Stevenson (Dr. Givings); Elena Wright (Catherine Givings); Katie Rubin (Sabrina Daldry); Greg Alexander (Mr. Daldry); Shannon Mahoney (Annie); Kirk Blackinton (Leo Irving); Victoria Alvarez-Chacon (Elizabeth)

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.

HELLACAPPELLA 2012: Northern California’s Premier Showcase of Collegiate a Cappella Groups

2012-01-24T01:17:48Z

HellaCappella, the most highly anticipated a cappella concert of the year, will take place Saturday, February 4th, 2012 at 7:30pm at the ARC Pavilion on the UC Davis Campus. Hosted by UC Davis’ amazing, all-female a cappella group, The Spokes, HellaCappella is an exciting collaboration between a cappella groups of all shapes and sizes. Hailing from various northern Californian universities, this year’s dynamic lineup includes show-stopping performances by two-time champions of the International Competition of Collegiate a Cappella, The Men’s Octet from UC Berkeley, Cloud Nine from UC Santa Cruz, NBC’s The Sing Off a cappella competition finalists On the Rocks from University of Oregon, and more!

HellaCappella has been gaining momentum and selling out more and more seats each year. Now, for the first time ever, this eighth annual HellaCappella is proudly being held in UC Davis’ premier entertainment venue, the ARC Pavilion following the likes of chart-topping groups such as Ke$ha and LMFAO! HellaCappella’s audience continues to grow, attracting music lovers across generations from the greater Davis and Sacramento community.

The Spokes are the only all-female group at UC Davis. Founded in 2004, the group currently consists of 13 talented and dedicated girls whose shared passion for music and performing shines when they take the stage. Their repertoire includes a wide range of music styles, from top 40 (She Wolf by Shakira) to jazz (Smile by Charlie Chaplin) to alternative (Seven Nation Army by The White Stripes) to R&B (I’ll Be Waiting by Adele). The Spokes love to entertain the UC Davis campus and local community as well as all of California, and their enthusiasm for singing can be clearly heard in their latest album, On the Wall, which is now available on iTunes.

This HellaCappella, The Spokes have committed to raising funds and awareness for the American Cancer Society, the leading community-based health organization dedicated to eliminating cancer as a major health problem. Last year’s HellaCappella raised over $1500 for Daraja Academy, the first free all-girls secondary school in all of East Africa. The Spokes hope for even greater success this HellaCappella, as we rally our community to help support the American Cancer Society.

HellaCappella is a one day, must-see event that will premiere on Saturday, February 4th, 2012 at 7:30 pm in the UC Davis’ ARC Pavilion. Tickets can be purchased at the UC Davis Ticket Office located at Freeborn Hall on campus, by calling (530) 752-1915, or at tickets.com. Presale tickets are $7 for students and $10 for non-students. At the door, tickets are $9 for students and $12 for non-students.

On the night of the performance, doors open at 7:00 p.m. Parking can be found in Parking Lot 25 directly across from the ARC or the West Entry Parking Structure, located on the corner of La Rue Boulevard and Hutchinson Drive.

For more information, visit www.davisspokes.com.

Disclosure: Camille Martinez, author of this article, is the Publicity and Philanthropy Director for The Spokes, and hopes to see you at our next show!

'Aliens With Extraordinary Skills': All they need is love

2012-01-17T02:08:55Z

photographs by Barry Wisdom

Everyone wants to be appreciated for who they; for their personalities, for their accomplishments, for their talents – for their “extraordinary skills.”

On the surface, “Aliens With Extraordinary Skills” – Saviana Stanescu’s seriocomic play now on stage at the B Street Theatre – is a story of the new generation of immigrants who are coming to America.

Some, like Nadia (Stephanie Altholz) and Borat (John Lamb) have landed with less-than-legal credentials and are on the run from the INS.

Lupita (Rinabeth Apostol), a wannabe actress from the Dominican Republic who pays the rent by working as an exotic dancer and renting out her living room, is more pragmatic. She has followed the rules and holds a Green Card.

Also in the mix is Bob (Brian Rife), a recently divorced former musician, who connects with Lupita via Craigslist in order to buy her used couch (and provide a handy love interest).

Stanescu, herself a Romanian immigrant, focuses on what she knows.

In her center ring are Nadia and Borat, professional clowns from Eastern Europe who have given their trust (and most of their money) to an unscrupulous agency responsible for arranging work visas on behalf of “aliens with extraordinary skills.”

But the duo soon discovers the circus they were told had hired them does not exist, and with no employer to sponsor them, the INS has politely told them to drop their dreams, pick up their luggage, and exit coast left.

The chronically upbeat Nadia, who has recently been orphaned, and can’t bear the thought of returning to the “unhappiest country in the world” where she can’t realize her dreams of making people laugh, follows Borat to New York City.

More than a land of endless McDonald’s PlayPlaces where happy-go-lucky, balloon animal-loving kids and their parents frolic, it’s also the home of her “Sex and the City” idols. Nadia may want to bring laughter to the Big Apple’s populace, but she would also love to have a Mr. Big bring her a perfectly brewed cup of coffee to her Manhattan bedroom.

Once in New York (well represented by Catherine Frye’s scenic design), Borat finds refuge in the basement of a fellow immigrant, for whom he participates in an illegal cab-driving operation, and Nadia plants herself on Lupita’s couch, suggesting they could be like “sisters.” Enter Bob, six-pack in hand, who is slow to let go of his claim on Lupita’s couch and slower still to let go of the notion that he’s God’s gift to women.

From the first few scenes, one is inclined to feel smug in the feeling that the storyline is an express train to predictability.

But what might seem to be another made-for-TV plot featuring a bumpy romance sprinkled with mild laughs and even milder conflict, actually develops into a charming, heartfelt play that’s more amusing, moving and surprising than typical Hallmark Channel fare.

Credit director Buck Busfield’s well-balanced cast, and Altholz and Lamb in particular, for extending both the highs and lows of Stanescu’s script.

Altholz, who, like Lamb, is a graduate of the B Street’s apprenticeship program, and a current company member, is both sweetly funny and sad as the fresh-faced, rainbow sock-wearing naïf whose innocent desire to make others laugh is shaken by the harsh brutality of New York’s flip side.

In handling Nadia’s accent, Altholz’s expert vocal modulations – which are showcased during her squirrel-and-dog balloon animal playlets – simply make one laugh. Call them guilty pleasures, but they’re just goofy bits that serve to leaven more serious moments and they’re welcome.

Borat, too, transitions from what looks to be a static “clown,” into a more fully developed character with a clearer set of priorities. The leather jacket-wearing, cell phone-snapping Borat is revealed to be a much more sensitive and family-oriented than his initial wild-and-crazy, vodka-swilling, Green Card-hungry persona might suggest, making the show’s longest (and most satisfying) journey.

During the course of Lamb’s time on stage, one can almost see the Lupita-chasing Borat’s heart grow three sizes larger. This is an impressive achievement considering the organ Borat spends most of the play working to triple in size.

As Lupita, Apostol offers a more serious performance from start to finish, providing a no-nonsense center for the dreamers who enter her orbit. She, too, has her dreams, and in one the play’s poignant moments, psychs herself up for another “performance” at the club where she dances by repeating the mantra that it’s simply a role she’s playing. Lupita also is changed by her association with Nadia and Borat, realizing that what she needs may not have been what she wanted.

In the larger sense, we see that the word “aliens” in the title is more than a reference to citizenship, but to a sense of belonging.

Not only are Nadia, Borat and Lupita “aliens” in the legal sense, but are alienated from their dreams, emotions and – most importantly – from real, human connections.

Beer-guzzling Bob, though an American by birth, is also alone amidst the bright lights of the big city. Despite his bravado and easy-going (though sometimes obnoxious) personality, Bob’s over-eager attempts to jump back into the saddle are merely avenues to escape loneliness.

Kudos to Rife for being able to transform Bob from irritating has-been musician to hero – a Dudley Do-Right who is actually as sweet and loyal as the wide-eyed Nadia.

B Street acting interns Katie Rose Krueger and Stephen Rowland, who play the INS agents in pursuit of Nadia and Borat, are a Greek chorus of sorts, popping up to provide a bit of narrative and wardrobe-changing help here and there.

They provide the perfect support for leads Altholz, Lamb, Rife and Apostol, who easily move the audience from giggles to gasps. One might even want to change the title from “Aliens With Extraordinary Skills” to “Actors With Extraordinary Skills.”

JUST THE FACTS
WHAT: The B Street Theatre's production of Saviana Stanescu's "Aliens With Extraordinary Skills"
WHEN: Jan. 15-Feb. 26, with performances at 6:30 p.m. Tuesdays; 2 and 6:30 p.m. Wednesdays; 8 p.m. Thursdays and Fridays; 5 and 9 p.m. Saturdays; 2 p.m. Sundays
WHERE: B Street Theatre Mainstage, 2727 B St., Sacramento
CAST: Stephanie Altholz (Nadia); John Lamb (Borat); Rinabeth Apostol (Lupita); Bob (Brian Rife); Katie Rose Krueger (INS agent 1); Stephen Rowland (INS agent 2)
DIRECTOR: Buck Busfield
HOW MUCH: $18-$30; $5 student rush
INFORMATION: (916) 443-5300, www.bstreettheatre.org

KOLT Run Creations Celebrates Their First Season

2012-01-16T17:19:12Z

Every beginning writer at one time or another has been admonished to “Show me, not tell me,” by a mentor or instructor.

If last night’s Revelations 2012 is any indication, theater companies would be wise to follow the example of KOLT Run Creations and take the same advice to heart.

Revelations 2012 was a party, a preview, and review, all in a tidy little two-hour time frame. It was a chance for patrons and potentials patrons to appreciate past productions and sneak a peek at what’s ahead in the season to come.

Actors from past seasons and the upcoming shows were on hand to present a forty-five minute performance of short scenes that did a brilliant job of showing the flavor of the company in the past and the direction it will be going with the next three productions. Very clever. It helps that KOLT, as intimate as their productions are, always manage to secure some of the most accomplished actors in the area.

Show us, don’t just tell us.

Also on hand was a gold buyer, so, theoretically, one might have raised the money for a season subscription right then and there—pretty savvy, huh?

There were snacks and desserts from Num Nums, a catering company whose sole mission is to provide concessions for independent theater.

Raffle prizes were handed out.

It was fun.

Perhaps interest in local theater would increase if more people experienced the fun component.

Kudos to Kelley Ogden and Lisa Thew of KOLT Run Creations for taking that first shot!

KOLT Run Creations will present Where We’re Born by Lucy Thurber at Ooley Theater, February 1-26th. Tickets and more information about the entire season can be found at koltruncreations.com or (916) 454-1500

B Street's Stephanie Altholz: 'There's no other place I'd rather be'

2012-01-15T13:22:57Z

photographs by Barry Wisdom

People around the world may burn the Stars and Stripes, hang our leaders in effigy and protest the U.S. government’s involvement in everything from the assassination of foreign leaders to the selection of Miss Universe finalists, but the United States remains a top destination for those seeking a better life.

And whether one is an illegal immigrant from Moldava or Russia, a Green Card holder from the Dominican Republic, or even a divorced good ol’ boy from the Deep South, nothing embodies the American Dream like New York City.

It’s a story old as time, a song as old as rhyme, but given a fresh chorus by playwright Saviana Stanescu, herself a Romanian immigrant, whose quartet of struggling dreamers find their paths crossing in her 2008 dramedy “Aliens With Extraordinary Skills.”

Stephanie Altholz, who plays Nadia, a classically trained clown (her “extraordinary skill”) from Moldava in the B Street Theatre’s Mainstage production of “Aliens” (opening Jan. 15), said it’s easy for her to relate to the young woman’s cockeyed optimism and unabashed desire to succeed at her craft while taking a bite out of the Big Apple.

“Nadia has this line: ‘I feel like it’s impossible to die here.’ She’s so naïve,” said the 25-year-old Altholz, accentuating and stretching out the word “naïve” like an articulated Gray Line tour bus. “She’s obsessed with ‘Sex and the City,’ and even when she discovers it’s not what she’s seen in movies or on TV, and she finds it’s still a very, very tough city, she still loves it. Her romantic side is unstoppable.”

“I love her – I do.”

Like Nadia, Altholz set her sights on NYC as the epicenter of creative fulfillment.

“I was always interested in acting,” said the Illinois native, whose family – guided by her airline pilot stepfather – landed in Sacramento midway through her high school career. “I just knew that was what I wanted to do. I remember being in the seventh grade (in Arizona) and being told I couldn’t take drama until the eighth grade, and being furious about it. That was my first memory of desperately wanting to do it.”

“I was the youngest in the family, and I’m sure there’s some sort of psychological reason for my wanting to be the entertainer in the family,” said Altholz. “When people were fighting I made them laugh – or wanted to – at all costs. I always felt appreciated for it, never vilified for it. I never felt I should shut my mouth. I’m lucky. I know a lot of people aren’t.”

Following graduation from Sacramento’s Rio Americano High School, and a string of classes taught by local theater guru Ed Claudio, Altholz enrolled in the two-year program at New York’s New Actors Workshop.

While at the lauded New York school co-founded by director Mike Nichols, she was immersed in a mix of Stanislavski-based “Method” training and improvisational theater skills – as well as a myriad of New York-centric life experiences understandably absent from the school’s catalog and the Time Out guide.

“I worked in restaurants, went on auditions, lived in ‘interesting’ places,” said Altholz. “You get hard when you live in New York – things stop fazing you so much. I lived in the Bushwick neighborhood in Brooklyn, right on the border of Queens. It was terrifying, it was unsafe. Once, somebody got shot on my stoop.”

“I was home and I heard the gunshots and there was a dead body,” Altholz remembers. “There was a break-in when I was home, my roommate almost got attacked. Then there was the time my brother was visiting and taking a shower, and the bathroom wall crumbled into the bathroom. I look back at it now and it sounds awful, but at the time it was just another story. I adapted pretty quickly.”

Altholz said she would keep such tales of the city from her mother as long as possible (“No need to make her worry.”), but there were many. While perfect fodder for a late-night chat show visit with David, Craig or the Jimmys, she knew some of her acting school anecdotes might not elicit foot-stomping laughs or thunderous applause from mom and dad.

“My mom, who has a PhD, always emphasized education,” said Altholz, whose older siblings are both doctoral candidates. “But she understood very early on I wasn’t a dilettante, that I wasn’t dabbling in acting. She knew it was something I wanted to do the rest of my life. My parents were always supportive and were 100 percent behind my decision to pursue theater.”

But also like Nadia, Altholz herself occasionally had cause to rethink her choices.

“I think it’s the greatest city in the world, but sometimes I hated it,” admitted Altholz. “Like when you forget to pick up your prescription and you have to get back on the subway at 10:30 p.m. when you’re sick with a cold, and someone shows you his penis on the way to the pharmacy.”

Despite the hardships, Altholz embraced Gotham and piled on as many or more positive experiences as negative ones, including working with the Dutch West sketch comedy/web video troupe, and performing at the Upright Citizens Brigade theater in Chelsea where she had the opportunity to rub elbows with the likes of Bobby Moynihan, who went on to NBC’s “Saturday Night Live.”

Nadia’s naivety extends beyond her New York state of mind, and her desire to satisfy artistic desires, said Altholz.

“She feels the same way about love,” said Altholz. “She wants to fall in love, live in the city and meet her Mr. Big. And New York, more so than any other city, can take so many shapes and provide so many things. It’s a character of its own. It really is a magical city – as cheesy as that sounds.”

The spell cast by New York City lasted two years beyond her 2006 graduation, but by the end of those 24 months Altholz was feeling restless.

“I moved back to California because I wasn’t doing what I wanted to do,” she said. “I wanted to act. And I defined being a successful actress as someone who made their living doing it.”

Like Dorothy Gale, who discovered all her heart’s desires could be found in her own backyard, Altholz found her own scarecrow, tin woodsman and lion in the personages of the B Street Theatre’s Buck Busfield, Jerry Montoya and Dave Pierini, who auditioned Altholz for the company’s internship program while she was still in New York.

Her internship, which included stints with the B Street’s traveling children’s troupe, a Mainstage debut in 2008’s “A Christmas Carol,” and occasional trips up very tall ladders for tech work, led to her selection as a full-fledged company member and the title role in “Extraordinary Things: Through the Eyes of Anne Frank.”

Last year, she put her New York-forged improv skills to good use as part of the B Street’s “B on K” improvisation performance at the Cosmopolitan Cabaret.

Altholz solidifies the connection between her and Nadia a bit further.

“I think we both have been through a lot and both in the end have a sort of unswerving feeling of what we want and what’s going to get in our way. But it doesn’t change the prize that we have our eye on.”

“I am in my definition of success, so I’m very happy and blessed to have found the B Street Theatre,” she continued. “I love every person here. There’s no other place I’d rather be.”

JUST THE FACTS
WHAT: The B Street Theatre's Mainstage production of Saviana Stanescu's "Aliens With Extraordinary Skills"
WHEN: Previews 5 p.m. Jan. 14 and 2 p.m. Jan. 15; opens 7 p.m. Jan. 15; continues through Feb. 26 with performances at 6:30 p.m. Tuesdays; 2 and 6:30 p.m. Wednesdays; 8 p.m. Thursdays and Fridays; 5 and 9 p.m. Saturdays; 2 p.m. Sundays
WHERE: B Street Theatre Mainstage, 2727 B St., Sacramento
DIRECTOR: Buck Busfield
CAST: Stephanie Altholz (Nadia); John Lamb (Borat); Rinabeth Apostel (Lupita); Bob (Brian Rise); Katie Rose Krueger (INS agent 1); Stephen Rowland (INS agent 2)
TICKETS: $18-$30; $5 student rush; $10 preview performances
INFORMATION: (916) 443-5300, www.bstreettheatre.org

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.

'The Giver' to open on B Street Family Series stage

2012-01-14T13:46:48Z

“Imagine there's no countries ... It isn't hard to do ... Nothing to kill or die for ... And no religion, too ... Imagine all the people living life in peace.”

In “The Giver,” playwright Eric Coble’s adaptation of Lois Lowry’s 1993 Newberry Medal award-winning novel, John Lennon’s concept of a Utopia free of conflict where all the people share all the world has come to pass.

There have been a few compromises on the way to this “same” new world, however. Yes, war and want are things of the past. But there is also no passion, no feverish love — and no choices.

Genetic engineers have even rendered all people colorblind as a means to further homogenize a once-disparate (and desperate) society.

Opening Saturday, Jan. 14, as part of the B Street Theatre’s Family Series, “The Giver” looks at the flipside of such a reality – a view of the emotional turmoil facing children who have been taught to conform since birth, and who are then faced at the dawn of adolescence with integrating their emerging gifts as individuals.

“This is a coming-of-age story about a boy deciding his own fate, and the consequences that come with it,” said director Laura Baker. “This is also a show about censorship, about choice. If we take away the ability to choose, we take away what it means to be human.”

“We follow Jonas (Grant Jordan), who has just reached the age of 12, and is assigned the coveted position of ‘Receiver of Memories.’ Through this knowledge that he receives from the previous receiver, who’s now called ‘The Giver’ (Gary S. Martinez), it changes his life and society entirely.”

“He’s absolutely frightened by it,” continued Baker, 23, a B Street artistic associate who graduated from the company’s internship program for directors in 2011. “His society doesn’t understand what it means. It’s a position of honor, but not of power. It sets you apart, so it’s something to fear.

“They spend their childhoods being part of a group. They don’t know how to be individuals.”

A change of pace from previous B Street Family Series offerings that have been heavy on laughs and history lessons, “The Giver” has been called controversial due to its comparatively mature subject matter.

It’s a label that Baker doesn’t completely agree with.

“We don’t give kids the credit they deserve,” said Baker, who recommends the play for ages 10 and older. “It’s a story that they can fully relate to.”

JUST THE FACTS

WHAT: The B Street Theatre's Family Series production of "The Giver," Eric Coble's stage adaptation of Lois Lowry's 1993 novel
WHEN: Previews 1 p.m. Jan. 14; opens 4 p.m. Jan. 14; continues through Feb. 19 with performances at 1 and 4 p.m. Saturdays, and 1 and 4 p.m. Sundays
WHERE: B Street Theatre B3 Stage, 2727 B St., Sacramento
DIRECTOR: Laura Baker
CAST: Grant Jordan (Jonas); Gary S. Martinez (The Giver); Brittni Barger (Lily); Erika Lecaj (Fiona/Rosemary); Brandon Alexander (Asher); Jason Kuykendall (Father); Elisabeth Nunziato (Mother/Elder)
TICKETS: $13-$22 ($7-$10 preview)
INFORMATION: (916) 443-5300, www.bstreettheatre.org

photographs by Barry WIsdom

This Modern Christmas Carol Sings

2011-12-09T00:26:25Z

Ben Scrooge is the Founder and CEO—Billionaire Boy Wonder—of Humbug , a video game company that his now deceased partner, Jake Marley, helped put on the map. But Ben is not a happy guy, a bit of a…

Scrooge as an 18-year old video game magnate? If you’re having trouble imagining it, that’s okay; I’d much prefer you buy a ticket and see it played out on stage. It’s well worth the ticket price!

I, too, was a skeptic.

No more.

Karen Pollard has conceptualized and carried out a clever modernization of the Christmas classic—a dash of Rent here, a dollop of High School Musical there--without straying so far from the original as to be disconcerting.

The staging and choreography are fairly intricate, and even at almost two hours without intermission, the show never bogged down. Nor did I—not traditionally an enthusiastic when it comes to musicals in general—ever say to myself, They’re going to sing again!? In fact, I found myself intently focused on the music, because, although some of the songs were necessarily sentimental, the lyrics of many were full of wit that threatened to whiz right by if I wasn’t paying attention.

The show is a production, of Natomas Charter School and Fine Arts Academy, where Pollard and her husband, Rick Gott teach. The cast of students, led by Christian Wheeler as the “mature” Ben Scrooge” is generally very talented and extremely energetic. The school is also fortunate to have a wonderful theater in which to perform.

A Christmas Carol runs through December 10th at 7:00pm at the Benvenuti Performing and Fine Arts Center on the Natomas Charter campus. For tickets and information www.benarts.org or (916) 491-1028

"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

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.

Your Favorite Neighborhood just got Merrier!

2011-11-29T02:09:55Z

2nd Annual 12 Days of Midtown

Midtown Sacramento is all dressed up for the holiday season with events and specials that are sure to fill visitors and residents with holiday cheer. Festivities will occur December 1st - December 12th with a variety of activities for all ages. The 2nd Annual event will feature various local businesses throughout the Midtown district.

The 12 Days of Midtown kicks off with the Winter Wine & Jazz Mixer featuring the Sacramento Philharmonic on Thursday, December 1st. The full calendar of merry activities includes a Hot Toddy contests at Santa’s Tavern (The Golden Bear), a gingerbread cookie workshop at artBEAST, Santa’s Workshop at the MARRS Building, multiple holiday showcases by the region’s best performing arts organizations, and of course unique shopping opportunities and holiday sales.

Also back for its 2nd year is the Light Up Midtown contests. MBA has challenged 100’s of businesses to transform their store-fronts into the most impressive winter wonderland that their elves can engineer. Prizes will be awarded to the top 3 businesses, with the top Midtown business receiving a $1,000 advertising grant. Resident and visitors are encouraged to vote. One lucky voter will win a $100 Gift Card to a Midtown business of their choice.

Plus for the 15th year in a row the City of Sacramento is providing Midtown with FREE Street metered parking all day on weekends and after 4:30 p.m. on weekdays through December 25th. So grab your loved ones and a pair of mittens, and check our events listing below for all your Midtown holiday happenings!

12 Days of Midtown events include:
• “Winter Wine & Jazz Mixer featuring the Philharmonic” Kennedy Gallery & Headhunters | Dec 1
• “SGMC Holiday Concert” First United Methodist Church | Dec 2
• “Santa’s Workshop” MARRS Building | Dec 3
• “Midtown Monthly’s Holiday FUNRaiser” Luigi’s Fungarden | Dec 3
• “Free Holiday Gift Wrapping” French Cuff Consignment | Dec 4
• “Gingerbread Cookie Decorating Party” ArtBeast Studio | Dec 5
• “Santa's Tavern & Hot Toddy Competition” Golden Bear | Dec 6
• “Every Christmas Story Ever Told” Capital Stage | Dec 7
• “Holiday Shopping Kick-Off Party” MAIYA Gallery | Dec 8
• “The Nutcraker, Opening Night” Community Center Theater | Dec 9
• “Emigrant Christmas” Sutter’s Fort | Dec 10
• “The Snow Queen” B Street Theatre | Dec 11
• “Season of Giving Blood Drive” BloodSource | Dec 12

Please check out exploremidtown.org for more information specific to each event.

Disclosure: Heather Philpott is the Communication & Events Manager at the Midtown Business Association and is a producer of the 12 Days of Midtown.

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!

Capital Stage celebrates new location on J Street

2011-10-24T03:48:37Z

Over 100 people came to Capital Stage’s grand opening gala Friday night to celebrate and support the new theater space. Capital Stage, located on the Delta King for the past six years, has now moved into its own space at 2215 J St.

The inside of the new theater is sophisticated and warm. The exterior wall facing J Street is crimson red and a modern metal sign that reads Capital Stage hangs next to the front entrance.

On Oct. 7 Capital Stage received its occupancy permit from the city and its new sign arrived. Five days later they put on their first performance, and Friday was the official grand opening.

Warm pumpkin-colored walls greet theatergoers as they enter the building, and large canvases printed with scenes from previous performances line the hall. The space is rustic and not overly beautified, achieving a sense of poised glamour.

A lounge with a bar and photos of the company’s actors is at the back of the theater, which leads out onto a patio. The patio, dimly lit with twinkle lights overhead, was nothing short of elegant on Friday. It was filled with black bistro tables and servers walking around offering guests a selection of hors d’oeuvres.

Guests were dressed in everything from floor-length red gowns to black suits and ties at Friday’s gala. There was an open bar serving red and white wine, and the Culinary Specialists at the B&L catered the event. The patio and lounge were filled with the sounds of clinking glasses, laughs and talk of the new space.

“What makes Capital Stage so wonderful is their choice of plays, the superb acting and incredible directing,” longtime subscriber Susan English said. “Having their own space in Midtown elevates the entire package. They made the best of the Delta King, but Midtown is where it is happening.”

Guests enjoyed Caesar lettuce cups, roasted corn cakes, California spring rolls and mini meatball sandwiches while sharing their thoughts on Capital Stage’s choice of space and location.

“We are shocked and amazed at how well the space is working out,” marketing director and associate artist Peter Mohrmann said. “Our subscriber base has expanded already since we moved, and we have received such generous support.”

After an hour of guests sipping wine and enjoying conversation and food, Capital Stage board president Arlen Orchard raised a glass to dreams becoming a reality, and the doors opened to the new theater.

The theater seats 125 people and the the rows are only four deep. A thrust stage extends into the audience on three sides, making it easy to see the actors up close.

“People are really right on top of the action,” board member Michael Manley said. “For the kind of theater we do, it is really appropriate for smaller audiences.”

Jammy K. Bulaya and Matt K. Miller performed a scene from “Superior Donuts,” Tracy Letts Pulitzer Prize-winning play that is running through Nov. 12. Smiles spread across the audience’s faces, and with laugh-out-loud acting, the crowd seemed nothing but pleased with the space and the actors.

Katie Ruben also performed a scene from a play she wrote and stars in. Both serious and playful, Ruben captivated the audience with witty and charismatic acting.

I loved the scenes we saw tonight,” recent subscriber Patty Garcia said. “It is no surprise when Capital Stage wows their audience.”

Following the performances, board members, owners and campaign cabinet members were honored and their hard work was celebrated through speeches, applause and standing ovations.

“Their shows are cutting edge,” Midtown Business Association program director Amber Schmaeling said. “This is exactly what Midtown needs.”

The building, originally an armoury, has been renovated over the past months to make it into a 125 seat theater complete with a lounge, box office, bar and patio. The renovations cost $300,000, and $275,000 has been raised so far, said Orchard.

Capital Stage is a nonprofit organization that relies heavily on the contributions of its subscribers and the local community.

The opening night gala was an effort to show loyal subscribers and contributors the new space as well as to continue raising money to cover the renovation costs.

To learn more about Capital Stage visit the website here.

Jim Brickman to perform at the Crest Theatre Nov. 4

2011-10-19T06:01:20Z

World-renowned pianist and songwriter Jim Brickman will perform at the Crest Theatre Nov. 4 with musical guests Anne Cochran and Benjamin Utecht. Brickman, who also sings at his concerts, said he will be performing romantic melodies, a few Christmas songs, but no breakup songs – that’s just not his style.

"The Gift," "Valentine” and "Love of My Life" are just some of his famous love song compositions.

He has collaborated with various musical talents, including Martina McBride, Olivia Newton-John, Michael Bolton and Lady Antebellum.

"You have to find your own voice, because if you sound like someone else, then there's nothing unique about you," Brickman said.

His distinct style of music comes in the form of inspiration, romance, calm and emotional moments. Something he does not do are breakup songs. He said he likes to promote hope in his music.
Brickman began playing piano at age 5 and did not come from a musically inclined family, but he said his family has always been supportive of his love for music.

In high school, he played with a band performing at weddings. It was not until he moved to California in his late 20s from his hometown of Cleveland when he started getting recognition – a couple years after sending his sample music to radio stations and recording companies.

Since then, Brickman, turning 50 this November, has produced six albums that received gold and platinum status and two Grammy nominations. A gold status is awarded for an album with more than 500,000 units in sales and platinum status is awarded for an album with more than 1 million units in sales, according to the Recording Industry Association of America website.

"I think it’s something that comes naturally. I don't think it’s something you attain or grow into," Brickman said when asked about when he fell in love with music. "In my case, it’s much a part of me like learning to talk."

Playing live is his absolute favorite, he said. He does not have any rituals or special preparations before performing live in his concerts. Instead, he assesses the environment by using the first song he plays as the barometer if the mood of the audience is energetic or calm.

Brickman has performed many times in Sacramento, and the Crest Theatre was the venue of his first performance in this city.

"I always loved that neighborhood in downtown with all the restaurants, and I always have a great time." Brickman said. "I haven't been there in a long time, and I'm really excited to introduce the audience to my special guests."

In his upcoming concert, he will be performing with special guest artists Adult Contemporary Singer Anne Cochran and Pop Singer Benjamin Utecht. Brickman said he enjoys collaborating with other musicians and letting them bring their own style to his songs.

"It’s always a lot of fun. I think sometimes people think it’s going to be a recital or quiet,” Brickman said. “It's actually joyful and sometimes very lighthearted and funny, and there’s a great variety, from the hit songs, a couple of new ones, a little of Christmas, and great guests.

"I sing quite a bit in the shows as well,” he added, “so I think people don't expect as much singing, and I don’t think they expect it to be as lighthearted as it is."

The concert will begin at 8 p.m., and ticket prices range from $30 to $65 and are available at tickets.com. The Crest Theatre is located at 1013 K St.

Lions and Witches and Wardrobes (Oh My!)

2011-10-04T21:20:22Z

In a change of direction for the holiday season, the community theater company, Bob and Ro Productions is working on a production of the much loved classic work, "The Lion, the Witch and the Wardrobe" by C.S. Lewis.

This will be the largest cast and the biggest production ever for the studio theater which 'Fox and Goose' regulars will surely have noticed a little further along R Street.

The auditions for the casting are over and a strong cast has been assembled with a mix of adult and children actors, drawn from all over the Sacramento region. Rehearsals start in late October and there will be twelve performances over the first three weekends of December. It promises to be an exciting production that kids and adults alike will love.

The story, familiar to many from book and movie theater, is the first book in the 'Chronicles of Narnia' series, written between 1949 and 1954. The main characters are four English schoolchildren who have been 'evacuated' from London to avoid the bombing raids. The story begins with a mysterious magical land (Narnia) discoverd at the back of an old wardrobe in the house they are billetted in. Once inside Narnia they meet many talking creatures and an evil witch. They also find a magical talking lion, Aslan and battle commences between the witches wickedness and the good woodland creatures.

Suitable for every age, this is a play that will make a great Holiday season treat for the whole family!

As this is a larger-than-normal production and involves many costume and scenery challenges, Bob and Ro Productions are trying to raise additional revenue to help cover the substantial expenses. Any angels out there who want to help this production succeed can pledge a contribution to their Kickstarter Project Page

Disclosure: I will be playing the part of 'Aslan' in the production.

Tangled in laughter and witty remarks, Big Idea Theater presents 'Wonder of the World'

2011-08-13T02:06:45Z

David Lindsay-Abaire’s “Wonder of the World,” directed by Big Idea Theater company member Jessica Berkey, sparks the audience through unexpected laughter-filled twists and turns, as the seven-crew cast brings the quirky characters to life.

Energetic and vibrant Shannon Mahoney, Big Idea Theater managing director, plays the main character, Cass Harris, who after ditching her husband to fulfill a bucket list after a mysterious discovery in his sweater drawer, finds herself in a bus on the way to Niagara Falls.

Sitting in the bus next to her, is alcoholic, suicidal Lois Coleman, who is played by Beth Edwards, also a company member.

Edwards has been an active actress locally for over 10 years and plays Coleman well. When she meets Harris on the bus, she is carrying an empty pickle barrel on her lap that she intends to use to plunge down Niagara Falls. The audience learns that Coleman came home to a letter from her husband in which he claims to be through with her due to her drinking problems.

Recently abandoned, Coleman stumbles across the stage, occasionally taking swigs from a flask and climbing in and out of the pickle barrel while emitting spontaneous remarks that elicit lots of laughs.

Harris continues her energetic conversation with Coleman, zipping from one topic to the next. Coleman’s failed attempts to ignore Harris on the bus land her as a sidekick. Two items checked off the bucket list: “get a sidekick” and “start a conversation with a complete stranger.”

The lights go out for a quick scene change, and the audience sees Kip Harris, played by Jouni Kirjola, frantically rewinding marriage footage, helplessly cuddled in a blanket on the couch. He has hired private investigators to search for his wife.

Kirjola has been active in the Sacramento area for 20 years, writing, directing and producing. He does an excellent job of portraying the facial expressions of Kip’s anxiety, rage and confusion after enduring his wife’s sudden abandonment.

The private investigators, Glen, played by Blair Leatherwood and Karla, played by Susan Madden, are an awesome duo that really brings comedy to the play.

Leatherwoods and Madden play a couple married for 38 years. They hop from one quirky job to another. Cass Harris meets the PI duo on a boat tour of the Niagara Falls, the same place were she meets Kip’s opposite, strong and dreamy Captain Mike, played by company member Justin D. Munoz.

Leatherwoods has performed with many local theaters, including Sacramento Shakespeare Festival, City Theatre and Synergy Stage as well as with independent films such as “Bad Faith,” “Nightbeats” and “Year.”

Mahoney has been active in theater locally for the past 14 years. She was awarded an Elly, one of the many annual community awards given by the Sacramento Area Regional Theater Alliance, for outstanding performance in “Wake Up, Jay! It’s Christmas!”

The talented Laura Kaya transforms herself in “Wonder of the World” and animates multiple distinct characters in the play, including Barbara, a hilarious, inexperienced helicopter pilot who is shakily driving over the falls when Cass Harris spills the secret to Coleman about what Kip Harris had been hiding from her.

Kaya has bachelor’s degrees in theater and psychology. She has performed in New York City and Las Vegas. Kaya has also worked behind the scenes as a writer, assistant director and in costuming.

Among her five characters, Kaya also plays a sextuplet therapist on parole, dressed like a clown, (because she was last working at a children’s hospital) and performs a hilarious group therapy session in which Cass Harris, continues to struggle with her indecisiveness and the search for meaning by intending to read destiny in situations that are merely coincidence.

All the characters except the waitresses and the pilot are connected by unusual coincidences that tie the cast to Niagara Falls, a symbol of birth, destruction and change.

Audience member Albert Mingo, 76, said he thought the show was action-packed, unique and funny.

“(It was) great: one of the funniest shows I have ever seen, ever,” Mingo said.

Business Analysts Rachel Resnick said she thought the performance was very creative and loved the clown and pilot characters that Kaya personified.

“This was much more lighthearted, much more on the absurd side of the scale,” Resnick said about the comparison of the performance to past shows she has seen.

“It was well-acted, it was well-directed, it was really good,” Resnick said.

This play is a must-see, and is performed at Big Idea Theater, 1616 Del Paso Blvd., through Sept. 3.

For exact dates and times, click here. For more information and to buy tickets, click here.

In A Dark Dark House

2011-07-07T09:57:16Z

A condition of being human is the ability for deep, contemplative, private thoughts and emotions. We've developed ways of communication to express the thoughts that are rattling around in these big heads of ours- but these words we've created only work when and how we use them. There is no true way to ever really know what is going on inside someone else's head, no matter how close we are to them.

I find this to be the theme behind Neil LaBute's play, In A Dark Dark House. An intense tale of the relationship between two 30 something year old brothers who are in two very different places in their lives. A tale where one man sets out to chase down the demons that have been haunting his brother, and winds up facing down the shotgun barrel to his own.

Younger brother Drew (played by Ben Moroski) finds himself overwhelmed by his ego and fast lived self-centered life that has poisoned the relationships with his wife and kids. Now in a rehab facility, we open on a scene between Drew and his big brother Terry (played by Dan Masden) who comes to visit and try to aid in recovery.

Both actors are challenged to play with some major societal taboo's. Terry boldly walks down a shakey social line, dealing with situations and emotions that just... aren't appropriate- but are very real to this world. The play ends in a manner that leaves you wondering whats next.

As rose amongst the thorns, Kelly Daniells does a wonderful job playing the delightful and charming high school aged manager in a town’s local putt-putt place and compliments this cast of 3 perfectly.

If you're looking for a merry night out on the town fraught with fits of laughter I can't recommend this play- In A Dark Dark House. In fact a good rule for life would be if ever you see a title to anything with the word "dark" used as an adjective twice to name any place other than "in a dark dark comfy warm nook full of love, rainbows and cuddly unicorns" I would never assume the thing is going to be a chipper experience.

If you're seeking a much rarer and deeper theatrical experience with beautiful moments of honest humor, and characters that will truly affect you and how you feel- this is definitely it.

I would love to congratulate first time director Alysha S. Krumm on her successful directorial debut! And mega props to Jeffrey Lloyd Heatherly for building a super awesome set that supports the story beautifully!

Resurrection Theatre does it again, keeping things fresh with another awesome play completely different from the one before it! For show dates and ticket info check out http://www.resurrectiontheatre.com/ . Add them to your Facebook or twitter (@resurrectweets) and be kept up on all their goings on.

Disclosure: I'm honored for this to be the third show I've been Resurrection Theatre's photographer. I've worked with, or seen most of the production staff and actors from past shows in our community.

TFO Presents- Zombie Walk

2011-07-06T17:19:24Z

Did you know Sacramento's very own Trash Film Orgy (TFO) is credited with being home to the first organized Zombie Walk? http://en.wikipedia.org/wiki/Zombie_walk#History

The summer season is trigger for these midnight movie Trash Film Orgy fans, who descend like a mass migratory bugs filling the hallways and seats of the Crest theatre. Though their year round numbers never fully deplete, once their season starts you see them multiply exponentially for 6 consecutive Saturdays at midnight.

The Zombie Walk is the yearly kickoff event for their TFO summer show season which has been growing ever since! Literally hundreds of "people" (if you can still call them that) converge on the midtown piercing shop Sub-Q at 1715 I street. Though the walk officially starts at 10pm people mostly gather from 9pm on. There will be some limited make up available for the un-undead on sight, but seriously people- who doesn't need their own zombie make up kit? If you don't have one by now is the time to start assembling one!

The organized events take place all evening, but the first of the night is also the first of its kind ever and it starts waaay before the 9pm rally that most people do. 6pm local and talented make up FX artists meet and face off to compete for a professional 2011 season contract with the infamous local haunt- The Callson Manor!!! The finalists will be announced at 9pm, but the winner won't be announced until the TFO stage show at the Crest later in the evening.

At 10pm everyone takes to the streets of Sacramento, weaving hordes of the undead through already large Second Saturday crowds. Literally hundreds of zombies come out every year for this.

The walk is free, and super family friendly- unlike the evening with TFO at the Crest which is strictly 18+.

At 11pm the masses migrate to the Crest Theatre at 1013 K Street where The DEAD Party starts! Doors swing wide for the opening night of the 11th Annual Trash Film Orgy season, featuring the classic film Return of the Living Dead. All Seats $10 – but zombies get $1 off regular admission!! Like all TFO movies, there will be stage shows, game booths, and silliness amuck. So bring 10 friends, and come make some new ones!

Even though this event happens every year, it only happens once a year- so don't miss this.

Construction underway on troupe's new home

2011-07-06T00:24:44Z

Capital Stage Company expects to finish major construction on its new Midtown theater by the end of the month.

The troupe is putting on its final show on board the Delta King Riverboat. The show, "Or," by New York playwright Liz Duffy Adams, runs through July 17.

At the same time, theater company officials are busy recruiting a few more volunteers to help with the theater's move and trying to gather the last $65,000 of the $300,000 construction budget, company co-founder and Producing Director Jonathan Williams said.

To save money, Williams is serving as the project manager. They’ve also gotten materials, skills and time donated. He estimated the project – which will turn an old gun shop at 2215 J St. into a 125-seat modern theater – would otherwise have cost closer to $500,000.

"This really is a grass-roots community project," he said.

The professional theater troupe has been based on the Delta King, a paddle wheel boat docked on the Sacramento River, since 2005.

Williams and the company's two other founders, Producing Artistic Director Stephanie Gularte and Marketing Director Peter Mohrmann, want to increase the troupe's visibility by moving to busy J Street in Midtown.

Founders and others involved with the company are already feeling nostalgic about leaving the group's first home. But they want to take the theater – and the theater experience – to the next level, Williams said.

"We had a great six years growing up as a theater company," he said. "But now, it's time for us to have our own home. It's time to move out."

The boat's theater has a lot of charm. However, the experience of going to the theater was shared with the experience of being on the boat.

Moving provides a chance to design and control the entire theater experience from the moment patrons walk in the door, Williams added.

On Friday, Williams oversaw work under way at the new building, where the main theater space is taking shape behind a stud framework.

The smell of freshly cut lumber hung in the air as he pointed out dressing rooms and a backstage area being built just off-stage.

The troupe was able to forgo hiring a general contractor after Williams became an authorized agent of the building's owner. He also has done a lot of work himself alongside subcontractors.

The building's interior was gutted: Bathrooms, walls, ceilings and gun safes were torn out. New plumbing has been added, and a new heating and air conditioning system is being installed. The electrical system is getting a major upgrade to be able to handle theatrical lighting.

About a dozen theater patrons, actors and other artists in the theater community have been volunteering almost daily. They've helped with such things as laying concrete, framing walls, cleaning and moving.

Major construction on the interior will be finished by July 31. Then sound, lighting and seats will be added in August, Williams said.

The ticket window will be just inside the front door. A long hallway will lead past the stage to a lobby in the back of the building. An adjacent patio will be worked on in the second phase of construction.

Potential donors will get the chance to check out the new space next month. Much fundraising is done through the group’s website. The theater troupe’s board of directors and a campaign committee are seeking sizable donations from major corporations through individual meetings, grant applications and other means.

Rehearsal on next season's first show, “Superior Donuts” by Tracy Letts, begins in September. The show will open Oct. 7.

With the theater in its rough frame stage, the company needs more volunteers than ever and those needs change daily, Williams said. People can volunteer through the troupe's website.

"It's an exciting point in the project," Williams said. "It's not until you get to this stage that you get to say now things are really starting to happen."

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

Silent Movies Make a Comeback in Old Sacramento!

2011-07-01T19:31:53Z

Starting July 2 and contuning Saturday evenings through August, Old Sacramento visitors will be treated to something quite novel in this day and age -- silent films in the Eagle Theatre every Saturday night! The showings begin at 7 p.m. in the Eagle Theatre in Old Sacramento State Historic Park.

With song slides that encourage audience involvement and sing-along, movies from 1900-1929 will be showcased and presented by the Excelsior Company in association with Red Barn Productions. In addition, talented period performers will delight and amuse the audience with engaging and entertaining songs, mini skits and comedic acts as the silent movies play. Every Saturday night will offer something different and special -- early dramas, comedies, fantasies, and more! All movies and spirited performances will be presented in period appropriate style and Old Sacramento guests are encouraged to travel back in time and dress in the fun and sometimes lavish fashions of the day.

Don’t miss the Saturday night Silent Movie Festival coming to Old Sacramento this summer!

For more information, call 916-808-7059 or visit www.oldsacramento.org/timetravel.

Disclaimer: Traci Rockefeller Cusack represents a number of businesses and organizations throughout the greater Sacramento area including the Historic Old Sacramento Foundation.

For Arts’ Sake Taking the Pulse of Sacramento Artists

2011-06-24T15:32:22Z

Sacramento there is always lots of talk about the quantity and quality of theater productions, art events, concerts or music and dance performances, but rarely do we hear people talking about what it takes to be and live as an artist in Sacramento. With all the actors, musicians, visual artists, performers, designers, architects, writers, chefs, and other creative professionals in the region, it makes sense to ask this question, so that we can truly be a place where arts and artists thrive.

For Arts’ Sake – the coalition of artists, arts managers and arts enthusiasts seeking to strengthen the eco-system for Sacramento arts and culture – has launched an online survey directed to all the creative professionals in the greater Sacramento region. The goal is to answer basic questions of how to live and work as an artist in the region. This survey will provide collective information about how artists find resources to help them improve their craft, support their financial needs, market their productions, and connect with resources to help them do business better.

The information will shape an action agenda to address gaps and build on strengths that emerge as we take the pulse of the arts community and see where we are healthy and where we need additional support.
For Arts’ Sake seeks to hear from 1000 artists from all creative fields.

If you live in the 5 county regions surrounding Sacramento, and you work in any art form, please add your voice to this effort. For Arts’ Sake will be collecting survey responses throughout July.

Fill in the survey and share it with other artistic professionals in Sacramento that you know. The survey can be easily accessed in For Arts’ Sake Website at www.forartsake.org, our Facebook page or by clicking in the following link: https://www.surveymonkey.com/s/SacArtistSurvey2011

Disclosure: Deborah Edward Ph.D. is the Project Manager for For Arts' Sake, a creative action plan for the Sacramento metropolitan region, presented by Mayor Kevin Johnson, the For Arts' Sake Coalition, Sacramento Metropolitan Arts Commission and the Sacramento Convention and Visitors Bureau.

One-night performance of RENT to benefit the American Cancer Society

2011-06-23T00:05:50Z

I don't care much for RENT. I know I know, everybody loves that show.. I don't. There are many reasons I don't like the show, but I'm not here to hop on my soap box and tell you them. I would instead like to tell you about a truly nice honest theatre experience that I recently had.

The performance was a fundraiser for cancer research and having only one performance didn't require the actors to be completely off book. In the footsteps of reader's theatre, the actor's carried scripts on stage! Though most scripts were used very little. I heard that they had less than 10 rehearsals and for that- they sounded great! Well except for the house speaker being blown and tinny (the fault of the Benvenuti Performance Center- not the production.)

Between the scripts in hand and minimum choreography, I really enjoyed the casual feeling of the show. It didn't feel like they've been rehearsing every week night for 6 weeks, and yet they still had the chemistry and ability to hold their audience. I was completely entralled, even found myself feeling emotional a couple of times. I can't stress enough- I really don't care for the show so it really suprised me how into it I was.

The stark stage had only elevation platforms set up which fit in with the over all feel of the show. Lighting was completely acceptable, with only a few dark spots and rough scene transitions. Costumes- wow, so much plaid in the ensomble! I loved it. I thought everyones clothes looked comfortable and character appropriate.

Let me sum this up, there was very little choreography, the house speakers were ok at best, the set was completely minimal, lights were good but not spectacular, sound mixing was sometimes rough (this was definitely a difficult show to mix- especially with minimal rehearsals) and I personally don't really care for the script... yet having said all of this, I walked out of there feeling like I just experienced something beautiful and rare in our community.

Not only was everyone in the cast was having fun and engaged on stage, but so was the audience! So many names and faces of the industry were there tonight, and all ready to share a beautiful concert and donate to a great cause! I've seldom felt so familiar with such a large show crowd.

I think this the perfect example of lame script, low rehersal time, low tech support, and just having an excellent cast come out and rock it! I would like to thank Asclepius Productions ( http://apshows.org/apshows.org/Welcome.html ) and congratulate the cast and crew on a very enjoyable show, I feel very honored to have seen it.

Lady and the Clarinet

2011-06-22T23:17:43Z

Starring Deni Scofield as Luba, a three time veteran of love lost. Lady and the Clarinet is an evening of self reflection done through comedic banter with a hired clarinet player (Christopher Cook), who is to set the mood for the evening with a new mystery man. It isn't long until he finds himself professionally and politely trapped in the corner of a house with a woman spiraling down the vortexes and rabbit holes of her past loves.

I found all three of the leading men who were played by David Chernyavsky, Mark Ettensohn, Dennis Ray to be charming and lovable in unique and different ways. There were plenty of opportunities for an honest laugh and it was easy to see why each man was cast in his role. The comfort and chemistry shared between all 5 of these performers on stage can be felt by the audience.

A wonderful show directed by Kara Ow. This is a nice peek into this womans psyche as she trips down memory lane, trying to find the love lessons that should be reaped. I loved the interactive instrument on stage and believe it was the perfect soundtrack- way better than a cello (inside joke, go see the show.)

Lively & Interactive “Time Travel Weekends” Resume in Old Sacramento on July 2

2011-06-20T23:43:50Z

The past will mingle with the present once again when the popular “Time Travel Weekends” program resumes in Old Sacramento on Saturday, July 2. The free street theater program debuted in 2010 and was an immediate crowd pleaser.   Designed to delight, entertain and engage Old Sacramento visitors with good, old-fashioned fun reminiscent of the Gold Rush era, “Time Travel Weekends” are offered weekends July through August from 11 a.m. to 5 p.m. (with expanded performances during Gold Rush Days over Labor Day weekend). The “Time Travel Weekends” program is presented by the Historic Old Sacramento Foundation (HOSF) in partnership with the City of Sacramento, California State Parks, Old Sacramento Business Association and participating merchants and businesses.

The centerpiece to this free and highly interactive program includes a series of Old West stage shows -- including the much acclaimed Golden Melodeon Review -- performed by teams of talented actors and actresses in period attire. Weekend performances with rotating themes are scheduled on four stages located throughout Old Sacramento including in the Eagle Theatre, Passenger Station, Pioneer Park and Waterfront Park. Additionally, the talented performers will roam the streets of Old Sacramento throughout the scheduled weekends, putting on spontaneous and often-elaborate skits and performances so visitors can step back in time to the 1850s, 1860s and 1870s.

The “Time Travel Weekends” program is also showcased by historic re-enactments complete with wagons, wild characters that include heroes and villains, children’s pioneer craft activities, historic gambling, bowling, juggling, singing, dancing and other forms of musical mastery, military encampments, mining camps, parades, historic events, medicine shows and even Civil War cannon firings. Old Sacramento visitors may also meet 19th century shopkeepers, blacksmiths and railroad engineers as they stroll along the historic streets.

The continuing program is designed to bring a lively and theatrical flair to the streets of Old Sacramento reflecting the exciting atmosphere and character of the early gold mining period.   For a complete and updated performance schedule, visit www.historicoldsac.org/timetravel.

About the Historic Old Sacramento Foundation
The Historic Old Sacramento Foundation (HOSF) is a 501(c)3 public benefit corporation. Old Sacramento is a living historic district.   The mission of HOSF is to convey the importance of historic Sacramento as a place that connects our past to our present and future through engaging and entertaining events, activities and programs. More information is available at www.historicoldsac.org.

Disclosure: Traci Rockefeller Cusack represents a number of businesses and organizations throughout the greater Sacramento area including the Historic Old Sacramento Foundation.

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.

Planet of the Vampire Women returns to Crest Theatre

2011-05-27T20:28:20Z

It’s not too late to co me back for a second helping .

If you missed the April premiere of Planet of the Vampire Women, the film is coming back to The Crest. Featuring some of the galaxy’s sexiest space pirates reminiscent of the hunks of Hollywood film of the 60's and 70's, the action packed sci/fi adventure film, has three evening shows slated for Memorial weekend, May 27 through 29.

Stephanie Hyden, a Sacramento native plays a playful anime-like character named Astrid in “Planet of the Vampire Women,” which premiered at the Crest Theatre in April. In the movie, her superpowers allows her to change her outfit at the flip of her hip. She credits Amy Slockbower, one of the film producers and make-up artists, Jace Whitman and Vanessa Diaz in bringing her many looks together. Her many costume changes is definitely one of the selling points of the movie.

Acting has always been a part of her life, even as a toddler. Her mother used to dress her up for theater play dates growing up in what used to be the farmlands of Elk Grove. The skits were performed in front of neighbors. This early recollection motivated her to share improv with all levels of actors at an actor's clubhouse where she teaches.

“It is entirely possible to appear in a project in Sacramento even with limited experience,” she said. “You just have to be willing to try new things, take some risks and not be afraid to fail.”

In 2004, she auditioned for a part in “Monster of Bikini Beach” that led to her role in “Planet of the Vampire Women.” Trash Film Orgy Productions, spearheaded by Christy Savage, producer and Darin Wood, director were pivotal in getting her start. She has worked on projects with the TFO cast and crew since. Within the TFO network, they were able to bring together a set that is a cross between “Planet of the Apes,” “Star Trek” and a jazzy bar scene with a touch of “Kill Bill” influence. The set, enhanced by computer graphics, fake-looking monsters and scantily clad women who turn into vampires, brings a cheesy but fresh perspective to the big screen.

In a word, “Planet of the Vampire Women” is fun. Not a single cast person was paid, but they did get rewarded with improved acting and technical skills. The effort is really a labor of love.

Although she admits working pro bono on “Vampire,” has led to other gigs after the release. In the last year, she collaborated with Sean Kime, a local filmmaker from El Dorado Hills. Their combined efforts in writing and directing have earned outstanding 48 Hour film for "Hope" at the Sacramento International Film Festival in April of 2011. They also earned the People’s Choice Award for “5250” at the Sacramento Horror Film Festival in October 2010.

When asked what it takes to be cast as a vampire woman, she said you have to be “fierce, sexy and confident.” She laughed, “I sound like (America's) next top model, but that’s the truth.”

“Support the film because it is local,” she said. "In fact, most of the sets were filmed in a warehouse on 65th and Folsom. We had a lot of fun bringing it together. Hundreds of volunteers, mainly family and friends of the cast and crew collaborated to bring this project to the big screen. They donated food catering, time handing out fliers and doing what it takes to bring a film to the big screen.”

What are you waiting for? Go out and see it.

And, definitely worth a second helping.

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

I will not play at tug o' war....

2011-05-08T15:32:06Z

When I was growing up, my parents played me Shel Silverstein tapes constantly. I had this old, beaten up copy of a selection of Where the Sidewalk Ends, and it seemed like I always had it with me. When I was 16, my dad had me listen to “Freakin’ at the Freaker’s Ball” and “I Saw Polly in a Porny.” He thought it was funny. I thought it was devastating.

As I grew I learned to accept Shel for who he was, and not just a fallen angel as I had at 16. I learned that he was and is one of the greatest writers of the 20th Century. His biting satire of adults, politics, social institutions and sex made clear to readers that things in this world are crazy and often fetishistic, and we need to not only accept them but embrace them.

Resurrection Theatre, helmed by director Benjamin T. Ismail, decided to bring us An Adult Evening of Shel Silverstein and the results are nothing short of a hilarious night of naughty, titillating and, most importantly, enigmatic theatre.

The cast consists of a ragtag bunch of local faces and some new surprises. The play is made up of 10 vignettes that range from a swindling “Watch and Dry” shop owner (Ben Miller) to a man (Jes Gonzales) telling his daughter (Heather Marie Judkins) that she’s getting a special birthday present… sort of. The wonderful thing about these scenes is that not one misses the mark. Each piece has awesome give and take amongst actors, who all seem to be in perfect sync.

Bright spots within the production were Jeffrey Lloyd Heatherly as a smarmy auctioneer selling a woman (Laura White, who plays a hilarious ‘Teller’ to Heatherly’s ‘Penn’) in “Going Once” and a blind down-on-his-luck bluesman who owns the world’s only talking dog (Jouni Kirjola).

The set is an awesome minimalist design, using cutouts of Silverstein’s famous black and white ink and paper doodles. This coupled with poems read by the author and Guaraldi-style jazz for scene changes made for a bright, inebriated, kinky night of entertainment, guaranteed to change anyone’s view of The Giving Tree’s author.

MAX’S RATING: 9/10

An Adult Evening of Shel Silverstein runs Thursday-Saturday (8 p.m.) and Sunday (2 p.m.) through May 29 at the Wilkerson Theatre in the R25 Arts Complex. For more information on tickets and location click here.

Amber's Sweets sing-along weekend

2011-05-02T13:57:09Z

This weekend was a big one for fans of sing-along theater and cinema. The Amber’s Sweets crew, best know for their shadowcast production of “Repo! The Genetic Opera,” put together a two-night extravaganza of acting, singing and audience participation.

Friday night was the premiere night of “Dr. Horrible,” which was originally aired as a series of shorts starring Neil Patrick Harris as the aspiring super villain, Dr. Horrible. With his Ph.D. in horribleness, Dr. Horrible tries to gain entry into the Evil League of Evil, led by Bad Horse, who is, in fact, a horse. In between his evil video blog broadcasts, Horrible vies for the affection of Penny, a girl he meets in the laundromat. Hilarity ensues when Captain Hammer, Horrible’s arch nemesis, also decides to fall for Penny.

Although the production of “Dr. Horrible” was directed by Ashley Porciuncula and produced by Tim Meunier, the same pair who are responsible for the “Repo” shadowcast, the two shows are very different breeds of theater.

“‘Repo’ and ‘Dr. Horrible’ are completely different creatures,” said Keith Fowler, who plays the heroic Captain Hammer. “It’s entirely up to us tonight to make ‘Dr. Horrible‘ great. There’s no looking at the screen or graphic sequence, so it’s an entirely different feel. We actually have to sing. We can’t just lip-synch. It’s more work, truthfully.”

“‘Dr. Horrible’ is different in many ways from ‘Repo,’” said Dani Fontana, who plays Dead Bowie in “Horrible” and Graverobber in “Repo.” “‘Dr. Horrible’ is all about superheroes and super-villains, and ‘Repo’ is all gothic with organs, repossession and whatnot. ‘Dr. Horrible’ is our goody-two-shoes show. It’s more family fun and less blood and gore.”

Anyone who has seen “Dr. Horrible” knows that because it was intended as a series of Internet shorts, it’s very minimalist in set design and budget. The talent of Harris and Nathan Fillion alone make it worth watching. So while it might not be hard to create small sets for a piece that takes place in basically three different locations, it would be a challenge to secure actors talented enough to sing well, make people laugh, and fill the shoes of NPH (as Harris is known to fans) and Fillion, two actors with very devoted fans.

“Yes, I do feel pressure to portray Neil Patrick Harris, but not cripplingly so,” said David “Turtle” Akona, who plays Dr. Horrible. “It is daunting, but it’s a good challenge.”

Even though it was the very first “Dr. Horrible” ever put on by the Amber’s Sweets team, the show exceeded expectations.

Akona’s portrayal of Dr. Horrible was spot on. His singing was phenomenal and he even looked and sounded like the real Dr. Horrible. Akona had Harris’ mannerisms as Dr. Horrible down pat, and it is safe to say he was the star of the show.

The other actors (Fowler as Captain Hammer and Alanna Sowles as Penny) also did a spectacular job. Fowler’s depiction of the puffed-up Captain Hammer was humorous and delightful.

Furthermore, it was impossible to tell that playing Penny was Sowles’ first professional acting gig.

“I was stage managing at Runaway Stage Productions for one of their children’s shows, and people kept on coming in and out of their theaters asking where the ‘Dr. Horrible’ auditions were,” Sowles said. “I went in and said, ‘I have no monologue, I have no résumé, but can I sing for you? Because I will blow you away.’ And about two weeks later, I had the part.”

December 2011 marked the year-anniversary performance of the Amber’s Sweets “Repo” shadowcast. They had big-name guests from the movie such as Bill Moseley and Nivek Ogre in attendance. So what could the Sweets team possibly do to keep their production spicy and new? They introduced a whole new cast by giving the understudies the chance to play the leading roles.

“I think it’s a brilliant idea to give the understudies leading roles,” said Trevor Gjeltema, who played Graverobber. “It’s really kicked up our responsibilities as understudies, and it’s nice that the main actors get to play other smaller parts. It helps everyone be more aware of how the show gets put together.”

After the usual lineup of Sac Horror Film Fest commercials, including the hilarious heavy-metal snack food song, the show got started. This time, to celebrate the premiere of “Dr. Horrible” and musicals everywhere, there were lyrics to most songs in the top of the screen so that, in addition to the usual jeers and calling out, people in the audience could also sing along with their favorite songs.

Saturday’s “Repo” performance also had a few surprises up its sleeve. During a rather serious scene where a character named Rotti Largo sings a ballad (for lack of a better term), the sound suddenly cut out and Rick Astley’s famous ‘80s hit “Never Gonna Give You Up” queued up. The audience had been Rickrolled.

In another energetic scene where Shilo Wallace dances around her room with giant stuffed animals and sings a rebellious tune, Dr. Horrible joined the gang in his horrible outfit of evil and danced around stage with Shilo and her crew.

Finally, another highlight of the show was when Amber’s wig fell off during a rather aggressive dry-humping number. Always the professionals, Miss Amber, played by Alia Omran, stayed in character and fluffed up her own hair, making the wig mishap seem nearly intentional.

The Sweets team has garnered so much attention that there’s nearly always someone special in the audience. Saturday night was no different.

The person in the most spectacular costume (besides the actors) had to be Alex Moore, who the cast dubbed “Mamber.” Mamber and his friends came all the way from Phoenix, Ariz., to see the Sweets team perform, and Moore’s version of Amber Sweet was phenomenal. Yes, it’s true. He was a big dude in a mini skirt with a diamond-studded bra, but he pulled it off beautifully, and rightly so, considering he had the costume specially made for the trip.

“I came all the way from Phoenix, Ariz., to see the Sweets cast,” Moore said. “I saw their videos on YouTube about six months ago. They’re the best shadowcast ever.”

So what does the future hold for the Amber’s Sweets production team?

“We are trying to do (“Dr. Horrible”) much sooner,” Akona said. “The next ‘Repo’ is in October I think, so quite a ways away, but we’re trying to do the next ‘Dr. Horrible’ in like another month and a half or so.”

“We did ‘Dr. Horrible’ last night and I believe we’re going to do more productions of that,” Gjeltema added. “I’ve heard whispers of other things coming up, but I don’t know anything for sure, so unfortunately I can’t say much as of now. I’m told that were supposed to expect interesting things coming up in the near future, and of course I always have a huge amount of faith in Tim Meunier and Ashley Porciuncula to produce amazing work.”

City loans California Musical Theatre $300,000

2011-04-28T01:17:51Z

The struggling California Musical Theatre in Sacramento will receive $300,000 from the city to help it stay afloat.

The Sacramento City Council unanimously decided Wednesday to loan the amount to the theater over the next three years. The theater can withdraw the money in $50,000 increments each quarter until the $300,000 total is reached, according to a report by city staff. The money will go toward the theater’s operations.

California Musical Theatre runs Music Circus, the Broadway Series and Cosmopolitan Cabaret.

“It’s an important piece of downtown,” Councilman Jay Schenirer said, referring to the theater. The business the theater brings to downtown is “incredibly important,” he added.

The city is taking $300,000 from its Community Center Theater Renovation Project for the loan.

Councilwomen Sandy Sheedy and Angelique Ashby noted that the money for the loan is designated for the arts and cannot be used in the city’s general fund.

When the theater withdraws money from the loan during a fiscal year, it must pay back the city the amount plus interest by June 30 of that fiscal year, according to the city staff report.

The theater cannot receive a bank line of credit because of its financial situation, the staff report said.

Still, the theater provides benefits to the city, according to the report. The theater employs more than 550 people, and pays $800,000 to the Sacramento Convention Center in rent annually, the report said.

Kathleen Haley is a staff reporter for The Sacramento Press.

Big Idea Theatre presents modern "Measure for Measure"

2011-04-11T03:41:27Z

Big Idea Theatre’s latest production, William Shakespeare’s “Measure for Measure,” directed by Kirk Blackinton and Katie Chapman, opened Friday.

The play is a lesser-known bit of the canon, often put in the category of “problem play” as it fits neither the specific parts of a comedy nor a tragedy. The plot is divided between the struggle of the play’s antagonist, Angelo, played by Jeffrey Lloyd Heatherly, and the nun-in-training Isabella, played by Gina Williams. The play covers moral ground of a more philosophical nature with Isabella’s plight being the question, “Should she commit an act against God to save a life?”

Set in Vienna, the production takes interesting liberties with the stage, creating a back-alley slum to show the degradation of the city under the soft rule of Duke Vincentio, played by local heavyweight Blair Leatherwood. With movable chain-link fences, the set proved to be as malleable as the villain’s own moral scruples, and made the action flow nicely.

Heatherly plays with the inner turmoil of lust to a fine degree, making his soliloquies pop out memorably. Williams also takes her role well as the nun, fighting back and forth about the choice she must make and the consequences that arise after. Leatherwood’s job as puppetmaster becomes two parts of a whole as he moves back and forth between the sovereign and a lowly clergyman who instigates all the hijinks behind the scenes.

As for comic relief, the audience is never far from laughter as Lucio, played by Big Idea staple Brian Harrower (who also had a hand in set design), brings the irreverent ever-further by making Shakespearean witticisms even more accessible. His realizations at play’s end make for audience guffaws.

The production incorporated hard rock music into the set, with dark songs of want and angst peppering the already grunge-heavy stage before the show and during scene changes.

While the production had a few slow points, it still emerged as a fine production to showcase a new angle on the play.

MAXWELL’S RATING: 9/10

"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.

Janis Stevens A Tour De Force in "Master Class"

2011-03-22T05:37:17Z

Maria Callas died more than 33 years ago yet her recordings still set standards in the opera world. Famous for her temper, rivalries with fellow divas and her longtime affair with Aristotle Onassis, she was hot copy in the press while alive and long after her death.

She had a tough life before her triumph as an one of the most revered figures in opera of all time. She lived and studied in Greece through World War II.

Callas had her premiere at the La Scala Opera House in Milan, Italy, considered to be the most prestigious opera house in the world in December, 1951. Seven years later, she was let go. She died at a young 54 years of age. Maria Callas was the consummate diva.

Award-winning playwright Terrence McNally (“Love! Valour! Compassion!,” “Frankie and Johnny in the Clair de Lune,” “The Ritz”) wrote “Master Class,” a fictional play based on the master classes taught by Callas at the Juilliard School in 1971 and 1972. A master class in the classical sense is a class taught by an experienced performer of specific art, here opera performance, to already experienced students. The class is taught one-on-one with other students observing.

This sets up a nice theatrical structure with the audience of “Master Class” serving as the students observing a master class for this performance.

The set by Stephen Jones (“Mauritius,” “Humble Boy,” “Proof,”) is a theater stage with a grand piano on one side, side chair and table at the back and a tall chair and music stand on the opposite side. The tall chair and music stand could be a throne for the diva. Theater curtains grace the back and sides of the stage.

The first scene opens with a stagehand nonchalantly sweeping the floor. The accompanist for the class enters and sits nervously at the piano waiting for Miss Callas to enter.

And enter she does, immaculately dressed in designer label clothes and accessories. She immediately begins addressing the audience as if they are attending her master class. “No applause. We're here to work.” she says.

When the first student enters she soon learn she is in for the Callas treatment.

When Callas finally allows each student to perform their piece she drifts into a flashback of her personal life and her life on the stage.

Janis Stevens' portrayal of Maria Callas is a revelation. She truly inhabits the character. It is astounding to watch. It becomes very easy to see how Callas got her reputation. Callas’ sense of humor comes though along with impatience, understanding and insight. Demanding one minute, apologizing (sort of) the next. We learn not to necessarily believe what she says as much as what she does.

During the flashbacks Stevens not only portrays Callas but also Onassis - voice, vulgarities and all.

This is not Stevens' first portrayal of a powerful but insecure, troubled performer. She was nominated for a Drama Desk Award in 2006 for her portrayal of Vivien Leigh in “Vivien” off-Broadway which she reprised at Sacramento Theatre Company in the 2007-2008 season. She is in rehearsal at STC portraying Emily Dickinson in the “Belle of Amherst.”

Janis Stevens is an artistic associate, teacher and an excellent director at Capitol Stage. She directed “reasons to be pretty.”

The rest of the cast does a good job. The singers' performance audibly improves as Callas works with them. It must be remembered that to even be allowed to attend a master class with an artist of Maria Callas’s stature a student would already be very good.

Wendolyn Cooper is the first soprano named Sophie. Cooper has a music degree from Yuba College. She performs and teaches voice lessons in Marysville. She is very believable as as a young student who finds the master threatening but still learns from her.

The second soprano, Sharon, is portrayed by Bay Area actor Laura Piper who holds a Bachelor's and Master's of Music from the San Francisco Conservatory of Music. Sharon is so intimidated by Callas that she runs off the stage. She later returns and Piper demonstrates the soprano’s willingness to have the courage not only to learn from the master but to stand up to her.

Ian Cullity plays the tenor, Tony, who comes on all swagger and confidence. Shortly in to Tony’s performance Callas stops him. There isn’t anything she can teach him. Callas has become very emotional at this point. Tony it seems has learned about the emotion of what he is singing about. Sadly the audience doesn't get to hear more of Cullity’s beautiful voice. Those who were lucky to hear Cullity at STC’s Cabaret series know how good he is. He also performs at Artistic Differences Theatre Company.

Michael Wiles' performance as Manny the accompanist would have to be described as very sweet. While properly respectful of Callas, his Manny is not threatened by her. Wiles is also a very good pianist. Wiles is also the musical director of “Master Class.”

He has appeared at Capitol Stage in “Someone Who Will Watch Over Me” and "Fat Pig.” He has appeared on stages throughout Northern California and elsewhere. Wiles has been the musical director and accompanist of more than 70 productions.

Andrew J. Perez plays the stagehand who remains unimpressed by Callas. Perez has been recently seen on Sacramento stages in “Urinetown” (Flying Monkey Productions) and "Junie B. Jones: Jingle Bells, Batman Smells” at B Street Theatre.

“Master Class” is directed by Capitol Stage producing director Jonathan Williams. A founder of Capitol Stage, Williams is also a great actor and very creative set designer. Here he shows off his directing talent.

The staging, supporting actors and especially Janis Stevens’ performance as Maria Callas make this an outstanding production. We not only learn about Maria Callas, we experience Maria Callas.

"Master Class" runs through April 10th. For more information and tickets, visit www.capitalstagecompany.com.

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.

Review: ‘Mystery Spot’ gives life and laughter to Santa Cruz’s famous attraction

2011-03-14T02:33:46Z

California Stage’s premiere of playwright Steve Lyons’ “Mystery Spot” production was full of optical illusions, science and wonder Saturday night.

Directed and produced by Ray Tatar, the comedic play is set in Santa Cruz and revolves around young UC Santa Cruz student Dingo and his wacky experiences working as a Mystery Spot tour guide.

Dingo, a women’s studies major, is all for “feminisms” as long as it gets him a college woman. When he meets Liz, a fellow Intro to Feminisms classmate, he goes on a quest to become worthy of her affections. Dingo gets a job at Mystery Spot, where he meets Liz’s mother, the owner of the tourist attraction.

Actor Nick Koehler, who plays Dingo, brings out the character’s dorky yet compassionate personality. Koehler’s portrayal gives lots of humor and enthusiasm to Dingo, who faces many awkward insecurities throughout his self-discovery.

Liz, played by Emily Kentta, challenges Dingo with her strong feminist views while struggling to find common ground with her mother Shirley, played by California Stage’s associate director, Michele Koehler. As the mother-and-daughter team running the Mystery Spot, Kentta and Koehler provide memorable scenes that reveal the sacrifices one makes for motherhood.

The plot thickens for the Mystery Spot workers when Mr. Williams (played by William A. Bergen), a troubled man who doesn’t believe in the Mystery Spot’s awe and magic, starts to express motives of his own.

The story complicates even more when Angel Celestine (played by Mahlon Hall) brings author Sylvia Plath back to Earth for some unfinished business. Actress Bonnie Antonini brings Sylvia’s dimensional and wicked character to life.

The set design by Lynne Perry contrasts black and white colors with interesting illusions on the stage. The costume design by Nancy Beggs-Willoughby enhances each character’s personality, either with touches of wings on Angel Celestine’s shoulders or Sylvia Plath’s sensual red dress in the “Mystery Spot”.

The “Mystery Spot” received lots of laughs, and the show’s comedy resonated throughout.

“I thought it was really funny,” audience member Suzanne Feingold said. “I thought it was cute.”

J.R. Stuckey watched the play out of curiosity and his enjoyment of community theater. “I liked the humor and the message of it,” Stuckey said.

The play highlights include engaging performances and theatrical creativity, but several parts of the play did require some background knowledge in order to understand the humor behind it. Also, some of the musical selections between scenes seemed out of place.

The message behind “Mystery Spot,” explores whether fact and science versus belief and faith should prevail. But it could all just depend on how you see life’s optical illusion.

Shows for the “Mystery Spot” run 8 p.m. Fridays and Saturdays and 2 p.m. Sundays until April 10.

Tickets are $20 for general admission and $15 for seniors, students and SARTA members. Groups of six or more get in for $12 each.

California Stage is located at 2509 R St.

Review: Eight Views of the Tower Bridge

2011-03-10T07:11:43Z

Sacramento City College's theater department, City Theatre, presents a program of eight short plays at the West Sacramento Community Center "Black Box" Theatre, at 1075 West Capitol Boulevard. The plays all center on Sacramento's iconic Tower Bridge, ranging from the historic to the fantastic.

Because the City College's campus theater is currently undergoing renovation, they have moved their 2011 program to the "Black Box" Theatre, a new facility in West Sacramento. This location provides a most fitting setting for plays with this subject--chances are good that those who attend will cross over or pass within view of the Tower Bridge on the way to the theater.

Eight playwrights composed short one-act plays inspired by the bridge, but each evening is just half of the total program, with four plays per night--Program A and Program B. This review is of Program B (I didn't get a chance to see Program A.)

"Fishing on the Sacramento River", the first play of Program B, introduces the audience to the history of the Tower Bridge via a family fishing together within sight of the bridge. The family's patriarch tells stories of when he worked on the bridge and details of its inaugural day, while his family alternately battles, bonds and tries to catch a fish.

"The Mason Jar" is the story of a group of eccentric friends on a short trip to the Tower Bridge to pay tribute to an old friend, and on the way, make a new one in an unexpected place.

"The Bridge Committee" is a fantasy explanation of the Tower Bridge's origin, portrayed by a group of strange creatures from beneath the earth's surface, attempting to restore their dwindling powers of levitation.

"Roland of the River" is a day in the life of the Tower Bridge's first bridge operator, and a resident of the nearby riverbank, and the bridge operator's lunch.

All of the plays are comedies, featuring a lot of well-delivered and snappy dialogue and more than a few laughs. The student actors were all quite skilled, and the play seemed without technical flaw--if anyone flubbed a line, they covered it well enough to be unnoticed by the audience. Costumes and props were simple and minimal, relying mostly on the audience's imagination to make up for a junior college props budget, but enhanced by projections of the Tower Bridge on the back wall of the theater. There is some adult language and one simulated gunshot in the production, but nothing particularly shocking. All of the stories were themed around bridging the distances between people--between family members, between friends in conflict with each other, between strangers on the street, and between communities who must work together for a common goal. The Tower Bridge's beauty, classic design, utility and history are all acknowledged and celebrated, but all are secondary to the bridge's purpose--to span a gap, and allow people safe passage to the other side.

This weekend is the last weekend of the play's run: schedule is below.

Eight Views of the Tower Bridge: A Local Playwrights Festival

West Sacramento Community Center Black Box Theatre, 1075 West Capitol Blvd., West Sacramento

Program A: March 11, 8:00 PM, March 12, 2:00 PM

Program B: March 12, 8:00 PM, March 13, 2:00 PM

Tickets are $15 general and $12 discount (student ID, seniors, disabilities and SARTA members) for Friday and Saturday evenings, $13 general and $10 discount for Saturday and Sunday 2 PM matinees.

http://www.sacramento365.com/event/detail/441129192/Local_Playwrights_FestivalTower_Bridge_Eight_Views_of_the_Tower_Bridge

STC's Miller enjoying double-duty as 'Brighton Beach Memoirs' director-actor

2011-03-05T02:02:23Z

photographs by Barry Wisdom

It’s been a year of firsts for Matt K. Miller, artistic director of the Sacramento Theatre Company. For one thing, there’s that title, which was bestowed late last year in the wake of longtime STC leader Peggy Shannon’s exit.

A busy stage, film and television actor, voice artist and playwright, Miller began his tenure with STC as a resident company member. In 2005, he stretched his theatrical muscles and took on the role of assistant director for the Shannon-helmed “The Syringa Tree.”

Today he’s not only flying solo in the director’s chair, but he’s adding another first in taking that next step: directing himself.

“Yes, I’ve been busy,” said Miller, whose directorial-acting turn in “Brighton Beach Memoirs” opens March 5 and continues through March 27 on the STC Mainstage. “But it’s a good kind of busy – doing a lot of what I love.”

Miller, 51, said directing was not an early career goal but a direction that “came naturally.”

“I never had any real conscious inclination for it,” he said. “But it feels right, and I’ve had a good time, and the results have been pretty satisfying, I have to say.”

“Memoirs,” which comes on the heels of his well-received “The Owl and the Pussycat,” is his ninth directorial effort for STC, including three productions for the company’s Young Professionals Conservatory.

“For me, there’s only one way to do it,” Miller said of his approach to drawing out great performances. “Get at the heart of the play and bring out the most interesting human truth.”

While acknowledging that great directors don’t have to have acting backgrounds, Miller did say, “In my experience, directors who have been actors – even for a short time – make for the best directors. There’s a vocabulary, a rapport that I think you can only get from being an actor yourself.”

In “Brighton Beach Memoirs,” the first part of Neil Simon’s autobiographical “Eugene Trilogy” – which also includes “Biloxi Blues” and “Broadway Bound” – Miller’s rapport with his cast extends beyond sharing an acting background.

“Some of these actors I’ve worked with before as fellow actors,” said Miller, who plays Jack Jerome, the overworked patriarch of an extended Brooklyn family circa 1937.

“There’s Jamie Jones, who’s playing (Jack’s wife) Kate. She and I have done a few shows together, including ‘Dirty Blonde,’ ‘Private Lives,’ and ‘Noises Off’ at STC. She’s great – a total pro and has worked all over … New York, San Francisco … she just has that great foundation and ability.

“She’s fearless as well – something I always admire in an actor,” he said. “She’s fun to direct but even more fun to act with. It’s great I get to do both in this show.”

Julie Anchor, who plays Kate’s widowed sister Blanche, has also shared a stage with Miller.

“She’s just a hoot,” Miller laughed. “She’s got a great sense of humor and a wonderful laugh. She laughs at my jokes before I finish them. She’s got a great spirit.”

While the rise of fascism in Europe and impending world war adds a layer of seriousness to the play, there are jokes aplenty in Simon’s script, with gag lines well distributed among Miller, Jones, Anchor, Craig Piaget (as the Jeromes’ son Eugene), Eason Donner (as Eugene’s older brother Stanley), Abbey Williams-Campbell/Raelyn Torngren (as Blanche’s older daughter Nora) and Lauren Metzinger/Rachel Finerman (sharing the role of Blanche’s daughter Laurie).

“But there’s poignancy as well,” Miller said. “You can’t go wrong with a Neil Simon play. The construction is like a Swiss watch.”

Coming relatively late to his job of artistic director, Miller had no input on the current season’s lineup, but he said the company’s theme of a “return to the classics” is a concept he endorses.

“Personally I would like to continue that idea,” he said. “It’s my personal aesthetic as well.”

Asked if he had to choose between acting and serving as STC’s artistic director, Miller said he would keep the big chair.

“It’s a nice fit,” he said. “The timing’s been great.”

With a comparatively large cast to direct, construction of an extensive two-story set to oversee and his own part to master, Miller has been on task for weeks, but he said he tries to keep the mood light on set.

“I definitely get the work, but but I do like a fun atmosphere – when it’s appropriate,” Miller said. “People work better when they’re enjoying themselves and are at ease with laughter.

“And if you’re not enjoying it, what the heck are you doing here?”

___________________________________________________

KNOW BEFORE YOU GO

WHAT: The Sacramento Theatre Company production of Neil Simon's "Brighton Beach Memoirs"
WHERE: Sacramento Theatre Company (Mainstage), 1419 H St., Sacramento, Calif.
WHEN: previews March 2-4; opens March 5 (8 p.m.) and continues through March 27 (6:30 p.m. Wednesdays; 12:30 and 6:30 p.m. Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 p.m. Sundays)
WHO: Written by Neil Simon; directed by Matt K. Miller; set design by Jarrod Bodensteiner; lighting design by Jessica Bertine; sound design by William Myers; costume design by Jessica Minihan; featuring Craig Piaget, Jamie Jones, Eason Donner, Matt K. Miller, Julie Anchor, Abbey Williams-Campbell, Raelyn Torngren, Lauren Metzinger, Rachel Finerman
TICKETS: $38 (discounts for students, seniors and groups); half-price "rush" tickets released 30 minutes prior to each performance (subject to availability)
INFO: (916) 443-6722; www.sactheatre.org

B Street intern Zitter takes next step with Mainstage debut in 'Circle Mirror Transformation'

2011-03-01T20:44:28Z

photographs by Barry Wisdom

In the B Street Theatre’s current Mainstage production, Annie Baker’s “Circle Mirror Transformation,” Cynthia Zitter plays Lauren, a rebellious 16-year-old seeking an outlet for her ambitions in the footlights.

Lauren’s drive to one day nab a Tony lands her in a local community center’s “creative drama” class amidst a ragtag group of once-were and would-be thespians.

While the teenager imagined she’d be taking on the role of Maria in a staging of “West Side Story,” or essaying Emily in a mounting of “Our Town,” she finds herself frustratingly forced to participate in a never-ending series of theater “games” designed to reveal hidden truths.

Zitter, a 24-year-old Ohio native, never had to endure that kind of theatrical boot camp, but said she knows only too well what it feels like to be a small-town girl who heard the roar of the greasepaint at an early age.

“I grew up in a little farm town called Fort Recovery,” said Zitter, a member of B Street’s 2010-11 acting internship program now enjoying her first turn on a B Street stage. “We didn’t have any acting classes, and we had to travel 40 miles to reach the nearest community theater in Van Wert.”

Fort Recovery, Van Wert … one half expects to hear Zitter talk about taking a local rec class in nearby Indiana (think Pawnee in NBC’s “Parks and Recreation”).

In reality, Zitter found early tutelage in a series of summertime drama camps close to her grandmother’s home in Delaware.

“At first, my parents thought it was a phase,” she said. “But I was gung ho about what I wanted to do, and they sent me to camps, and I received a lot of support from my grandparents as well. I was pretty single-minded about theater.”

That wasn’t easy in Fort Recovery, where her high school of 400 students only put on a show every other year.

“I was pretty much the theater girl,” she admitted. “I was the artsy one.”

But rather than being mocked for her love of opening nights over barn raisings, Zitter was encouraged by her classmates’ support (“Everyone was pretty cool about it.”), as well as by the praise of her summer camp instructors.

“I remember being told early on, ‘You could do this professionally,’ ” she said.

But a full-on pro career would have to wait as she beefed up her academic training as a drama major at Baldwin-Wallace College in Berea, Ohio, taking on featured roles in a mix of classic and contemporary theater such as “The Crucible,” “A Midsummer Night’s Dream” and “Translations” by Irish playwright Brian Friel.

After a final summer stock season at upstate New York’s Hangar Theatre, Zitter headed west for a two-year stint with Sunnyvale’s California Theatre Center, where she toured with the company’s children’s theater troupe. Among the stops on its 2009 Pacific Northwest tour was Sacramento, where a friend of a friend was interning at B Street.

“I loved it – I thought it was really good,” said Zitter, who tried on the life of a fledgling New York actress (auditions, classes, callbacks, small films and making espresso at Starbucks) before auditioning for a place in B Street’s 2010-11 acting internship program.

Before getting the call that she’d been accepted, Zitter had added an understudy role for the lead in “One Kiss Cafe” at Nashville’s Country Music Hall of Fame.

“I did come into this internship with a good amount of experience,” Zitter said, “but I feel there is always more to learn, and I am learning a lot here at B Street. One huge lesson I have been learning is to let go and keep my stress level down. We interns work long, hard hours cleaning, rehearsing, pulling props, organizing, building sets, etc. The ability to manage your time and to take care of yourself is essential. Also, as someone who has pretty strong artistic convictions, I've had to learn to really trust the artists around me and participate 100 percent in helping them to achieve their vision. This is invaluable, as I have a ton to learn from these experienced professionals.”

Among the B Street veterans with whom Zitter currently shares the Mainstage are Elisabeth Nunziato as class instructor Marty, and David Pierini and Phil Cowan as fellow students Schultz and James.

“The cast of ‘Circle Mirror Transformation’ are, indeed, B Street and/or theater veterans, and I am so proud to be able to work alongside them,” said Zitter, who proudly proclaimed that her role as Lauren marks her regional theater debut. “I was fortunate to have met them and gotten to know them through other shows in my internship, and they are all so nice. Any intimidation I might have felt walking into such a group was alleviated by their welcoming attitudes. They've always treated me not as a ‘lowly intern,’ but as a professional actor, and that has made all the difference in my experience.”

Another difference Zitter credits for her continued development as an actress has been the coaching of B Street Producing Artistic Director Buck Busfield.

“I couldn't ask for a better mentor on this part of my professional journey,” Zitter said. “He is incredibly honest about the things we need to work on while also being extremely supportive. He hand-picks each intern and seems to really care about us. He’s always stopping us around the theater to check in or give advice on our latest project. As a director, he has been a lot of fun and has really turned out a good production.

“I feel like I’m taking the next step in my career,” she added. “And that feeling is pretty amazing.”

_________________________________

KNOW BEFORE YOU GO

WHAT: The B Street Theatre's production of the Annie Baker comedy "CIrcle Mirror Transformation"
WHERE: B Street Theatre Mainstage, 2711 B St., Sacramento, Calif.
WHEN: Feb. 27-April 10, 2011; 6:30 p.m. Tuesdays, 2 and 6:30 p.m. Wednesdays, 8 p.m. Thursdays/Fridays, 5 and 9 p.m. Saturdays, 2 p.m. Sundays
WHO: Directed by Buck Busfield, featuring Elisabeth Nunziato, Phil Cowan, Lyndsy Kail, David Pierini, Cynthia Zitter
HOW MUCH: $18-$30, $5 student rush
INFO: (916) 443-5300; www.bstreettheatre.org

Resurrection Theatre presents "Macbeth: Resurrected"

2011-02-28T00:20:09Z

Shakespeare’s shortest tragedy, “Macbeth,” has just been given a new pair of legs on which to stand, and the timing couldn’t have been better. With recent discussions coursing through National Public Radio concerning the role of the female military leader, Resurrection Theatre director Benjamin T. Ismail decided to cast a woman in the traditionally male role, and the results are fantastic to watch.

Played in modern dress, the traditional roles of Macbeth and Lady M. as husband and wife are adapted into daughter and mother, and the play of persuasion and bitterness makes as much, if not more, sense than the play traditional. This is apparent in two vastly important plot-points: Macbeth’s romantic feelings toward Banquo and her mother’s ability to instill guilt and allegiance by way of maternal “disappointment.”

An interesting point of notice for the play was the overt use of poppies, a symbol often associated with sleep or death. These come out as a gifted pendent given the newly titled Mackers and also as the flower in the witch’s hand at play’s end. It’s also hinted within the play that Macbeth’s vision of the witches might be from substance abuse, which points again at the poppy.

Local actor Tygar Kicks stars as the innocent turned malicious title general/king, and her performance, the last as a community theater actor to boot, sheds new light on the protagonist beset with guilt and impassioned violence. Margaret Morneau plays Macbeth’s now mother, and leads the role with the iron fist that is loosened and lost as the play progresses. Her indignation is palpable and her madness is harrowing.

Other casting plusses are Jouni Kirjola who plays the unfortunate Banquo, and the witches, played by Gay Cooper, who also plays the Porter, Scott Divine, who also plays Macduff, and Gina Williams, who also plays Rosse, make a fine addition with all of their lines recorded and warped into an eldritch echo made for a fine bout of supernatural ambiance. King Duncan, played by Jes Gonzales, brings a touching lovability to the doomed monarch, and the king is also the reason that in this Shakespearean universe women are allowed to lead on the battlefield.

The set gave an excellent portrayal of things to come; brick walls covered in patches of white, but having boulders shown through bedecked with moss. The columns, which were too frequently moved by extra witches, brought a sense of flexibility to the settings, but often drew attention from the action.

The play runs from through March 19 with shows on Fridays and Saturdays at 8 p.m. and Sunday matinees at 2 p.m. For more information visit Resurrection Theatre’s website.

MAX’S RATING: A MOUTH AGAPE, A THOUGHTFUL REASSESSMENT AND A DAMNED SPOT

Photos courtesy of David Garrison

'Mystery Spot' to premiere at California Stage

2011-02-22T02:29:36Z

Santa Cruz’s Mystery Spot is a place where the laws of physics don’t appear to apply, and California Stage is looking to recreate some of the illusions in its original play, “Mystery Spot,” which opens March 12.

“I thought it would really be fun to have a play based around the Mystery Spot and thought it would be kind of fun to recreate the optical illusions,” said Playwright Steve Lyons, who graduated from San Juan High School and attended Sacramento State.

In the play, main character Dingo is an Oroville native who moves to Santa Cruz and majors in women’s studies so he can pick up college girls. To fund his womanizing, he gets a job at the Mystery Spot.

Several of the optical illusions from the Mystery Spot had to be worked into the play, and the set design uses diagonal lines that trick the audience members’ eyes to give them a feeling of actually being at the Mystery Spot.

For one of his classes, Dingo has to read the work of Sylvia Plath, a heroine in the feminist movement who committed suicide in her early 30s.

“Eventually, Sylvia is sent back to Earth from the afterlife, told to go back and deal with some unfinished business – namely the fact that she killed herself,” Lyons said. “She ends up at the Mystery Spot and is befriended by Dingo.”

Getting a play from writing to production is no easy task, Lyons said, adding that he began work on “Mystery Spot” in 2006, and it is just coming to production five years later.

“I talked to B Street (Theatre) two years ago, and they said they just can’t do a new play,” Lyons said. “They were very nice, but said it was out of the question. Same with Sacramento Theatre Company.”

He added that Capital Stage had done one premiere of an original play in seven years, but California Stage routinely does new work, albeit on a smaller budget.

“They have the guts to take on new work and do it,” Lyons said. “They are an under-appreciated gem in Sacramento.”

California Stage Director Ray Tatar said the play was a perfect fit for his stage.

“I chose the play because it’s set in California, and it deals with locations in California,” Tatar said. “A lot of writers don’t use California locations to literary effect, and this does perfectly.”

The other reason Tatar chose the play?

“It’s extremely funny, and it’s also very touching,” he said. “We just laughed our heads off.”

He said the dialogue is well-written, and actors naturally pick it up with ease, but there were some difficulties in staging the play.

“The difficulties were with the scenes where we have tours in the Mystery Spot,” Tatar said. “We do have to do a couple of illusions you can see at the Mystery Spot.”

Set Designer Lynne Perry said working on the set was a collaborative effort between her, Lyons and Tatar.

“The best part was doing the research,” she said. “I read an article about the various illusions and visited the Mystery Spot.”

She added that the sets need to trick people’s brains so the illusions can be pulled off, and careful use of lines and simulating artificial horizons are key to doing that.

“For instance, if there’s a diagonal line going from low to high, and two people are standing in it, one looks taller than the other, even though they’re not,” Perry said.

In theater, all sets are illusions to some extent, Perry said, adding that creating the set for “Mystery Spot” was not necessarily more difficult, but it was more interesting.

“The set is more like a character,” she said. “It’s usually more of a background, but here it is very much a part of the play.”

Lyons said he hopes to see the play succeed in making the audience laugh, but not just for himself.

“I always feel very nervous for the actors,” said Lyons, whose plays have been performed in major U.S. cities and even as far as London. “Typically, I seem to write comedies, and if it doesn’t work, it’s embarrassing and humiliating for these actors.”

“Mystery Spot,” however, has already received critical praise, having been selected for the 2008 Ashland New Plays Festival and winning first place in the 2010 Actors Theatre of Santa Cruz Full Length Play Contest.

The play opens March 12, with shows at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays until April 10.

Tickets are $20.00 for general admission, $15.00 for seniors, students, and SARTA members. Groups of six or more get in for $12.00 each.

California Stage is located at 2509 R St., and there is no late seating. For reservations, call 451-5822 or order online.

Brandon Darnell is a staff reporter for The Sacramento Press.

Screenwriting Community Grows in Sacramento

2011-02-13T21:43:45Z

The motion picture industry may be centered in Hollywood, but if screenwriter Gary Weinberg has anything to say about it, Sacramento’s burgeoning collective of aspiring screenwriters will soon draw plenty of attention northward.

On February 22nd, from 7 to 9pm, the fourth installment of Weinberg’s popular course, Write Your Screenplay, An Eight Week Intensive, will begin at the Tangent Art Gallery, adjacent to the Coffee Garden at 2900 Franklin Blvd in Curtis Park.

Since May of last year Weinberg has been facilitating the development of nearly fifty fledgling screenwriters, all with aspirations of seeing their ideas manifest on film. His three-class program has been developed to cater to the needs of writers at all stages of their growth, from pure beginners, (Screenwriting 101, an Intro to Art and Business of Screenwriting) to writers ready to pen the first draft of their story ideas (Write Your Screenplay) to writers looking to move beyond the first draft and really perfect their stories (Advanced Screenwriting).

The goal of Write Your Screenplay, An Eight Week Intensive is to have every student finish the course with a completed first draft of either a screenplay of teleplay (television script). The eight classes are spread out over twelve weeks, which gives students the time to incorporate the lessons they’ve learned into their own writing.

In addition to his group classes, Weinberg offers private sessions that provide more personal in-depth analysis. He dissects the writer’s work in a comprehensive evaluation, looking at everything from structure and format to dialogue and character development. He even counsels his clients on how to make the project more accessible to the industry insiders who decide whether or not to “green light” a project. This level of detailed “coverage” helps writers of all levels move their screenplays to the next level. As Weinberg says, “I’m not just looking to help people write a screenplay. I want to help them write a great screenplay. Because the better the script, the better chance you have of actually seeing it made into a movie. And that’s why we’re all here. The movie is the thing. Otherwise, you might as well right a novel.”

With cutbacks at local colleges and universities, Weinberg has seen interest in his classes skyrocket. “There are many great writers in this town. And it’s a personal honor that so many of them have allowed me to guide them. My goal is to help make Sacramento an entertainment industry destination.”

Like Memphis is to “the blues,” Austin to country music, and Seattle to the world of theater, Weinberg envisions Sacramento as a future mecca for screenwriters. “Why not? To do something big, you have to think big. Shoot for the moon! Even if you miss, you’ll land among the stars!”

For more information about Weinberg’s classes and programs contact him at cpmaurice@hotmail.com or call him at 818-458-6637

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.

‘Equus’: Powerful Production from TAAC

2011-01-28T01:30:38Z

The current offering at The Alternative Arts Collective Theatre in Roseville is a remarkably muscular interpretation of ‘Equus’, Peter Shaffer’s groundbreaking 1973 play.

‘Equus’ follows the parallel experiences of two men as they struggle to understand and heal themselves of their inner demons. Thrown together are Alan Strang, a young man who has committed the heinous crime of blinding several horses with a hoof pick, and Martin Dysart, a disillusioned child psychiatrist.

As Alan resists acknowledging and accepting his actions and the inner sexual and religious turmoil which motivates him, Dysart explores his own limitations and the ultimate futility he sees in healing Alan. The psychiatrist comes to believe that by removing the young man’s pain, he will also excise the passion and capacity for worship which had been central to Alan’s experience. The crime was an aberrant expression of something both Dysart and Alan come to see as holy.

Contributing to the story are Hesther Saloman, the magistrate who recognizes Alan’s pain and wisely commends him to the psychiatric hospital and the care of Dysart rather than to prison; Alan’s parents, the ultra-religious Dora and hypocritical, harsh Frank Strang; and Jill Mason, a young woman whose attentions precipitate Alan’s break with rationality and lead to his crime.

The cast is well-rounded, with some familiar faces from the local theater community.

Zack Myers, as Alan Strang, displays just the right amount of adolescent posturing, as when he responds to Dysart’s initial questions by singing television jingles and refusing to speak. As the play develops, Myers reveals Alan's cunning side, yet is passive and vulnerable when the conflicted and disparate relationships with his parents (played by Hazel Stream and Bob Nannini) are introduced.

Myers is convincing in his religious rapture, and in his developing sensual and sexual involvement with the horse Nugget (played by Jacob Woods). His sexual attraction to Jill (Taylor Hill) is less believable, although his nervous awareness of the presence of his God-figure Nugget/Equus is clearly drawn.

Richard Spierto said he has “wanted to play Martin Dysart since the mid 1970’s” when he first discovered the role through the traveling Broadway company, and rejoiced that he is “ finally old enough”.

Dysart is plagued by a nightmare in which he is a priest in ancient Greece responsible for the execution and evisceration of hundreds of children, a task he continues long after he has become sickened by it: he fears ridicule and retribution by his fellow priests if he fails in his duty. Spierto delivers this information with eerie, somewhat detached intensity.

Spierto plays the complex and insecure Dysart with confidence in his dealings with Alan, and with a confessional straightforward manner when speaking with his patient’s parents and with the magistrate (Sandy Phillips). He chooses a whiny petulance in his considerable soliloquies, however, and although this communicates his uncertainty and despair it is uncomfortable and disconcerting.

Phillips is relaxed and comfortable, conveying Saloman as a magistrate with the most humanity of any character onstage. She is genuinely concerned for both the patient and the doctor, and one can easily imagine her tucked up with a cup of tea and a clear conscience.

The stage and lighting design are clever, consisting of a single set with a central raised corral-like space sketched with beams and sparsely set with a bench or two and some hay bales. Spotlights direct the viewer’s attention, necessary as every actor remains onstage throughout the entire duration of the show.

The exceptions are the four horses, barely clad actors wearing horse-head masks designed by Ashley Eigenman and Eileen Beaver. The horses come and go; Nugget as the Equus/God is magnificently sensual and totally non-human.

Director David Garrison is both the artistic director and founder of The Alternative Arts Collective. He has assembled an impressive cast and staff of passionate artists.

The ambitious undertaking from this upstart arts group follows on the heels of the TAAC production of ‘Angels in America’, in two parts; both ‘Millenium Approaches’ and ‘Perestroika’ were ably presented with a local cast.

The upcoming TAAC season is robust with productions of ‘Hamlet’ (with a mostly female cast), David Mamet’s ‘The Cryptogram”, several other well-know works, and an original play by Garrison.

"We choose work that is artistically complex," explained Garrison. "It challenges us, and the audience. You have to work for it.

"Our goal is to be non-competitive; we are interested in unifying the community through art."

Although TAAC is currently housed in an unlikely (and chilly) small theater in Royer Park in Roseville, negotiations have begun to move and expand the collective into a larger and more comfortable venue.

This fresh and energetic company deserves more audience and critical attention than it currently enjoys. Lovers of local theater will not want to miss this final weekend of ‘Equus’, and will want to keep a close eye on TAAC in the coming years.

‘Equus’ plays at the Royer Park Theater this Friday and Saturday, January 28 and 29 at 8 p.m. Tickets are available at the door or by contacting TAAC at (916) 538-8013, www.facebook.com/pages/The-Alternative-Arts-Collective or at taactheatre@gmail.com

photos by John Pek/Evek Studios

Best selling author Kim Edwards speaks as part of CA Lectures circuit

2011-01-23T00:48:03Z

Widely acclaimed author of “The Memory Keeper’s Daughter” and more recently ”The Lake of Dreams” Kim Edwards spoke at the Crest Theatre on Thursday as the fourth author of the California Lectures’ 2010-2011 season. Her work has been praised for its wit, humanism and realistic settings as well her innate ability to transport her reader to exotic locales and accept them implicitly in the story.
Her second and most recent novel, “The Lake of Dreams,” came fast on the heels of the breakout success she achieved with her freshman effort, “The Memory Keeper’s Daughter,” which spent an awesome 122 weeks on the New York Times Best-seller List, 20 of which were spent at number one.
The lecture, which was more of an interview, comprised of the guest, Edwards, her interviewer, noted author Susan Kelly-Dewitt, two chairs, a sparse table and two goblets filled with water. Both had soft, lilting voices that floated over the audience with their talk.
While the discussion covered a large part of her sudden success with her first novel, Kelly-Dewitt also brought the discussion around to her first collection of short stories, the highly acclaimed “The Secrets of a Fire King,” and, in more detail, her recent January release “The Lake of Dreams.”
The story centers on Lucy Jarrett, who returns to her childhood home in the fictional Lake of Dreams, N.Y. to find that her brother is attempting to erect high-end real estate, and she reignites a relationship with her first boyfriend. The twist comes when, haunted by her father’s untimely death during her youth, that she discovers a hidden note and, with it, family secrets.
The story is made more timely, also, by the use of one of the characters seeing the 1910 occurrence of Haley’s Comet, something that Edwards says made her think about it as a “a really interesting way to tie an intergenerational novel together.”
“Haley’s Comet comes every 76 years,” she said, discussing how she was able to link it to the passing of the comet in 1986. “It’s about the span of a human life, roughly speaking. I felt it could really work.”
The latter was the main focus of the evening, with Edwards displaying her intricate and detailed knowledge of everything from stained glass to blown glass, from concentric circles in a historical sense to the importance of personal letters throughout time.
As a writer that plays with thematic imagery, her work can be seen as prosaic in its descriptive flare and ability to conjure a vivid scene in the reader’s head with only words. Not only this, but she lets the story work for itself, and through it adds layers without creating kinks.
“As a writer, I think that the imagery of a piece, of a story, or a novel has to be organic to that story,” Edwards said, “I never really set up thinking, ‘I’m going to use water imagery,’ because if I do that, I found for myself that it just really takes the life out of the story. With this book, once I understand the imagery is coming from the story, I try to work with it.”
Throughout the evening Kelly-Dewitt had passages picked out for Edwards to read. Her tone of voice was soft and lyrical and matched the feeling and density of her prose. While the book is not difficult to pick up, a shortsighted reader might miss the simple calligraphy of words Edwards knits her stories with.
The California Lectures series will continue with Amy Bloom on Feb. 23 and Terry McMillan on March 24. For more information, visit here.

A Big Idea: Compleat Female Stage Beauty

2011-01-21T02:40:42Z

It is the year 1661 in England, and the lovely Desdemona lies sleeping in her bed, long golden locks draping over white linen. She awakens slowly to the sound of her lover. “Othello, is that you?” she asks sleepily. Othello, a masculine Moor, approaches her, intent to kill in his heart. He grabs a beaded pillow, and in a few moments, suffocates the damsel to death.

Gasps of terror turn to laughter as Desdemona jumps up from her deathbed, takes off a wig of flowing curls, and reveals the man behind Shakespeare’s lead lady – Ned Kynaston, the theatre’s greatest male portrayer of female roles in London.

“Oh, but the play is not over!” he says. The audience cheering, he falls elegantly onto the bed. Later, backstage, Kynaston and his company of actors try desperately to deal with the startling news that women are now allowed on the stage, a reality that threatens Kynaston’s career and identity.

However, the audience is actually witnessing a play within a play, “Compleat Female Stage Beauty,” and Ned Kynaston is performed by actor Benjamin Ismail.

“Compleat Female Stage Beauty,” written by Jeffrey Hatcher and directed by Brian Harrower, will run until Feb. 5 at the intimate Big Idea Theatre in Sacramento. The play is a timeless, comical and tragic story about the impact of gender in society and how to find our true selves; we must dare to remove our “masks.” The play stars company members Ismail as Kynaston and Kristine David as his rival, the first female stage actress: Margaret Hughes.

Ismail first came across the script for this play in 2004 as a student at Ouachita Baptist University in Arkansas.

"When I found it, I thought, ‘Oh my god! I have to do this someday!’ ” he said.

As a theater major with an emphasis in directing, Ismail proposed the play to his school, but the department declined because of the expense of the costumes.

Ten years later, Ismail finally gets to play what he considers to be the role of a lifetime.

“The script itself is just brilliant. The journey and the arc that Hatcher has written into it is a dream role.” he said. “I not only get to play Kynaston...but I get to play two Shakespeare roles that I would never get to play in real life because I’m not black, and I’m not a woman, so I get to play Othello and Desdemona.”

As a company member at Big Idea Theatre, Ismail had the chance to pitch three shows for the upcoming season.

“It was the first thing on the table,” he said.

But even then, it took a lot of campaigning to win the support of the theater.

“It’s a monster of a show. There are so many scene changes, so many costume changes and there’s so much going on, and we have a really small theatre here,” said Harrower, the director. “But it was such a good script, and I thought it was a really important story to tell.”

Five weeks and several lighting tricks later, the company managed to create a historic proscenium space, purchase 30 Restoration-era costumes on a budget of $500, and premiere the play to a receptive audience.

“That was kind of one of the challenges of making this piece, making sure that all of those elements were treated well and were given their full birth,” Harrower said. “It’s a very complete play. The first 45 minutes are almost completely a comedy. Then the next hour is a really serious drama and at the end it still manages to come out very redemptive.”

After finally playing the character that’s been in his pocket for more than six years, Ismail said that putting on the show has been quite an emotional journey.

“It’s quite a process for me,” he said. “I start getting ready for the show at 4:30 every day to start at 8, because I have to get everything pretty to be a woman or whatever...During rehearsals I’d get so into it that when the scene would be over, I just couldn’t shake it...I’m still discovering new things in the show. It has been hard to leave (Kynaston) at the theater, but I relish that."

Ismail added that it's not just his character that's layered with emotions, but the rest of the cast as well.

"All of the characters have so much going on underneath the surface," he siad. "This show is very much about putting on a show whether or not you’re on stage.”

“Without what we do, who are we?” is a common question being asked throughout the play. Ismail said it’s a question he’s asked himself daily.

“Coming out in the south was a great experience for me,” he said sarcastically. “And I had to learn that lesson very quickly, that we’re not always what we do because, you know, I don’t have to be a stereotype. Kynaston doesn’t have to be a stereotype. We’re just people. No matter where we come from, we’re all people, and we’ve got that in common. ‘Why do we do the things that we do?’ That’s what every character is asking in this show.”

Performances of “Compleat Female Stage Beauty” are Thursday, Friday and Saturday at 8:00 p.m. (Jan. 13, 14, 15, 20, 21, 22, 28, 29, Feb. 4, 5) and Sunday at 2:30 p.m. (Jan. 16, 23, 30).

The Musical of Musicals: The Musical!

2011-01-17T07:37:02Z

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

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

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

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

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

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

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

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

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

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

Ticket and show time information here.

Images courtesy of Sacramento Theatre Company

Disabled actors shine in local theater productions

2011-01-13T02:06:35Z

When Brian Hillebert was 7 years old, he was hit by a car and left in a coma. His awakening was considered a miracle, but doctors said he would never walk again.

Today, the 40-year-old not only walks, but is a lead actor for a local theater company.

The Sacramento-based Short Center Repertory is a theater company working mostly with disabled actors, and Hillebert – whose mobility on his right side remains impaired – is one of the stars in “Extensions,” which runs through Jan. 30.

“I originally wanted to be a professional wrestler, but that was too much,” Hillebert said. “I got started in stand-up comedy, but I got tired of the rotten tomatoes, so I started acting.”

He attributes acting jobs he’s gotten outside of the organization as being direct results of the training and experience gained in the repertory.

“It’s all because of the Short Center Repertory,” he said. “I am disabled, but I’m not going to let that slow me down and keep me from acting.”

He’s been at the Short Center Repertory since 1995, and the group’s founding director, Jim Anderson, said his attitude is typical of all the approximately 75 disabled actors who have held roles in its plays.

Founded in 1988, The Short Center Repertory was inspired by one of the numerous advocacy groups for the disabled started by Mary Short, who was the wife of a California state senator who co-authored the Lanterman Act. That legislation, signed in 1969, gave disabled people the same rights to services as non-disabled people, Anderson said.

It is affiliated with the nonprofit Developmental Disabilities Service Organization, according to Anderson.

“Our basic mission is to get actors with disabilities into the mainstream as much as possible,” Anderson said. “There just aren’t many opportunities for actors with disabilities.”

Anderson said the most rewarding aspect of working with disabled actors during the past 23 years has been watching the actors develop their skills and stand behind the repertory’s mission.

“The arts make people grow, not just intellectually, but in the breadth of their personality,” he said. “People develop confidence in themselves.”

And according to Ray Tatar, artistic director of the California Stage Theater Company, that confidence is well-founded.

“The acting is always professional,” he said. “I’ve seen their shows for years, and they tend to do challenging play choices. The last show I saw of theirs was an adaptation of a book called ‘Gilgamesh.’ It’s a 5,000- to 6,000-year-old story. The adaptation that Jim (Anderson) and his folks did was terrific.”

Tatar added that Anderson both mentors and directs the Short Center Repertory actors, which is unusual in a professional theater company.

“In most professional companies, the actors are already trained, but Jim (Anderson) does a lot of training, too,” he said.

The current play, “Extensions,” is a two-person play with Hillebert and Regina Brink, who has been blind since age 3.

“If I could make money doing performing arts and not doing a day job, that would be great,” Brink said. “It’s really hard to get auditions and opportunities, so it means a lot to me to get to perform here.”

Brink said she has been performing since age 2, and in “Extensions,” she plays a person with sight.

“I walk the stage before we start so I know exactly where everything is,” she said. “When you see me, I’m up and about and looking around. You wouldn’t know I was blind.”

She said playing cards – used as props in the play – have Braille writing on them so she knows which ones to use.

“It’s about two old Vaudeville actors waiting to get a call from an agent,” Hillebert said. “It’s comical at the beginning and heartwarming at the end.”

Anderson said the play, by Murray Schig, is a dark comedy about aging and isolation.

Showings of the play are at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays through Jan. 30 at the California Stage, 1723 25th St, where most of the group’s performances are held.

Admission is on a sliding scale, $5 - $20, depending on what people can pay.

Anderson said he prefers to let theatergoers decide for themselves what they can pay rather than come up with several different discount levels.

“We don’t want to turn anyone away,” he said.

Anyone wishing to get involved with the organization – either as an actor or as a volunteer – can e-mail Jim Anderson at scr@ddso.org.

Image one: Brian Hillebert and Jim Anderson, by Brandon Darnell. Photos of “Extensions” courtesy Jim Anderson.

Brandon Darnell is a staff reporter for The Sacramento Press.

B Street's 'Shining City' cast and crew click onstage and off

2011-01-11T08:26:24Z

Photographs by Barry Wisdom

“I can’t image anyone working harder,” actor Phil Cowan said of director Elisabeth Nunziato during a break in rehearsals for “Shining City,” the Conor McPherson dramedy that opened on the B Street Theatre’s B3 stage Sunday.

“She’s very passionate about her work,” echoed Kevin Karrick, who plays Ian, a Dublin-based priest-turned-therapist whose first patients include Cowan’s character, John, a widower haunted (perhaps literally) by memories of his recently deceased wife. But Ian’s troubles extend beyond his patients’ problems, as he deals with his own commitment issues with girlfriend Neasa (Holly Dale).

Nunziato, a B Street company member whose own B Street history spans numerous star turns on the midtown company’s main stage and B3 boards, as well as appearances in its Fantasy Theatre youth outreach troupe, has also proven herself a go-to gal behind the scenes.

Nunziato’s very hectic tech week for “Shining City,” B Street’s follow-up to its 2008 staging of the McPherson-penned “The Seafarer” (also featuring Cowan and Karrick), included a variety of sound-design issues, dress rehearsals and an on-screen appearance for screenwriter friend Jim Meyers (“Her Minor Thing”) shooting in Cameron Park.

“Multitasker” isn’t the prettiest of middle names, but it seems to fit her well.

The B3 house, still firmly in work mode, is littered with reminders that Nunziato’s attention is in demand by many, including her cast and crew, as well as her stomach (an uneaten hard-boiled egg sits untouched on a back-row seat) and her visiting labradoodle, whose well-gnawed rawhide bone peeks from beneath her chair.

She finds time to talk “Shining City” only through the miracle of cell phones, the slow, foggy drive to Cameron Park, and the glamorous process of applying makeup for the camera (in a Starbucks restroom).

But for someone so used to being center stage, Nunziato admits that one-on-one-attention – whether it’s for a publicity shoot or press interview – is nerve-wracking, and she deftly shifts attention to her actors.

“He’s a trippy guy,” Nunziato said affectionately of Cowan, best known as the comically cynical half of the longtime morning-show radio team of (Paul) Robins and Cowan. “He’s been this personality his whole career, and now he’s turning into an actor’s actor now, which is interesting to watch. Phil’s role is just beautifully written – there’s this key moment, when he just has me crying every time.”

Cowan, whose comparative lack of experience as a stage actor belies his intuitive ability to cut to the heart of highly charged scenes and deliver the emotional goods, is a natural, said Nunziato, who credits him with being “one of the most emotionally available actors I’ve worked with.”

“Here’s something Phil says in the middle of rehearsal during the first week,” Nunziato said. “So, he makes you cry and we do some notes and he doesn’t want to talk about it. He says, ‘Don’t talk to me about the process – I don’t have a process!’ I’m thinking, ‘You’re kidding me! You just ripped my soul out and you’re telling me you don’t have a process?’ He’s some sort of a savant in that department.”

Cowan, who also acted in the B Street productions of “A Couple of Blaguards,” “The Melville Boys,” “Mending Fences” and “The Good Guy,” said that while he enjoys his current incarnation as an independent video producer of corporate web spots, he would toss it all to act full time. But he is aware he might be spoiled by the cooperative work atmosphere created by B Street Producing Director Buck Busfield.

“One thing I’ve always enjoyed working here is that there are no gigantic egos,” Cowan said. “I’ve never run into a diva. And maybe I like it here so much because they’re the only ones that ever call me to do this shit."

But Cowan’s take on B Street’s exceptionally friendly environment is quickly supported by the Fremont-based Karrick, who recalls a story from his New York stage debut, which was punctuated by a fellow actor who “saluted” him with a double middle-finger flip as he exited into the wings after garnering what he supposes was too many laughs. (This coming soon after she had “opened” the show with an offstage, profanity-laced rant heard deep in the house about needing more time to dress.)

Cowan and Karrick’s camaraderie, which gelled on the set of “The Seafarers,” was a welcome component in beginning rehearsals for “Shining City,” said Nunziato, who was called by Busfield to direct the show when rights for the planned January staging of Bill Cain’s “Equivocation” became unavailable.

Nunziato quickly became a fan of Karrick, a familiar face on Bay Area stages, whose day job is running a family-owned road-construction company.

“Kevin has been doing a beautiful job, and I’ve definitely benefited from how smart Kevin is and how easy it is to communicate with him,” Nunziato said.

The B Street world of unwavering mutual support, which has been hand-tailored by Busfield, is tightly embraced by Nunziato as well, with its focus on talent instead of résumés.

“I support everyone doing whatever they want to do,” Nunziato said. “The distinction between professional and nonprofessional theater, of whether something’s moving or not moving, funny or not funny, is up to the people in the seats.”

***************************

WHAT: "Shining City" by Conor McPherson
WHEN: previews 4 and 8 p.m. Jan. 8, runs Jan. 9 through Feb. 5 (7 p.m. Tuesdays and Wednesdays, 2 and 7 p.m. Thursdays, 7 p.m. Fridays, 8 p.m. Saturdays, 1 p.m. Sundays); matinees on select Thursdays and Sundays only
WHERE: B Street Theatre B3 stage, 2727 B St., Sacramento
WHO: Featuring Phil Cowan, Kevin Karrick, Holly Dale and Chris Page; directed by Elisabeth Nunziato
TICKETS: $5-$30
FOR MORE INFO: (916) 443-5300; www.bstreettheatre.org

___________________

photo captions:

1. Director Elisabeth Nunziato

2. Elisabeth Nunziato confers with Phil Cowan (John)

3. Director Elisabeth Nunziato

4. Director Elisabeth Nunziato

5. Director Elisabeth Nunziato

6. Kevin Karrick as Ian in "Shining City"

7. Phil Cowan as John, and Kevin Karrick as Ian in "Shining City"

8. Phil Cowan as John, and Kevin Karrick as Ian in "Shining City"

9. Kevin Karrick as Ian in "Shining City"

10. Holly Dale as Neasa, and Kevin Karrick as Ian in "Shining City"

11. Kevin Karrick as Ian, and Holly Dale as Neasa in "Shining City"

12. Phil Cowan as John, and Kevin Karrick as Ian in "Shining City"

13. Kevin Karrick as Ian, and Phil Cowan as John in "Shining City"

14. Kevin Karrick as Ian, and Phil Cowan as John in "Shining City"

15. Kevin Karrick as Ian, and Phil Cowan as John in "Shining City"

16. Kevin Karrick as Ian, and Phil Cowan as John in "Shining City"

17. Kevin Karrick as Ian, and Phil Cowan as John in "Shining City"

18. Chris Page as Laurence, and Kevin Karrick as Ian in "Shining City"

19. Chris Page as Laurence, and Kevin Karrick as Ian in "Shining City"

20. Phil Cowan as John in "Shining City"

Sacramento Opera searching for support, funding

2010-12-11T01:40:26Z

The Sacramento Opera is reaching out to the community for ideas after canceling its 2010-11 season following flagging ticket sales.

“We would love to have people give up their dollars, thoughts and ideas on how to keep live theater in Sacramento,” said Sacramento Opera General Director Rod Gideons.

Gideons promised that the opera isn’t going anywhere, saying it’s been around for 30 years and has no intention of calling it quits, but it’s currently not feasible to operate.

“We need to streamline our business model,” Gideons said. “We need to reach out to a younger audience and build our operating capital in order to do business.”

Without a brick-and-mortar structure or a line of credit, the nonprofit organization is not in debt, but it also lacks the cash flow to continue performances this year.

“As disappointing as this is, it is equally an opportunity,” Gideons said. “I can’t tell you what is going to come out of the next six months, but the board of directors and I will engage in a thoughtful dialogue, but also include our supporters and other arts organizations.”

The best way to keep up on those meetings, Gideons said, is to check the opera’s website, which will soon provide links to the organization’s Facebook and Twitter accounts.

James McCormick, president of the Sacramento Choral Society board, said he hopes for a speedy turnaround.

“As a sister nonprofit, we are sincerely sad for them,” McCormick said. “We’re rooting for the opera, and we’ll do what we can to support them.”

McCormick acknowledged that opera, in general, is a very expensive form of art.

“They have additional expenses that we don’t have,” he said. “We don’t have to rent $15,000 in sets and pay $10,000 in freight to get the sets here.”

McCormick said the sheer scale of an opera – with sets, performers and extra time needed to rehearse – drives costs up.

“Most (arts) groups count on ticket prices to cover 50 percent of production costs,” McCormick said, adding that ticket sales never cover all the expenses of a production.

Though the choral society opened its season with a sold-out performance, McCormick said he is cautious going ahead and looking at the other organizations in Sacramento.

“I know all of them have had to cut back,” he said. “The (Sacramento) Philharmonic has cut back wisely on the number of performances this year, and B Street Theatre has cut back and lowered ticket prices.”

Gideons and McCormick said more arts organizations are turning to Internet-based coupon services to sell tickets at a discount and reach a younger demographic.

“Right now, our audience is generally 65-plus,” Gideons said. “So clearly, if we don’t get in a younger audience and do works important to them, we’ll continue to have problems.”

For the opera’s season opener, “Orlando”, Gideons said nearly 250 tickets were sold through the online coupon site Groupon.

“By and large, these were people in the 20- and 30-something category,” he said.

Sacramento Theatre Company Artistic Director Matt Miller said the Internet and social networking are increasingly important to marketing the arts.

“It seems like that’s the way things are going,” he said. “It’s such a different world now. There are so many different avenues to pursue and different ways to reach an audience.”

Miller said he believes the arts will remain an important aspect of life in Sacramento, but the economy does hurt them more than other businesses, as they are often viewed more as a luxury than a necessity.

“I think there will always be a place for the arts as long as you do it well and you put together as sound a business model as you can along with providing quality performances, because they’re both equally important,” he said.

Gideons said ideas being tossed around to make the opera feasible include merging it with another similar organization and/or working harder to streamline the business model.

“We’re down, but we’re not out,” Gideons said. “We’re not going away, we are coming back, and it’s going to be with the input of our community.”

Photo by David Alvarez from a past Sacramento Opera performance.

Brandon Darnell is a staff reporter for The Sacramento Press.

Local theater teacher gets kids out of their shells for the holidays!

2010-12-09T04:16:33Z

Theater has always been a form of art native to children. Watching them play and create their own games and stories has been a staple of the family tradition, and more than a few parents have taken the opportunity to canonize these moments on YouTube.

Cynthia Speakman, a local actor and teacher with the Sacramento Metro Arts Commission, has been in the game for over a decade, working with children to improve their performing skills and ability to be outgoing and expressive.

"I think it's very natural for kids to act because they have an enormous need to communicate to others," says Speakman. "Even the kids who aren't extraverted want to be more confident, and for parents it's a remedy of sorts for getting [their kids] out there when they see them as 'too shy.'"

Speakman always emphasizes the idea of the storyteller in her after-school programs, and says that what gets kids going more than anything else is their ability to not only be in a story, but also to see how one is made.

"I think that's what theatre should be about when you're a little kid," says Speakman, "how a story is put together in a visceral way, and how to communicate verbally so you can get through those presentations that you're going to have to do your whole life!"

Over her career as a teacher, working in the multi-purpose rooms of many local elementary schools such as Leonardo Da Vinci and Crocker Riverside, she has taught over 2,000 children and young adults the mystique and fun of the stage.

One of her more recent students, Will Block, 15, played the role of Puck in the Sacramento Shakespeare Festival's 2010 production of "A Midsummer Night's Dream." His younger brother, Tom Block, 13 and another of Speakman's students, played Wally Webb in City Theatre's production of "Our Town."

"Some of my students have gone on to do bigger things with their acting," says Speakman. "The majority of my students have more confidence, and that's what I'm after."

When she's not teaching children the joys of theater, she enjoys performing in a local troupe called StoryVoices, a group of spoken word artists who create theme based programs for fundraisers and benefits. She also performs as a guide for Hysterical Walks, a walking tour of Old Sacramento.

Her most recent program is a workshop that stimulates cultural awareness in kids. The children come together at the California Stage and throughout the three day camp they conceive, write, rehearse and perform vignettes for family and friends about what New Year's celebration is like in other countries.

The workshop will take place over the break between Christmas and New Year's. The workshop is from Tuesday, Dec. 28—Thursday, Dec. 30, and last from 9 a.m.—3 p.m.

For more information about classes, contact Cynthia Speakman. For more information on the workshop, visit here.

PHOTOS:

1. Cynthia Speakman (Courtesy of Studio 24)

2. Speakman performing for an audience during a Hysterical Walk

3. StoryVoices (from left to right: Marni Webb, Jan Ahders, Cynthia Speakman, Claire Lipschultz

Blue Oaks Cinema 16 opens its doors

2010-11-19T20:55:47Z

The new, locally owned and operated, Blue Oaks Cinema 16 in Rocklin opened its doors today to a waiting crowd. The state-of-the-art megaplex features 16 all digital theaters with high-end Klipsch surround sound. The Theater also features a UDC theater with a wall-to-wall screen, 13.1 surround sound, leather seats and more leg room.

The owner, Dan Tocchini, stated that the theater is the first in the world to feature elevated digital projectors that do not require any projection booth. The technology allows them to maximize usable space and give the audience a better experience. Continuing with the advanced features in the theater, Tocchini stated that every aspect of each theater is controlled by an iPhone looking device: lights, projections, air conditioning and sound can be adjusted instantaneously – allowing for each movie to get a personalized touch.

With an average of 175 seats per theater (individual theaters range from 130 – 290 seat), there is ample room for the growing Placer community. The theater also conveniently offers four ticket kiosks, along with your normal ticket counter, as you enter the doors. These kiosks allow you to purchase tickets or pick-up tickets you purchased online.

For the convenience of families, the theater is offering an Early Bird special for all movies starting in the 10:00am hour. The price for the Early Bird special is $5.50 for general movies and $8.50 for 3D movies.

PRICES:

General Cinema

General Admission $10.50
Children (3 – 11) & Sr. Citizen (60+) $7.00

Bargain Matinee
Any Show Before 6 pm(Mon - Fri
All Shows before 2pm Sat, Sun & all Holidays $7.75

Early Bird
1st Matinee showtime everyday $5.50

Dolby 3D Digital Cinema

General Admission $13.25
Children (3 – 11) & Sr. Citizen (60+) $10.25

Bargain Matinee
Any Show Before 6 pm(Mon - Fri
All Shows before 2pm Sat, Sun & all Holidays $10.75

Early Bird
1st Matinee showtime everyday $8.50

Ultimate Digital Cinema

UDC General $13.25
Children (3 – 11) & Sr. Citizen (60+) $10.00

Bargain Matinee
Any Show Before 6 pm(Mon - Fri
All Shows before 2pm Sat, Sun & all Holidays $10.75

3D Ultimate Digital Cinema

3D UDC General $15.25
Children (3 – 11) & Sr. Citizen (60+) $12.00

Bargain Matinee
Any Show Before 6 pm(Mon - Fri
All Shows before 2pm Sat, Sun & all Holidays $12.75

For more information on Blue Oaks Cinema 16 please follow this link.

Photos by Marc McLaughlin
Marc McLaughlin is a Contributing Writer and Photographer with Sacramento Press

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

'The Owl and the Pussycat' by Sacramento Theatre Company

2010-11-05T23:37:15Z

“The Owl and the Pussycat” will open Wednesday as a two-person production in Sacramento Theatre Company’s intimate Pollock stage. The script is the only live-theater piece that TV writer Bill Manhoff has done and offers a timeless and comedic look at love – and how difficult it can be.

“Love isn’t easy, it’s always hard,” said Matt Miller, the theater’s artistic director and the director of the play. “But it can be funny when it’s somebody else.”

Miller said the play, which was originally written in the early 1960s, takes two very different people who seem to have nothing in common and throws them together, where they develop an unmistakable mutual attraction.

“The whole thing keeps you on your toes,” said Lyndsy Kail, who plays the part of Doris. “You’re not sure if it’s going to be a comedy or a tragedy. You wonder if the characters are going to end up alive.”

The performance is a two-person act, and Kail said she likes that it is so dependent on the other actor, in this case Tim Orr, who plays the role of Felix.

Set in the 1960s, Miller said the play recalls the different sensibilities of the “more-innocent” time.

“The time period is appealing, and it’s enhanced with period music, costumes and settings,” Kail said.

Orr said his favorite aspect of the show is that it represents “good, old-fashioned comedy writing done by a true professional.”

According to Miller, the playwright, Bill Manhoff, was a successful TV writer, working on shows such as “Leave it to Beaver,” and “The Owl and the Pussycat” was his only shot at live performance, but it was a success, running for a year in the 1960s.

“Nothing comes close to live performance,” Miller said. “It’s never the same. It’s ephemeral. Once it’s done, it’s gone.”

In the intimate, 90-seat theater, the audience has its impact on the play, ensuring that each showing is unique.

“The audience is every bit as much a part of the show as I am,” Orr said. “The people sitting in the front row have their feet on the stage.”

The first showing is Wednesday, but opening night is Friday, Nov. 13, Miller said.

The live performances before Friday are sort of like test runs for the cast, and the audience reaction is judged to see what works and what doesn’t so the play is at its best on opening night, Miller said.

Those interested in learning more about the play can see the prologue, which will likely be given by Miller 45 minutes before the show starts.

Audiences can learn tidbits like the fact that the play was the first one to feature an interracial kiss in a Broadway romantic comedy, as Doris was played by African-American actress Diana Sands.

Despite being controversial in the ’60s, she took home a Tony Award for her performance.

The play was also made into a movie, but Miller said he doesn’t think the two bear much resemblance.

Originally, “Talley’s Folly” was scheduled to be performed instead of “The Owl and the Pussycat,” but “Talley’s Folly” was selected for a Broadway revival, and the rights to show it elsewhere were temporarily put on hold, Miller said. He added that the Sacramento Theatre Company will perform “Talley’s Folly” when the rights are re-released, likely for the next season.

Tickets for “The Owl and the Pussycat” can be purchased online at ticketmaster.com or at the box office at 1419 H St.

Preview tickets (Wednesday and Thursday) are $30. Opening-night tickets are $46. Regular admission is $38 for evening shows and $34 for matinees, with discounts available for seniors and students. Last-minute tickets are available half an hour before the show at half price if they haven’t sold out.

“The Owl and the Pussycan” runs through Dec. 19. For more information, visit the Sacramento Theatre Company’s website here.

Photos of Lyndsy Kail and Tim Orr in rehearsal.

Brandon Darnell is a staff reporter for The Sacramento Press.

Intense, entertaining 'Mauritius' opens Capital Stage 2010-11 season

2010-10-21T14:53:23Z

The overly curious will find much to be frustrated about as Theresa Rebeck’s tale of the seamy side of philately (stamp collecting!) unfolds in the suspenseful “American Buffalo”-flavored “Mauritius,” now playing at Capital Stage.

“Are they real?,” “How much are they worth?,” “How much are you willing you pay?” and “How much will you take?” are about the limits to the questions presented by the quintet of players who stand to gain – and lose – in this entertaining if unlikely tale of familial entitlement and greed gone awry.

But so many more questions come to mind that one’s left with a story that boasts more perforations than the “stars” of the show: a fabled pair of stamps that are – like David Mamet’s “Buffalo” and Dashiell Hammett’s “The Maltese Falcon” – “the stuff that dreams are made of.”

The stamps, the legacy of a recently deceased mother (by way of her dead father-in-law), are a sticking point between half-sisters Jackie (the very, very good Kristine David) and Mary (Lauren Bloom), who have reunited after years of estrangement to settle the estate.

Mary, a tool of a big sis whose grandfather was the stamps’ original owner, wants to hold onto the little squares of poorly printed paper (“It’s the errors that make them valuable.”), while young Jackie wants to sell them to gain the fresh start she so dearly desires after years as a cloistered caregiver.

It’s that desire that leads Jackie to the dark and dusty stamp shop of the nerdily pedantic Philip (John P. Lamb), whose disinterest in her closely clutched album of gummy treasures breeds the first of many queries in the mind of the audience: “How is this guy in business?”

His apathy toward his potential customer is not shared by the store’s other visitor, Dennis (the also worth-the-price-of-admission Kurt Johnson), a petty scammer who is drawn to Jackie perhaps for her comely looks if not for her obvious knowledge of stamps (which seems to be more important to Philip than customer service – or Windex).

“Does this look like ‘Antiques Roadshow’?” Philip sarcastically quizzes Jackie before taking a too-quick study of her album.

Dennis’ subsequent look at her book quickly calms his tics and itches (of which there are many), as he zooms in on the on the very rare and very valuable pair of Mauritian stamps.

Thus begins a quest to acquire the stamps by hook or by crook – the “crook” being in the form of the imposing and frequently menacing Sterling (Jonathan Rhys Williams), a business associate of both Dennis and Philip whose dubious history as an importer/exporter of everything from collectibles to weapons of mass destruction prompts a whole other set of questions from “Where did he get that cool facial scar?” to “Isn’t there a clean, well-lighted stamp store in this city?”

While many references are made to the power of the information superhighway in Rebeck’s play, no one seems to have heard of Google, or even the Yellow Pages.

When Dennis presents his discovery of Jackie’s stamps to Sterling, it seems to crank his gangster personality amplifier to “11,” resulting in a nonstop series of off-the-hook (and, frankly, distracting) behaviors that include hand-slamming, cheek-chewing, fist clenching and over-annunciation that makes even musical-comedy caricatures like “Guys and Doll’s” Big Jule seem like subtle portraits of restraint.

The biggest question is after having distanced herself from her mother and half-sister for years (never minding to take “her” stamps with her, or even ask for them), why the desperate Jackie even bothered to tell her the stamps were even among her effects. Why not just play dumb and if they were brought up, just shrug her shoulders?

But whatever shortcomings Rebeck’s script may have, director Michael Stevenson’s cast largely overcome them with gritty (if sometimes overly arch) performances that alternate between funny and frightening, and keeps one in the moment while rooting for the unlikeliest of suspects.

________________________

WHAT: Capital Stage presents the Sacramento premiere of "Mauritius" by Theresa Rebeck

WHERE: Delta King Theatre, 1000 Front St., Sacramento, Calif.

WHEN: Oct. 15-Nov. 7, 2010; 7 p.m. Wednesdays, 8 p.m. Thursdays-Fridays; 7 p.m. Saturdays; 2 p.m. Sundays

TICKETS: $26-$33

FOR INFO: Call 916.379.5051; www.capstage.org

WHO: Featuring Lauren Bloom, Kristine David, Kurt Johnson, John Lamb, Jonathan Rhys Williams; directed by Michael Stevenson; set design by Stephen C. Jones; lighting design by Ron Madonia; costume design by Nancy Pipkin; sound design by Brad Thompson

photo courtesy of Capital Stage/Charr Crail

B Street caters to children with theater expansion

2010-10-20T23:56:58Z

When the new B Street Theatre is completed, Sacramento will have something rare in regional theater – a full-size professional theater for children.

“We’re building the region’s only professional theater for kids,” said Productions Artistic Director Buck Busfield. “The next-closest one is in Los Angeles.”

The current theater, located at 2711 B Street, will move to a new complex at 27th Street and Capital Avenue, but will retain the current name.

Both the adult’s and children’s theaters will be at that site, but the adult’s theater will remain an intimate space, with a gain of 50 seats to bring the total to 250.

The children’s theater – officially dubbed the Sutter Children’s Theatre – however, will more than triple in size from 100 seats to 365.

“It’ll give us fly space, trap space and wing space,” said Busfield, explaining that stage sets will be able to be moved from above, below (in trap doors) or from the sides much more efficiently.

“It gives us a great capacity to mesmerize the kids,” Busfield said.

Busfield was quick to point out that, despite what might be implied by “children’s theater,” all performers are professionals, and it means that the performances are geared toward young audiences from kindergarten through 12th grade.

The performances that can be expected are in line with the current offerings for children, including historical plays and adaptations of popular works such as Robert Louis Stevenson’s “Treasure Island” as well as original plays.

Capital Campaign Manager Jamie Romas said the number of shows will initially be the same, at 336 shows per year, but if the market demands it, more shows will be offered.

Currently, according to Busfield, the theater is forced to turn away about 2,000 children per year due to tickets being sold out months in advance, and but the increased capacity at the new theater will allow them all to see performances.

Busfield said the thing he finds most satisfying is watching kids going into the shows thinking they won’t enjoy it, then coming out “mesmerized” and having a new appreciation for the arts.

The project for the theater, which is a nonprofit, has a price tag of about $15 million, and about $2 million has been raised, according to Romas.

“We’re planning to finance 5 or 6 million,” Romas said. “We have to raise at least 9 million.”

The fundraising campaign will kick off on Dec. 11, and Romas said she doesn’t anticipate any difficulties in reaching the target amount.

“The Crocker is a wonderful example of what this community can do,” she said, referring to the recent opening of the renovated art museum, which involved about $100 million in fundraising efforts.

Busfield said there are about 10,000 subscribers – people with season tickets – to the B Street Theatre, and he hopes they will help the theater reach its goal.

One of the fundraising methods involves donors purchasing a star that will be displayed in the lobby for $5,000. The stars are created by a local artist, and if donors have a specific idea of what they’d like on their stars, Romas said they can work with the artist for an additional fee.

Busfield said he anticipates the groundbreaking to take place in 2012, followed by 14 months of building, then holding its first show in 2013.

The land was donated by Sutter General Hospital, and Busfield said the location is ideal.

“There’s a 400-space parking structure right behind it, and it’s surrounded by some of the city’s finest restaurants,” he said, adding that it is just about two blocks away from the Capital City Freeway, and the proximity to the hospital means kids there will be able to see performances.

The theater, according to Busfield, provides more than just entertainment for the kids.

“It’s an immeasurable contribution on the artistic side,” he said. “So many studies have shown that kids who are involved with performing arts do better in class and are more likely to do well afterward.”

Sacramento City Unified School District Area Assistant Superintendent Lisa Allen, who is in charge of arts coordination in the district, said the theater expansion is a welcome addition for the area’s youth.

“Research shows that a curriculum richly infused with the arts helps children in many ways,” Allen said. “It improves academics, encourages emotional development and lets kids see the worlds beyond their classroom doors.”

Allen added that sites off of school grounds like the new theater are effective.

“The expansion of children’s theater in Sacramento is a positive step to introducing every child from every neighborhood to the magic of live performance,” she said.

For more information, visit here.

Images courtesy B Street Theatre.

Brandon Darnell is a staff reporter for The Sacramento Press.

Review Writing workshop will be on Ustream, guest list is full

2010-10-13T21:38:31Z

Tonight's Review Writing workshop will be live streamed, and we encourage you to tune in from 6:45 - 8 p.m.

Sacramento Press Editor in Chief David Watts Barton will teach the basics of reviewing concerts, theater and other performances.

We are not accepting anymore RSVPs at this point. We are at full capacity for attendees.

If you have RSVP'd but it's more convenient for you to watch the live stream, we encourage you to do so.

The Ustream video will be pasted in this article later today. It will go live when the workshop starts.

Free live streaming by Ustream

A Different Kind of Cool

2010-09-24T20:25:20Z

“He doesn't care what you think,” Jack Gallagher said about his son Liam. “Liam is a different kind of cool.”

Liam, 14, has been diagnosed with Autism Spectrum Disorder. He is Gallagher’s son. And he is the subject of the Sacramento writer/comedian/actor’s new one-man show, which opened last week at the B Street Theatre.

Gallagher performed “A Different Kind of Cool,” his fourth one-man show, on Thursday night. He still performs his previous one-man shows - ”Letters to Declan,” “Just the Guy and “What He Left” - in various venues. All of Gallagher’s one-man shows are based on his life.

Gallagher tells very personal stories during his plays, but he tells his “stuff,” as he puts it - not his wife’s or his children's.

Gallagher walked onto the stage with a beach bag in hand and began to tell a story of a trip to Sea Street in Cape Cod, Mass. “I don't know anyone that goes on vacation with their family,” he said. “Most people go on vacation to get away from family.”

As Gallagher told his story of his family, you could see the passion, joy and sadness in his face. When he spoke of their trips to Sea Street, his eyes sparkled. When he spoke of his son Liam, he smiled like a proud father. But when he talked about his son’s autism, his eyes watered, and his voice got shaky.

“It’s so hard when there is something wrong with your kid,” Gallagher said “What did I do wrong?”

In Gallagher’s story he admits to the struggle that he had with Liam trying to “fix” the problem. Gallagher worked with Liam every night on his homework. “But we were still coming up short,” he said. “And at times I was embarrassed.”

He spoke of a time when they were waiting to cross the street and Liam started to shake his hands, also known as stimming, and Jack put his hand on his shoulder and gave him a look, as if to say “not now buddy.”

“I kept trying to fix him,” Jack said. But instead, he started to notice Liam’s skills. “We love labels in this country,” he said. “They said my son was something, but he is Liam.”

When Liam wrote a script for the hit television series, “The Simpsons,” Gallagher told him it was good, and Liam said, “I know.” Liam sent it in and received a letter back thanking him for the script, but apologizing for not being able to use the script.

“They told him to keep writing,” Gallagher said, “and I told him not to send it in.” Realizing that as his father, he hadn't been as encouraging as he should have been.

“We all know cool when we see it,” Gallagher said. “But its another thing trying to replicate it.”

Cool is original, cool is one of a kind, he said.

When Gallagher asked Liam if he could write this story, Liam asked, “Will you make fun of me?”

Gallagher replied, “No, I’ll tell jokes, and hopefully people will laugh.”

Liam replied, “Will you inform people of my mishaps?” Again Jack said no. “I didn't think you would,” Liam said. Then he added, “Yeah, you can.”

This story perfectly portrays the struggles of a parent with a child with autism. We hear so much in the media about new drugs or therapies that may or may not work; we hear from experts and doctors who have no clue about what causes or cures it. But so rarely do we hear from the parents, the ones who face this on a daily basis. Jack Gallagher uses humor to show a different perspective on this ever-growing disorder.

“A Different Kind of Cool” continues at B Street Theatre’s mainstage through Nov. 7. Showtimes and tickets are available at bstreettheatre.org.

Photo by B Street Theatre.

Free Tickets to Live Theater Performances!

2010-09-24T20:12:06Z

Free Night of Theater returns to Sacramento and cities across California for a 2010 season.

Free Night of Theater California will offer 10,000 free tickets to theaters around the state throughout the month of October.

B Street Theatre, Benvenuti Performing Arts Center and Chautauqua Playhouse will be among the Sacramento region companies participating in the first round of ticket giveaways this year.

Free Night Theater tickets will be distributed online in two rounds of giveaways. The first chance to claim tickets online is Sept. 29, starting at 6 p.m. New theater audiences can visit tixbayarea.com/free to register for tickets and find out more about available shows.
Participants who join the Theatre Bay Area Facebook group (facebook.com/theatrebayarea) or follow TBA’s Twitter stream (twitter.com/tixbayarea) can get a head start on snapping up tickets to the shows they want to see.

This is the sixth year Theatre Bay Area, the League of Sacramento Theatres and Theatre Communications Group have hosted Free Night of Theater in California. The purpose of the campaign is to foster a new generation of theatre audiences. Beyond a night out, Free Night’s new online communities offer community-building space for these new theater attendees to connect.

Brad Erickson, executive director of Theatre Bay Area, said, “California is one of the great theater producers in the country, if not the world. With over 500 world premieres and hundreds of theatrical revivals each year in beautiful theaters from Ukiah to San Diego, California is truly bursting with amazing live performance. We’re thrilled to mount this statewide Free Night of Theater campaign to bring California’s vibrant live theater community into the spotlight.”

A five-year study concluded that Free Night of Theater attendees are substantially younger and more diverse than regular theatergoers. Free Night of Theater has been very successful in pursuing its mission to develop a new generation of performing arts audiences. Almost half of Free Night participants return to the same theater within six months of attending their free performance.

Disclosure: Brad Erickson is the executive director of Theatre Bay Area

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

Sleepaway Camp: The Musical

2010-09-09T20:45:16Z

Sleepaway Camp: The Musical

Amongst Sacramento’s varied, thriving, and disparate art scenes are large and passionate audiences for both live theater and the trashiest of trash films. Finally, those two audiences can co-exist, and pairs of significant others with significantly different tastes can find a mutually satisfactory outlet in Sleepaway Camp: The Musical.

Officially entry #62 (or rather LXII) in the hit midtown cabaret series Graham-A-Rama, this is a new and original musical adaptation for the stage of the campy and bloody 1983 film that spawned five sequels, Sleepaway Camp. I had the opportunity to sit in on one of the final rehearsals (OMG: ROTFLMAO!) and to bounce a few impromptu questions off the exhaustedly dazed and confused (another potential musical?) creative team: Rob Bean, Freddy Molitch and Andrew Heringer (the twisted trio who adapted and musicalized Robert Hiltzik’s original film screenplay), and Graham Sobelman (producer, music director, and the Graham of the fabulously narcissistically titled Graham-A-Rama).

Q: How did all this start – Why Sleepaway Camp?

Freddy:
The whole Sleepaway thing started really when Rob, Andrew and I were on the staff at a summer camp together. Out of the three of us I am the biggest horror movie fan, so every year I would bring weird movies for the staff to watch after the campers had gone to sleep. Sleepaway Camp has always been one of my favorite movies so I couldn't wait to show it to them AT a summer camp. I brought it back to camp every summer to watch and pretty early on I was trying to convince Rob and Andrew that it would make an incredible musical. One night they jokingly started to riff on a love song sung to the main character Angela and it snowballed into a really great song. We tidied it up a bit and it was that moment that really convinced all of us that it could actually be done.

Watching Sleepaway Camp I always felt that it had such rich and bizarre subtext which made it into almost a Greek-level tragedy if you actually focus on why these characters do what they do. At first glance it seems like some of the actions in the movie are unexplainable but once you dig deep into the story you see that these people have twisted and passionate reasons for falling in love, killing or just acting almost cartoonish.

Rob (clarifying the timeline):
Freddy and I starting creating theatre pieces together in 1997 when we met in college in Seattle (Cornish College of the Arts). In 1999 we met Andrew because he was one of our students at a fine arts camp in El Dorado County, where Freddy and I were teaching theatre.... Andrew started teaching with us in 2002 and we've been a team ever since.

Andrew:
Freddy brought the film version of Sleepaway Camp one year for a group of to watch as it really is one of his favorite movies ever. Definitely a "so bad its good" type of movie. At some point we started joking about the concept of Sleepaway Camp as a musical - with absolutely no intention of making a full length musical. I remember grabbing my guitar and playing with the song that is now "Angela" coming up with ridiculous lyrics which slowly morphed into real lyrics that we actually enjoyed which in turn morphed into us writing more and more songs.

Q: What were each of your roles in as the project developed?

Freddy:
During work on the piece Rob was getting his Master's Degree in Theatre Management, so he started to work more on the business side of the production, I took a little more of the text and Andrew was our musical genius, though we all worked in little was on every aspect of it. Fairly early on Rob contacted the original writer/director of the movie Robert Hiltzik and he seems very excited and supportive about a musical based on his work.

Rob and I had gone to Cornish College of the Arts together, both studying Directing and Playwriting and at one point Andrew was one of our theatre students at summer camp. Those two are more fans of musicals where I am more the horror movie guy so we really worked toward a balance to please fans of either genre. For a while, teaching at camp was one of the only times that we could get together and work on Sleepaway Camp since I live in Seattle, Rob was working and going to school in Oregon and Andrew was going to college in California. But as the project got bigger and we got more excited about it, we would take retreats together to work on it throughout the year, usually in Lake Tahoe.

Andrew:
Rob brought Freddy down to teach at Sugarloaf and once I started working there we all hit it off really well. The idea of Sleepaway Camp as a musical is ironic to me as we all met teaching at a summer camp. The style of the songwriting reflects that folky, campfire feel. When writing the songs - we would usually watch the movie and pinpoint some ridiculous aspect of a certain character and try to play off that. We were all a part of the lyric writing.

Over the course of the last 6 years the show has been written with us living in three different states. This piece was written with all of us collaborating for a couple days at a time whenever we could find the time in Seattle, Eugene and Tahoe. The distance has been our biggest obstacle in getting the show finished and produced.

We owe a lot to Graham Sobelman for taking the initiative to help us get the first reading off the ground. He and I have been meeting for the last couple of months to write out the music for the cast and the band. He was instrumental in getting together this great cast and band for the reading.

Graham:
Andrew played me some demos of the songs from their musical one of the first times we hung out. I immediately loved the humor infused with more folky music. I absolutely loved the movie and was very excited when he told me they had musicalized it. When I found out the script was all written and he had demos of all these songs, I thought it would be a great idea to do a reading of the show. I loved how the musical stayed true to all the important elements of the movie, but capitalized on some perfect moments to create songs out of (sometimes bizarre) dialogue. The show is so fun, I can't imagine it won't go on to have a fully staged production in the near future. The music has to be some of the most clever of recent years. Sacramento will be the first audience to hear any of it!

Graham-A-Rama has been such a wonderful space to experiment with new material, I thought it would be perfectly appropriate to do a reading of Sleepaway Camp in lieu of one of the more typical shows. People already know (and love) Andrew's music, so having this event a week after his Andrew Heringer Band CD release is like finding out there's a whole separate bonus cd with all new songs on it! Luckily, I was able to utilize some of the Graham-A-Rama regulars and also find a couple newcomers to put on the reading.

Q: (To Freddy and Rob) What do each of you do when not setting bloody stabbings to music?

Freddy:
When I'm back in Seattle I act a little but my main job is being a DJ in Seattle nightclubs.

Rob:
I'm the Audience Services Manager for Cal Performances, running things like the Greek Theater, Zellerbach Hall and alike on UC Berkeley's campus.

Q: (To Graham) What else can we expect from Graham-A-Rama in the near future?

Graham:
Graham-A-Rama returns in October with some more "traditional" Graham-A-Rama fare: We will have a lesbian-themed night, a night for the cast of [title of show]* and a special Halloween show! Also, shows starring performers from LA and SF. And hopefully Graham-A-Rama will be returning to NY to do a show in late fall, early spring.

Photos:
Opportunistic low quality iPhone4 photos by Tony Sheppard :
1) The creative team of Heringer, Sobelman, Bean and Molitch pose gratuitously for an entirely inauthentic working shot
2) The Sleepaway Camp uniform t-shirt, modeled by Andrew Heringer

Other really important stuff:
Sleepaway Camp: The Musical is playing at the Geery Theater, on the corner of 22nd and L Streets.

Thursday, September 9th: 7:30pm
Friday, September 10th: 8:00pm
Sunday, September 12th: 7:00pm & 9:00pm (the regular Graham-A-Rama Sunday showtimes)

Tickets are available online here: Sacramento Press readers can use the code "murder" to get tickets discounted at $9.99 (regular price $15).

Notes:
This is a “reading” and not a fully staged show.
*[title of show] is, in fact, the title of the Fall production of New Helvetia Theatre

For more information:
www.grahamarama.com
www.andrewheringer.com
andrewheringer.bandcamp.com (for a download of “Under California Skies” – the new Andrew Heringer Band album)
www.newhelvetia.org (for information on the upcoming production of [title of show])
www.brownpapertickets.com (for all Graham-A-Rama and New Helvetia Theatre show tickets)
Sleepaway Camp: The Musical tickets (direct link)
[title of show] tickets (direct link)

Full disclosure:
The author is the regular photographer for Graham-A-Rama, a donor/producer of “Under California Skies” by the Andrew Heringer Band, a founding donor of New Helvetia Theatre, a veteran ex-employee of the children’s residential summer camping industry (11 years), and a local film festival director and film writer – and therefore the key demographic for Sleepaway Camp: The Musical.

And to think I saw it on Sutter Street: Magical 'Seussical' opens in Folsom

2010-08-24T02:09:42Z

These days, navigating Folsom’s deconstructed Sutter Street is a lot like mounting an expedition to the top of Mt. Crumpit during a midwinter jicker.

And while the moose-juiced weekend celebrants who rumble and stumble around the corners and against the lights of the historic district can be more awfully awful than any unreformed Grinch, there’s good reason not to zizz-zizz, but to jump on your Zike-Bike and brave the dirt roads and heavy machinery: the Sutter Street Theatre production of “Seussical,” now playing through Sept. 26.

An admittedly ambitious undertaking for such an intimate space, director Connie Mockenhaupt does well by her cast of 18 men, women and children (and they by her) in this unpretentious but wholly magical staging of Lynn Ahrens and Stephen Flaherty’s beautifully lyrical musical based on the books of Theodor Geisel, a.k.a. Dr. Seuss.

The stories and characters in “Seussical” are familiar friends: There’s true-blue Horton the Elephant, butt of jokes to his neighbors in the Jungle of Nool and hero to the tiny Whos; Gertrude McFuzz, the shy bird who suffers from tail envy; lazy Mayzie, the flighty party bird; JoJo, the young Who whose unappreciated “thinks” have garnered her a trip to military school; and that unconventional feline, the Cat in the Hat.

Ahrens and Flaherty have woven the Seussical canon into an entertaining and surprisingly touching show.

With his gift for nonsensical rhymes, unique vocabulary and social conscience, it would be easy to give full credit for the charm, wit and heart of “Seussical” to Dr. Seuss himself, but the Ahrens-Flaherty score is a thing of beauty, and evokes the emotional best of the team’s earlier, adult-oriented works (“Ragtime,” “Once On This Island”).

Alas, there are no live musicians blowing floops on their one-nozzled noozers, as the score is recorded, but the cast is expert at staying the course.

The voices on stage, uniformly well-directed by Susan Mason, are strong and passionate, with Martin Lehman as Horton, Jessica Larrick as Gertrude, Emily Kelly as Mayzie and young Cassidy Cagney as JoJo standouts.

The more-dramatic numbers (the show is sung-through and tune-heavy) are expertly staged by Mockenhaupt and well-supported by Colin Hoyt and Mike Jimena’s lighting design.

But without solid acting chops, selling the songs would be impossible. It’s a kick to see the cast – from the more mature (the delightful Steve Read and Kristy Reed as Mr. and Mrs. Mayor), to among the youngest (Joanna Rehwald as Thing One, Who girl) offer wonderful characterizations throughout.

Joshua Brown’s Cat in the Hat is a master MC/narrator, providing exposition when necessary and giggles for fun.

Eileen Beaver’s costumes are bright and colorful and provide Brown’s Cat a bit of oomph as he morphs from one persona to another. Whether he’s a bluesy, gravelly voiced jazz pianist, a Germanic doctor or a Caribbean-flavored cabana boy, Beaver provides an appropriate tailcoat to complement the Cat’s trademark red-and-white-striped top hat.

All of the leads are so well cast and do such a sweet, sincere job in delivering the show’s positive messages that it’s easy to imagine them on a bigger stage in a grander venue.

But as one of the show’s more touching songs reminds, “A person’s a person – no matter how small.”

When it comes to Sutter Street’s production of “Seussical,” that sentiment definitely holds true for theaters as well.

__________

KNOW BEFORE YOU GO

WHAT: "Seussical," a musical based on the books by Dr. Seuss; conceived by Lynn Ahrens, Stephen Flaherty and Eric Idle; with book by Lynn Ahrens and Stephen Flaherty; music by Stephen Flaherty; lyrics by Lynn Ahrens

WHERE: Sutter Street Theatre, 717 Sutter St., Folsom, Calif.

WHEN: 8 p.m. Fridays and Saturdays, 4 p.m. Sundays, Aug. 20 through Sept. 26

WHO: Directed and choreographed by Connie Mockenhaupt; set design by Mike Jimena; lighting design by Colin Hoyt & Mike Jimena; costume design by Elieen Beaver; special effects by Allen Schmeltz; and featuring Cassidy Cagney, Joshua Brown, Martin Lehman, Steve Read, Kristy Reed, Jessica Larrick, Emily Kelly, Olivia Kaufmann, Brady Tait, Alyssa Simopoulos, Julia Rehwald, Emily Parker, Christopher Celestin, Tristan Bonds, Holly Wilson, Hayley Fitzpatrick, Joanna Rehwald, Angie Reed

HOW MUCH: $15-$23

FOR MORE INFO: (916) 353-1001 or sutterstreettheatre.org

'Charlie Brown': Good man, great production by Fair Oaks Theatre Festival

2010-08-17T03:21:02Z

photographs by Barry Wisdom

The Fair Oaks Theatre Festival’s “You’re a Good Man, Charlie Brown,” playing through Sept. 12, is sweetly innocent, adorably guileless and just plain funny.

Its extremely short scenes – seamlessly presented like a series of “Peanuts” comic-strip panels (on which it is based) – makes it perfectly suited for those with short attention spans, like kids and smart-phone-addicted adults. In other words, everyone.

Blessed with a talented cast sure of lines and lyrics, engaging choreography and some nifty, topical upgrades to its original, 43-year-old book, director Bob Irvin’s savvy staging is not only a child’s perfect introduction to live theater, but a wonderfully nostalgic trip down Dolly Madison lane for those who grew up reading Charles M. Schulz’s deceptively simple daily strip while looking forward to annual showings of his jazzy TV specials like “A Charlie Brown Christmas.”

Irvin’s mounting is particularly family-friendly, with judicious cuts to the script and score that whittles down the “running time” to a breezy 90 minutes or so (including a mid-show intermission).

Originally produced in 1967 as an Off-Broadway adaptation of Clark Gesner’s concept album, “You’re a Good Man, Charlie Brown” made its way to Broadway twice, with the 1999 Tony-winning revival (the version offered here) featuring new dialogue by Michael Mayer, additional songs, and a new character: Charlie Brown’s sister, Sally.

Those who have seen the full-length production aren’t likely to miss the cuts (such songs as “Glee Club Rehearsal” and “The Doctor Is In”), as the remaining 13 numbers are so joyful and entertainingly presented that one leaves the wonderfully intimate Veterans Memorial Amphitheatre fully satisfied.

Smiles spread easily and start from the ground up as the small details of Irvin’s well-paced direction and Sunny Smith and Analise Langford-Clark’s choreography come into view, including Langford-Clark’s own adorably pigeon-toed stance as Sally; the smug, almost-marching gait of Lucy (the delightful Lisa Cotter); and the matter-of-fact approach given to a wheelchair-bound Charlie Brown. (Actor Joe Hart, who played the part opening night, recently injured his legs in an accident and is alternating the role with Michael Bowles.)

The fact that the title character, who for more than 60 years has been seen in print, on the tube and on the screen running futilely toward a Lucy-held football and pulling kites toward greedy trees, is in a wheelchair proves to be no distraction whatsoever. If anything, it reinforces Charlie Brown’s persona as an underdog with a never-say-die attitude who strives for success in the face of overwhelming odds.

Irvin, Smith and Langford-Clark’s new bits of business for the cast involving the chair (it’s definitely not ignored, but embraced) also serve to reinforce the characters’ well-established personalities. At one point, Lucy enters pushing Charlie Brown center stage. Always brusque and totally self-absorbed, she runs him into one of the large, multi-functional blocks on stage without a shred of concern.

“Sorry,” she says without a bit of real remorse Gilly-style.

It’s fresh, funny and totally in character.

Later, Snoopy (Raymond Keller) – in a nurse’s hat (that subconsciously reinforces the notion that Charlie Brown’s wheelchair is a temporary condition borne out of injury, rather than a permanent thing) – helps Charlie Brown get his kite up in “The Kite.”

There’s also a wonderful entrance featuring Schroeder (Jonathan Blum), who runs in pushing Charlie Brown’s wheelchair as both make very kid-like racecar sound effects.

More distracting – though not overly so – is the presence of glasses on Linus (Daniel Slauson). So ingrained is Linus’ innocently tousled, earnest and specs-free face that Slauson’s reliance on corrective lenses requires far more adjustment than seeing Charlie Brown in a wheelchair.

That could well be viewed as a compliment to Hart’s gentle, sensitive take on our good ol’ Charlie Brown. Though a true ensemble piece, this look at “an average day in the life of Charlie Brown” really depends on the likability of its everyboy centerpiece, and whether he’s working up the courage to give a Valentine’s Day card to a classmate or rallying the gang to break its losing streak on the baseball field, Hart’s “Chuck” is a great “kid” for whom one can’t help but cheer.

Also worth cheering is the singing on stage. The cast members, who for the most part offer juvenile versions of their actual voices in character, gleefully belt their numbers with enthusiastic verve.

Musical director Lucy D’Mot has done a superb job, and each number is something to savor.

The solos are uniformly fun – including Linus’ tribute to fleece (“My Blanket and Me”), Sally’s paean to grrrlpower (“My New Philosophy”), Snoopy’s ode to doggy dining (“Suppertime”), Lucy’s tuneful proclamation of what’s what (“Little Known Facts”) and the aforementioned “The Kite.”

But the ensemble numbers, such as “Beethoven Day,” “The Baseball Game” and “Happiness," really sum up what this show is all about: working together; enjoying each other; and accepting one another despite individual idiosyncrasies – whether they include frequent dogfights with the Red Baron or the belief that becoming a queen is a real possibility (after all, as Lucy says, "it’s all based on who you know").

If anything, this live production of “You’re a Good Man, Charlie Brown” is more animated than any cartoon, with the “Peanuts” gang leapfrogging, cartwheeling, running and groovin' (yes, the famous “Charlie Brown” dance sequence to Vince Guaraldi’s “Linus and Lucy” is included) across the stage.

Charlie Brown is, indeed, a good man, but “…Charlie Brown” is a great show.

___

“You’re a Good Man, Charlie Brown” is based on the comic strip “Peanuts” by Charles M. Schulz with music and lyrics by Clark Gessner, book by John Gordon, directed by Bob Irvin, musical direction by Lucy D’Mot and choreography by Sunny Smith and Analise Langford-Clark.

It will be presented by the Fair Oaks Theatre Festival at Veterans Memorial Amphitheatre, 7991 California Ave., Fair Oaks.

Shows are Fridays, Saturdays and Sundays at 7:30 p.m. Aug.13 through Sept. 12.

Tickets cost $8-$15.

For more information, call (916) 966-3683 or visit fairoakstheatrefestival.com.

Fair Oaks Theatre Festival's 'Charlie Brown' will roll on

2010-08-13T02:40:12Z

Despite actor Joe Hart being temporarily confined to a wheelchair following a recent auto accident, he will still play some of the title role in “You’re a Good Man, Charlie Brown.”

Bob Irvin will direct the play for the Fair Oaks Theatre Festival, and he said he thought keeping Hart in the role of the indomitable Charlie Brown is a “fitting tribute to the character – to demonstrate Charlie’s undaunted spirit and unflagging optimism in the face of naysayers.”

But he wasn’t home free. As Hart couldn’t meet the physical demands of the monthlong run of the show, a second “Charlie” was needed.

Enter Michael Bowles, who made his Fair Oaks Theatre Festival debut earlier this summer as Harpo in “Minnie’s Boys.”

“One’s rolling and one’s ambulatory,” Irvin said of his alternating Charlies, who take turns performing the role. “So there are a few blocking changes, like when Charlie’s flying a kite, but it’s all working out great.”

Initially for Irvin, having the opportunity to forego a lengthy casting process during a busy summer by reuniting experienced actors from a previous staging was a huge benefit.

“It makes it a little easier on me,” laughed Irvin, a 22-year festival veteran and American River College Department of Theatre and Film instructor. “We’re doing ‘Peter Pan’ at the campus – a huge 40-person show, and putting on ‘Charlie Brown’ is comparatively easy.”

Not that reviving the festival’s 2006 mounting of ‘Charlie Brown’ was all about his personal convenience, Irvin emphasized.

“People wanted it to come back,” he said. “Audience demand was the No. 1 reason.”

It was a decision that the festival’s 14-member board of directors endorsed. With a familiar show scheduled, all that was left was getting the original Charlie Brown, Lucy, Linus, Schroeder, Sally and Snoopy back together.

Much easier than reassembling, say, Van Halen, Irvin said he was able to re-recruit everyone except the actor who played the Beethoven-loving pianist Schroeder.

“All are all local, and all it took was a simple phone call,” he said of his happy-to-be-back cast, which includes returning actors Joe Hart as Charlie Brown, Lisa Cotter as Lucy, Daniel Slauson as Linus, Analise Langford-Clark as Sally and Raymond Keller as Snoopy, as well as newcomer Jonathan Blum as Schroeder.

With a head swimming with thoughts and concerns about how to fly American River College students to Never Never Land and back, Irvin’s family-friendly, light-and-breezy, six-character festival show seemed on track to provide audiences – and his nerves – just what they needed.

Until Hart’s injury. But once that was remedied, Irvin said he went back to focusing on something far more challenging than casting – his continuing battle to raise awareness of the festival’s almost three decades of solid performances.

“I think we’re one of the best-kept theater secrets in the Sacramento area,” Irvin said, adding that he’s constantly trying to get the word out.

It will be presented by the Fair Oaks Theatre Festival at Veterans Memorial Amphitheater, located at 7991 California Ave. in Fair Oaks.

Shows are Fridays, Saturdays and Sundays at 7:30 p.m. Aug.13 through Sept. 12 with an ice cream social Aug. 13 at 6:30 p.m., which includes free ice cream before the performance with admission to the show.

Tickets cost $8-$15

For more information, call (916) 966-3683 or visit fairoakstheatrefestival.com.

photos by John Wagner courtesy of Fair Oaks Theatre Festival

The last stint of River Stage: A narrative

2010-08-04T00:57:17Z

It was June and Frank Condon called me, asking if I would read the stage directions for the last play of his career as artistic director of River Stage. I held the phone out, looking bewildered, then brought it back to my head and said, “Yes.”

One week: seven days of intense rehearsal, getting a play, called "The Little Mermaid is Not for Children" by San Fransiscan playwright Alina Trowbridge, that had never been staged and had only just been written onto its feet, reading the characters and getting a feel for what was happening in these peoples’ lives. Piece of cake, right?

When the day finally rolled around for the first reading, where everyone sits down and reads through the play out loud, I had no idea what to expect.

I knew some of the local theater heavyweights like Loren Taylor and Claire Lipshultz, and I suppose I was nervous. I had previously only worked in small community theaters or college stages.

So I drove my car out to Cosumnes River College, parked, and waited for people to start showing up. It’s an awkward feeling, meeting a whole new group of people at once, especially with the knowledge that you’re going to be spending quite a bit of time together in rehearsals.

We all gathered and were met at the door by our stage manager, Irene Velasquez. She passed out unbound three-hole-punched scripts, and we all thumbed through them, some highlighting fervently before we had to start.

The playwright was present at every rehearsal, too. She sat there watching us amble through her script, watching people for the first time reading these lines, saying words that she’d written, giving it our own spin, our own feelings. It must be hell to listen to people say things you wrote, saying them differently than you wanted them to sound.

The director, Frank Condon, who certainly is also a heavyweight in local theater, sat in the same position every rehearsal, listening to the words and intently watching the expressions and emotions on each character’s face. I was very lucky to be reading the stage directions: I didn’t feel so under the gun.

Tempers rose and fell with each day, people getting more and more familiar with the lines and characters. But we finally finished our rehearsals with a strong play fully staged for a reading.

It was a funny feeling before we opened on Friday. I had absolutely no butterflies in my stomach. I generally do, especially when it’s something that’s had a short rehearsal time. But before the first show, I had no sweaty palms, no racing heart -- just calm.

The show went off without a hitch. Condon gave his introduction, we read through the play and some of us stayed behind to listen to the audience giving feedback to the director and playwright.

The second night was far different. That night we had to show up at 5 p.m. and rehearse through the changes and cuts made from the previous night.

We had to get there so early because there would be a presentation that night in honor of River Stage’s last show. It was, however, a presentation about Condon.

Everyone who had ever worked at River Stage was invited and given free tickets along with an invitation to the buffet beforehand.

People began showing up, but not nearly as many as I would have expected. They milled about, and many people who hadn’t seen each other in a long time were excited to reunite.

Then the presentation hit. It featured a slide show of many of the shows Condon had directed, four speakers who all had glowing things to say about the director and a speech by Condon himself.

When he got on the stage, I looked around, and everyone in the relatively small audience was looking right at him, and he was looking back, trying to take in every face.

He gave his presentation, which was somewhat marred by obligatory and somewhat robotic “thank yous” to supporters. He put down his paper, and talked about what he was going to do in his life, what he wanted and received from River Stage, and how it was the right time for him to step down.

After his speech, the applause was amazing. People stood and clapped, and Condon absorbed it all and closed his eyes.

The play was different that night. Beforehand, the cast sat in the room, reminiscing about plays they’d done with Frank, and instead of a jovial, laid-back atmosphere, the dressing room took on the properties of a reception after a funeral.

We all sat in somewhat reverent silence, and for the first time, it hit me.

This was the last performance that would ever be directed by Frank Condon on this stage. Suddenly we were the Omega. We were the final words of River Stage, we were the closing lines.

The butterflies returned, my palms became slick with sweat. As we read the play, every line was new because it had a true feeling of finality to it. Every line that we said was one step closer to the end of the theater company.

We ended the play, and I shook Condon’s hand. I knew he’d be all right. He’d still be teaching, he’d still be directing. But I knew that he felt something in him ending: his brainchild, his love. He knew that it was time to end.

And, indeed, he finished his stay with dignity and grace.

B Street Theatre's "Old Love" is a must see production

2010-08-03T03:21:02Z

From the B Street Theatre comes a story of a fight for love with a sparking sense of humor and a touch of romance, “Old Love.”

This two-person play by Norm Foster begins with a very detailed internal monologue from Bud Mitchell, played by David Silberman. Bud is an older fellow who 25 years before fell in love with his boss’ wife, Molly Graham, who is played by Judy Jean Berns.

Set in Toronto, “Old Love” presents the idea of love for older, more mature adults and how they feel about it.

Molly has recently lost her husband of 34 years when Bud suddenly comes into her life. Meeting at her husband’s funeral, the two interact awkwardly due to Bud’s nervousness.

Making the mistake of asking Molly out on a date at her husband’s funeral, Bud faces constant rejection throughout this two-act performance.

Switching between Molly’s and Bud’s internal monologue’s, the audience learns about the two and their lives before meeting each other.

Throughout the course of the play, Bud pursues Molly in hopes to win her love with his awkward charm and witty personality, but Molly constantly rejects him.

This sophisticated performance shines a comedic light on romance and affection only found in the love in a pair of old hearts.

Silberman and Berns have remarkable chemistry on stage and are a delight to watch. Bringing out their characters with their witty senses of humor, both perform one of the most extraordinary plays of the summer season.

“Old Love” runs until Sept. 12. Tickets can be purchased here or by calling the box office at (916) 443-5300.

Tickets: $22-$30

Showtimes:
Tues. - 6:30 p.m.
Wed. - 2 p.m. and 6:30 p.m.
Thu. and Fri. - 8 p.m.
Sat. - 5 p.m. and 9 p.m.
Sun. - 2 p.m.

Photo courstey of the B Street Theatre

"The Little Mermaid is Not for Children" hits Cosumnes River College

2010-08-02T03:55:39Z

“The Little Mermaid is Not for Children” premiered at Cosumnes River College’s River Stage, providing an assortment of laughter and entertainment with a witty twist for all ages.

The tale of the Milton family begins during the summer in Pennsylvania. The three sisters (Elizabeth played by Lynn Damme, Alicia play by Andee Saenz and Carrie played by Jessica Eichlin) bicker constantly about their mother as well as argue among themselves.

The three sisters also play the counterpart mermaid sisters as well, with Carrie as the Little Mermaid.

Gloria Milton, played by Claire Lipschultz, is the dying mother of the three sisters and also the reason for most of the family drama. As a former performer, Gloria sings to her family and hums tunes right until her very last breath.

With Loren Taylor as Keenan Milton, the loving father and husband, this play brings together the emotions of the loss of a loved one and the moment of finding peace.

Laura, played by Lexie Schneider, keeps a steady balance between the three sisters and acts as Carrie’s supporter of sorts. Although, Act 1 ends with the two in a disagreement.

The seven actors have nothing but their chairs and their lines to put on a brilliant performance.

Unlike the traditional theater performance, this two-act play is presented without props or costumes. The actors provide dialogue and movements but leave most of the setting to be imagined by the audience.

Narrator Maxwell McKee reads off stage directions to provide a clearer picture for the scenes performed.

Award-winning director Frank Condon concludes the 15th anniversary season with a masterpiece and a unique spin to theater performances.

The only showings were July 30-31 at CRC and it is no longer running.

Shine to open in Mansion Flat

2010-07-27T02:26:05Z

Mansion Flat will get a new neighborhood hangout when Shine opens next month.

Part coffeehouse, part bistro, part entertainment venue — the idea is to create a community gathering place that nurtures local artists and performers of all kinds, said co-owner Rena Davonne.

The small wooden stage being built for the place is symbolic of the grass-roots entertainment Davonne and her partner, building owner John Stricklin, are planning: everything from acoustic open-mic nights and poetry readings to games and karaoke for the theater crowd.

"The vibe will be your living room," Davonne said. "But not your mother's living room."

The establishment is named for the newly renovated Shine Building, where the coffeehouse will take center stage at 1400 E St. Shine is expected to open in mid-August.

Stricklin, a San Francisco home builder and restaurant owner, rehabbed the 8,000-square-foot building. He is also a partner in San Francisco restaurants including Sushi Groove and Oola Restaurant and Bar.

Contractors are expected to finish their work this week. Workers are refinishing a concrete floor, installing shelves and bringing in equipment. The room, which measures about 1,200 square feet, will hold a big couch, cushy chairs, local art, a kids’ corner with computer games, and a stage no more than 8 feet square.

Shine will serve gourmet coffee, smoothies, breakfast, and a small selection of sandwiches, soup and small plates including lasagna, pasta salad, guacamole and fruit.

The owners will schedule nights for musicians and poets to do their thing. They haven't yet booked any musicians. But Davonne's 16-year-old daughter, Brieta Carpenter, is a guitarist who will likely make the stage her second home. She grew up playing the guitar with her father, Steel Breeze lead guitarist Waylin Carpenter.

Shine's owners will make sure their karaoke machine contains plenty of songs from musicals — similar to a Los Angeles coffeehouse Davonne frequented that used to draw stage actors and opera singers. Davonne was an actor at that time. She played the character Natasha in the Rocky and Bullwinkle Show at Universal Studios, just down the street from the karaoke coffeehouse.

"It was a good gig," she said.

The coffeehouse will open just a few blocks from the Wells Fargo Pavilion, headquarters for Music Circus and the Sacramento Theatre Company. Davonne said she hopes karaoke nights will help draw actors and singers to the new place.

"I definitely want it to be a home for the grass-roots talent in Sacramento," she said.

Shine will be open six or seven days a week. Hours will be 8 a.m.-8 p.m., except on music nights Thursdays through Saturdays, when closing time will likely be 10 p.m.

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

'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

"Curtains" takes the stage

2010-07-13T04:15:27Z

Performers from Runaway Stage Productions sang and danced their way into the hearts of many Sacramento residents with their performance of “Curtains” at the 24th Street Theater.

The two-act musical comedy is set in Boston, Mass., in 1959. The characters are cast members for a theater troupe, and the play begins during the bows after a performance of “Robbin’ Hood of the Old West,” when leading lady Jessica Crenshaw - played by Amy Jaques-Jones - is murdered.

Lt. Frank Cioffi, played by Darryl Strohl, appears the next day to investigate Crenshaw’s murder, though he seems more interested in improving the musical performances by the cast members than solving the murder.

As deaths of cast and crew members progress, Cioffi leads a heavier investigation as well as tries to help make improvements to the characters’ own show with music provided by the Runaway Stage Productions resident orchestra, directed by James Lohman.

Loud applause followed brilliant performances by Andrea St. Clair as Niki Harris, Kate Richardson as Georgia Hendricks and Lillian Baxter as Carmen Bernstein.

With a plot-twisted ending and witty comedy mixed in, Runaway Stage Productions provides head-rocking numbers up until the very last scene.

Through various laugh-out-loud jokes and foot-tapping tunes, “Curtains” invites the audience to join in the mystery and try to figure out the killer’ identity.

Runaway Stage Productions staffers truly outdid themselves by providing an evening of fun-filled music and a cast passionate about theater, earning two thumbs up. “Curtains” is a summer must-see.

"Curtains" runs until August 1.
For more information, visit here.

Resurrecting Classic Cinema In Downtown Roseville.√

2010-06-07T19:44:56Z

If you live anywhere near the Roseville area then you know that not only this town, but this entire region shuts down around 7 o'clock. For year's your evening "hang out" choices consisted of A) Denny's, B) Mel's, C) the random bar or D) your own living room. Residents of this area seem to be forever relegated to driving all the way Downtown Sac for some type of nightlife that isn't the above mentioned choices. That is, until now.

Recently, a ragtag group of people under the leadership of Hector Marquez (A local filmmaker native to Roseville) have decided to start screening classic films in Roseville's iconic Tower Theater (not to be confused with Downtown Sacramento's Tower Theater). They call it Mystic Cinema. "Our goal is not to create yet another place where movies are shown in this area," said Marquez. "We have plenty of those. Rather, we want to give culture and community a place to form and grow. We live here and work here and know how boring it gets at night. We wanted to make a place that we would want to hang out at ourselves. We love old movies and we love the old style of the Downtown Vernon strip so we decided to start there."

And start they did with a big party and one of Hollywoods most venerated films. The screening of the indomitable "Casablanca was a tremendous success!" Marquez said. "More than half of the attendees dressed up in 1940's cocktail party garb. We had authentic Moroccan food catered that night by Jaye's Catering, a red carpet and even a period fashion show put on by Image Provocateur and The Boho Boutique. We're not just interested in making a name for ourselves, we want everyone to benefit from this, local businesses and patrons alike."

It has been that kind of inclusive attitude which has, in two short months, brought a number of diverse and unique businesses together to build something that has, as of yet, not been seen in this area. From the NCCSA (a national non-profit which works to protect children from violent crimes and abuse), to the Sac City Roller's (our very own local Roller Derby league), to various local businesses large and small, they all seem to be catching the fever.

If your a business owner, "we're not interested in simply selling you a slide, cashing your check and calling it a day. We want partners who have a greater vision for what this downtown area could and honestly should be." Said Marquez. For example, a local print shop, Copy Depot has come on board to help with print materials. Edwins, a local coffee shop, has come out and provided gourmet french press coffee to patrons during the shows. The Sac City Roller's have sent out a bunch of their girls to the shows and not only added to the vibe but also gave away some free tickets to their upcoming bouts. Local restaurants like MCYG Elite Celebrations and the soon to open Italian Restaurant "The Place" have also gotten on board by selling meals at the theater before and during the shows. Even local pubs like the Owel Club have gotten on board by hosting after parties for a number of the shows.

"It's so much more than just movies on the big screen" said Marquez. Every show starts off with a personal introduction to the movie by an MC for the evening. The MC then hands out random prizes from the various business partners to people in the audience. "My favorite prize to award is for the person who is best dressed for that evenings event. We really get a kick out of having the audience cheer for the individual they want to win."

Currently Mystic Cinema is open two days a month and screens four movies. One of those days consists of a 2pm matinee show, a 7pm show that is geared towards families, and a 10pm show for the late night crowds. They also have a midnight show on an entirely different day that caters to the local insomniac crowd.

Upcoming Movie Dates and Times are as such:
-June 18th:
   -2pm: Ben-Hur ($5)
   -7pm: Willy Wonka and the Chocolate Factory ($7)
   -10pm: Ben-Hur ($7)
-June 25th:
  -Midnight: Blazing Saddles ($8)

Kid's are always $5. For more information or to purchase tickets, visit their website at mysticcinema.com, or talk to them on facebook.

'Repo!' shadowcast draws the attention of the film's creator

2010-05-25T05:07:47Z

Repo! The Genetic Opera is a feature film released in late 2008 that is challenging to categorize, although it calls itself a “goth opera.” It features classic horror movie staples such as blood, guts, and murder, but it also holds fast to classical roots by being sung from nearly beginning to end in the style of a true opera.

The Amber’s Sweets crew is a group of artists who get together to reenact the film while it is simultaneously projected onto the wall in a theatrical event called a shadowcast . The Sweets’ third shadowcast performance of Repo! took place at the Colonial Theatre Saturday. Although it was only the third time the cast performed the entire production live at the theater, it seemed as though they had been doing it for years.

The Sweets shadowcast has been steadily gaining popularity, and their last performance garnered the attention of one of the film’s creators, Darren Smith, who performed songs from the movie along with his wife.

This time around, the cast was lucky enough to have the film’s other creator, Terrance Zdunich, who also plays the character Graverobber in the movie, in attendance as a spectator.

“[Having Zdunich in the audience] doesn’t really pressure us so much as give us a goal,” said Jessalyn San Gregorio, who plays Amber Sweet. “It’s like we have a creator here, so let’s do our best to impress him.”

“We’re pretty awesome in and of ourselves, so I think [Zdunich will] be happy,” cast member Caitlin Miller said. “He’s seen us before, but we’ve done a lot of fine tuning, so what he saw before was like the rough draft of the rough draft. So I’m really excited that he’s going to be here.”

New additions to the performance included previews of coming attractions. There was a commercial promoting the upcoming Trash Film Orgy, which will be held at the Crest Theatre in the coming months.

There was also a promo for Callson Manor, a new haunted house attraction. Finally, a commercial parodying the old-time happy jingle snack bar cartoons received a lot of laughs when it was transformed into a death metal anthem about how not to behave during a movie.

The audience was treated to a sneak peak of one of Zdunich’s latest film projects, a short “tutorial” about how to create art called “How to Draw a Straight Line.” It instructs viewers on how to overcome the difficulties of crafting such an important piece of art.

As usual, the film’s reenactment featured plenty of gore and special effects, but the most extreme case was the monstrous spray of blood when a character was shot in the head.

“I think that at the beginning when the doctor got shot by one of the hench girls, blood actually splattered on me and my buddy," Zdunich said. "I wasn’t expecting that. They actually had a more powerful spray than what we used in the film. I’m not sure how safe what they were doing was, but it f***in’ rocked.”

Not only did the special effects improve, but the props and audience participation were over the top. The jeers and catcalls were bawdy at the last show, but at this show they were even raunchier. The “splash zone” was extended to the entire theater since characters threw bloody body parts such as hearts and guts not only on the people seated in the front rows, but those in the back as well. Nobody was safe from getting messy.

“I love the crowd’s reaction,” said Justin Boeser, who plays Rotti Largo. “It’s one of my favorite things to hear in theater. It’s something I’ve loved doing since I was a little kid. I’ve always loved hearing cheers and screams.”

It was not hard to tell that the cast had been rehearsing plenty. None of the actors ever missed a cue and the entire show flowed smoothly, even when the aisles were filled with half-nude dancing extras.

“I’m most excited about the fact that I think we have the best energy that we’ve had amongst our cast since the beginning of this," director Ashley Porciuncula said. "I know for a fact that we are going to bring the audience something unlike anything they’ve ever seen before.”

The production value of the show increased tenfold since the first show late last year. Costumes improved, lighting and sound were perfected and the backdrops and scenery were very realistic.

“We’ve gotten better at things,” said Miller, who portrays Shilo Wallace. “More money means more props and more accuracy. We’ve figured out how to fix problems, added more stuff. [The show has] evolved a lot.”

“In the beginning we had a lot of problems with props and costumes and whatnot, but we managed," said Dani Fontana, who plays Graverobber. "Now we keep putting better things in it and it just makes it fantastic. We sold out at the last show and we weren’t expecting that.”

What does the future hold for the Ambers Sweets Repo! crew? They seem to be working on getting other big-name artists starring in the film to their performances. With stars like Paris Hilton, Bill Moseley and Nivek Ogre of the band Skinny Puppy in the film, it’s open to debate who will be next to make an appearance.

“There are definitely big names in the works," Porciuncula said. "I would advise you to check the website amberssweets.com on a regular basis to find out more information as we receive it.”

Following the performance, Zdunich stuck around in the lobby to sign autographs and take photos with fans. He also gave fans the opportunity to purchase his new comic series, The Molting.

“People ask me a lot if I’m sick of [the Repo! popularity] yet, and the answer is no,” Zdunich said. “I think that the fact that it’s living, breathing art, makes every time I see it different. I actually don’t even like watching the film just as a film because I’m so self-conscious. I feel like, ‘Oh, I could’ve done this different. I should’ve done that different. Oh God, that’s me.’ So watching it with the shadowcast, it’s like a totally different experience. It’s like live bastard theater and that’s what we sought out to do in the first place. And the fact that it’s happening, even without our blessing, is badass. I hope it never stops.”

Photographs by Lost Road Entertainment and Peek Media

Sac French Film Festival Premieres "Le Couperet"

2010-05-01T03:01:20Z

The Sacramento French Film Festival sponsored a special screening of "Le Couperet" at the Crest Theatre on Thursday. The premiere was a precursor to the 9th Sacramento French Film Festival, June 18-27. "Le Couperet," a social-political thriller and dark comedy, introduced audiences to a new meaning of “survival of the fittest” in the job market.

Jose Garcia stars as Bruno Davert, a middle-aged paper chemist who’s been forced into unemployment by the merger of his company. Unable to find work, he resorts to extreme measures to eliminate the competition in his specialized field. His rationale is that it will increase his chances of securing employment with the only leading company left in the city.

Director Costa Gavras expertly underscores social, political and economic themes with this clever film adaptation of a novel by Donald E. Westlake. Costa Gavras deftly uses this medium to make a bold and effective statement about issues such as outsourcing jobs, corporate downsizing and immigration. Other subjects explored in the film include green energy and recycling, white-collar crime, gender in the workplace, self-purpose and identity.

Although the film is set in Europe and debuted in 2005, well before the economic downturn of this nation, one can’t help but feel that art is now mimicking reality.

Kevin Elstob, French professor at California State University, Sacramento, led the after-film discussion. He referred to this genre as “social fiction” that sets up something that’s not necessarily real but is based in reality.

“Costa Gavras is known for presenting strong social messages in his films,” Elstob said. “With a diverse cast in this film, you get a sense that there are no borders anymore in Europe, there’s an influx of jobs for immigrants … and there’s a much bigger and ambiguous space in how it’s affecting the rest of the country.”

"Le Couperet" challenges viewers to ask, What would happen if people eliminated their competitors because of a steep increase in unemployment? What if they got rid of them because of a job shortage that resulted from outsourcing jobs to foreigners?

The film provides great social commentary and inspires conversation. Audiences will compare the current economic problems of the United States to those depicted in the film.

Elstob pointed out that the novel on which "Le Couperet" is based, The Ax, was set in New England.

Costa Gavras maintains the integrity of the novel's message despite moving the action to France and Belgium. It will make audiences ask themselves whether the ends justify the means. Is the answer affirmative when there is someone more ambitious and cutthroat waiting to oust you from your job?

Complimentary champagne and cake capped off the event, an excellent ending to an evening of French cinema.

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

2010-04-26T06:54:12Z

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

"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.

You Can't Stop the Beat, Celebrating the Contemporary Musical

2010-04-16T22:55:51Z

In many cities around the world with live theater, there are special bar/nightclubs. These are places where actors gather after their performances or in between shows. The club will have a well versed resident pianist. The actors take turns belting out their favorite show tune or try out new material for their fellow actors and assorted fans of “show tunes.” For the next two nights and an afternoon, Sacramentens can experience something similar to this phenomenon.

Sacramento Theatre Company's Mainstage lobby has morphed into a nightclub for this weekend. The show being performed in this space evokes just what I have described of these actor performance venues.

“You Can't Stop the Beat, Celebrating the Contemporary Musical” is Sacramento Theatre Company's last Cabaret Series show this season. Created and directed by STC Producing Director Michael Laun with Musical director Erik Daniels. This production has five seasoned actors with great voices singing songs from contemporary shows. Think Steven Sondheim to Elton John. Songs from shows such as “Wicked,” “Hairspray,” “Into the Woods,” “Chicago” and “Ragtime.”

As Michael Laun tells the audience, each song is a complete story in itself. Some of the songs are well known. Some may not be familiar even to the well versed musical theater fan. Many of these songs were the surprises of the evening.

The five actors are Michael RJ Campbell, Ella Isaguirre, Christina Kloiber, Michael Laun, and Kristen Wagner. Being actors who sing, their performances bring much more to the songs than just singers. They do take the audience through each song as a story.

One surprise was that Ella Isaguirre is still in high school and is 15 years old. She performs with the same maturity and professionalism of the adult actors.

Some of the many highlights included: Campbell and Wagner's duet “Tear Jerk” from “I love you, You're Perfect, Now Change” had the audience in stitches. Isaguirre performed “Part of Your World” from” “The Little Mermaid” in English and Spanish. With “When You're Good to Mama” from “Chicago,” Kloiber connected the wink, wink humor with the audience. The anger over a bad breakup is palpable in Laun's performance of “I Don't Remember Christmas” from “Starting Here, Starting Now.”

This is a don't miss show for the musical theater affectionado. For anyone who is looking for a way to spend a very pleasant couple of hours, this is it. Sit back at your table; have a nice glass of wine with a cheese plate or some dessert and coffee or tea. You will be entertained.

Sacramento Theatre Company

1419 H Street, Sacramento

Box office (916)443-6722 or sactheatre.org <http://sactheatre.org>

Tonight at 8 p.m., Saturday at 2 and 8 p.m. $25

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

Big Idea Theatre's "Richard III"

2010-04-14T23:43:05Z

In the first four history plays that William Shakespeare penned, by himself or with the aid of multiple writers, he brought us "Richard III", and showed a monarch at the height of power, corruption and finally the downfall of such a king.
Big Idea Theatre’s latest production of the tragedy opened last Friday, and while the play itself is engaging, some performances and an uncut script brought the pace to a crawl more than a few times.
WIth a cast of 12, most playing at least two parts, the play fits a multitude of colorful characters within the small black box theatre.
The shinning points of the production made the whole better, especially the talented and enigmatic Brain Harrower (Richard of Gloucester), whose only fault seemed to lie in his choice of being the only one using an English accent.
Other bright spots were Nina Breton (Queen Margaret/Young York) and Justin Munoz’s vibrant performances (King Edward/Richmond/Lovell).
The play, uncut, is well over three hours without an intermission. Such a play is generally edited for a modern audience, and unfortunately the director, Justin Chapman, felt it unfit to cut more than a few lines.
Unfortunately, the length of the play mixed with some performances, namely those of Carrie Joyner (Queen Elizabeth) and David Fox (Clarence/Dorset), made it a bore to sit through, especially the scenes where they were the focus.
The play, when it finished, gave the audience more than one reason to cheer at Richard’s death, since it marked the end of not only the tyrant but also the play.

Crowd roars for "Beauty and the Beast" opening

2010-04-13T02:01:54Z

The B Street Theatre lies discreetly tucked in behind the Stanford Park Baseball Fields. Inside, the scene is small and intimate, half the cast made up of acting interns, seating practically on stage allowing the audience of about 50 people to be incredibly close to the live action. But do not let its quaint appearance fool you.

"Beauty and the Beast," by Charles Way, opened with a roar Saturday. This is the B Street Theatre's third and final show of the 2009-2010 family series, completing its eighth season.

Advertised as "Beauty and the Beast with some punk," the show produced a fresh take. While the plot may deviate from the wonderfully loved Disney classic, the end result was still the same.

After a daring gamble gone wrong, Belle's father Godwin must move the family, including sister Cassandra, to a new location -- one not as rich as the family is accustomed to. On a tip, Godwin looks to retrieve some fortune, only to lose his way and find himself in the clutches of a Beastman. Once there, Godwin agrees to exchange one of his daughters to spare his own life. It is only after living with the Beast that Belle is able to understand and accept him, ultimately falling in love with him.

No story would be complete without a life lesson, and this one bears plenty. The plot is overwhelming with reminders to avoid jealousy and replace it with kindness instead, and teaches kids (and even adults) that sometimes it is okay to follow your heart over your head.

The show was a bit scary at times, packed with plenty of screaming, growling, thunder and lightning. Yet through the frightening sound effects, children fell fast in love with the cast, from the beautifully costumed Belle to the strong and powerful Beast.

While most comedic spots were aimed at the adult audience, the show had everyone giggling with joy during one particular scene. As the Beast sat to play a piano and Belle squeaked out the first few notes of song, the audience erupted with laughter.

Afterward, children were heard outside exclaiming their enjoyment over the show, and were overcome with excitement as they were each personally thanked by the cast.

When deciding whether to take your family out, it is as the Beast says: "Sometimes it is better just to act, otherwise we'd all be in bed still."

The Beauty and the Beast will be showing Saturdays and Sundays at 1pm and 4pm from April 10-May 23, . Ticket prices for the event are $15-$22. The B Street Theatre is located at 2711 B St. For more information on this show, and others, call 916-443-5300.

Banff Mountain Film Festival to Davis

2010-04-09T04:51:56Z

I started attending the Banff Mountain Film Festival screenings in Davis in middle school as a way to relate to my hyperactive dad.

I tagged along with him to lots of cool things I didn't fully appreciate. I remember sinking with embarrassment when he whispered loudly at me for texting during a screening of "Touching the Void" at the Crest Theatre. He'd take me to the Banff Mountain Film Festival in Davis, and I'd complain that his old farty mountain friends smelled like body odor.

Secretly, I loved every second. The short films and documentaries are fast-paced, shot in the most exotic corners of the world and feature the most compelling, gutsy and mentally strong individuals. The audience is always engaged and happy. Even the BO has its charms.

I'm not alone in feeling this way. The Banff Mountain Film Festival, born in 1976, took its show on the road 10 years later in its first-ever tour through three Canadian cities. Over the years, demand has compelled festival coordinators to expand the festival's tour schedule to hit more cities in more than 30 countries. Next week, BANFF "Road Warrior" Charla Sharp Tomlinson brings the highly anticipated international tour to Davis High School's Richard M. Brunelle Theater.

"Banff Mountain Film Festival has been coming to Davis for 11 years now" said Rocknasium owner and Banff-emcee, Mark Leffler. "It attracts a big mix of people: college students, families, athletes, regular Davis folk."

The short films and documentaries screened on tour represent a greater selection of mountain sport films screened each year in Banff, Alberta. Leffler previews films, reads feedback, and discusses audience reactions with touring Timberlon to lay out the final Davis program.

He said to expect a good solo climbing film featuring local talent.

He also anticipates the screening of "Take a Seat," a Banff Jury Award winner, about a man's 32,000-kilometer tandem bicycle journey from the north coast of Alaska to the southern tip of South America.

"This guy picks up strangers along the way; it sounds like a quintessentially Banff film" Leffler said.

The Banff Mountain Film Festival in Davis is at 6:30 p.m. April 13 and 14 at Davis High School's Richard M. Brunelle Theater, 315 W. 14th St.

Tickets are $12 and available at the Rocknasium by calling (530) 757-2902.

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

Amber's Sweets 'Repo! The Genetic Opera' shadowcast performance

2010-03-01T04:35:09Z

The second Amber's Sweets Repo! The Genetic Opera shadowcast performance took place Saturday at Sacramento’s historic Colonial Theater. The film was projected onto the stage while actors re-enacted the film using special effects, audience interaction and aerial acrobatics.

However, it was not for the faint of heart or stomach. The movie features scenes of disembowelment, sexual innuendo and nudity, so likewise the shadowcast performance had skimpy clothing, swearing, and blood and guts.

There was also a special performance by the film’s co-creator Darren Smith at the beginning of the set. Smith took the stage with his wife, Nancy, who plays Dead Marni in the film, and sang a medley. He played keyboard while Nancy sang a series of songs that she provided backing vocals for in the film. To finish off their mini-performance, Smith and his wife resurrected a song from one of his older 10-minute operas, “Old Tom’s Bar Room,” called “Folding Three-foot Penis Cards in New York City.” The song told the story of Smith’s struggles as a musician in New York, where he had a job folding massive greeting cards.

As the film's re-enactment began, audience members jeered and called out jokes and crude observations.

Darren Smith said of this behavior, known as "calling out": “This is so much akin to live theater because you have the film as your source material but at the same time people are allowed to do their own thing and I encourage it. Go out, go wild, do things. Sometimes it’s weird because there will be a part in the movie where it’s supposed to be a real sensitive scene, and people will be doing shoutouts and jokes and stuff like that. And it’s kind of like, I’m one of those sick guys who would laugh at a funeral, so to me it’s kind of perfect. I’d probably do the same thing.”

The Amber’s Sweets press release describes the film as “a story set in the not so distant future after an epidemic of organ failures has devastated the planet. Out of the tragedy, a savior emerges: GeneCo, a biotech company that offers organ transplants for a price. Those who miss their payments are scheduled for repossession and hunted by villainous Repo Men. In a world where surgery addicts are hooked on painkilling drugs and murder is sanctioned by law, a sheltered young girl searches for the cure to her own rare disease as well as information about her family’s mysterious history. After being sucked into the haunting world of GeneCo, she is unable to turn back, as all of her questions will be answered at the wildly anticipated spectacular event: The Genetic Opera.”

Although there are about 40 shadowcasts of Repo! going on around the country, Smith said of his involvement in the Sacramento chapter, “It’s been fantastic. This is my second time up here. I haven’t seen the whole shadowcast that they’ve done yet, but I was here for the Sacramento Horror Film Fest back in October and that blew me away, just with the couple of scenes that I’d seen … So I’m really excited. And then the other thing is I really click with these guys. They’re some of my favorite people out of the 40 or so shadowcasts throughout the world. So I’m really happy to be up here again.”

The shadowcast performance allowed fans of the film to see their favorite characters brought to life on stage.

Popular characters such as Pavi Largo, played by Tristan Christ, appeared in full costume. From behind his Largo mask, Christ said his favorite scene to re-enact is the “night surgeon” scene because “it shows how messed up Nathan [the Repo Man] really is. He’s trying to hold back, but in reality he can’t because he’s got a job to do … I just love how all of the characters are so violent. They’re enjoying everyone’s death.”

Probably the most beautiful scene is the one in which Blind Mag, played by Camille Niello, hovers in the air and sings an operatic song. She swings midair from a harness while mimicking Blind Mag’s movements.

“The first time [I was suspended in midair] was crazy because I normally don’t like heights at all,” Niello said. “I’m one of those people who climb halfway up a rock wall and freak. But I was totally comfortable with it.”

Even if the movie is a bit unconventional, the actors are like a family. Their attitude toward the project and each other is reflected in the fun atmosphere.

“It’s been a good experience,” said Dani Fontana, who plays Graverobber. “I’m so glad to be in this, to be involved. All of these people are awesome. The actors are all awesome. It’s been a really cool experience.”

The next Amber’s Sweets shadowcast performance of Repo! The Genetic Opera is scheduled in May at the Colonial Theater on Stockton Boulevard. For more information, visit www.amberssweets.com.

Photographs courtesy of Amber's Sweets Website and Ashley Porciuncula

La Traviata moves audience

2010-03-01T04:22:24Z

The Sacramento Opera presented Giuseppe Verdi's La Traviata to a full house Friday night at the Community Center Theater.

From the opening number, the audience was captivated by lead Karen Slack (soprano), who played Violetta Valery, and Alexander Boyer (tenor), who played Alfredo Germont.

Conducted by Timm Rolek, the Sacramento Philharmonic Orchestra accompanied the cast in the two-and-a-half-hour performance.

Slack and Boyer's voices complemented each other, bringing the dramatic storyline to life.

La Traviata follows Valery, a courtesan, and Germont, a respectable young man, as they fall in love and later feel the pain of being torn apart by Alfredo's father, Giorgio Germont, played by baritone Kenneth Overton. The opera's climax comes when Violetta pretends not to love Alfredo. In return, Alfredo renounces his love for her. Tragedy takes center stage; their love cannot be denied, but fate has other plans.

The opera's beautifully detailed set and elegant costumes gave the audience the feeling that they had stepped back into the 19th century.

This was my first time seeing La Traviata, but I spoke with a few audience members who had seen the play before.

"It is first rate," said Dr. Pichle, attending with his wife, Rita. "The lead singers are excellent, polished, with very nice, smooth, silky voices."

Judy Haeling, who has seen the opera many times, said, "Every opera is a little different, but I think Violetta (Slack) has a strong, gorgeous voice."

"The performances put on by the Sacramento Opera are a wonderful part of our community and a wonderful asset," she said.

I also spoke with Marlynn Smith, an opera singer in Sacramento with a masters degree in voice performance.

"Karen Slack nailed it, her different timbre and style were very powerful," she said. "You could feel her expression in her voice and the beauty of the music makes you still joyful even though the play is so tragic."

She was joined by her mother, Dorothy Smith, who said that the staging was great and the orchestra sounded fantastic.

Ted and Elba White related this performance to the many operas they have seen in other countries.

"We have seen other operas where the lead had a weak voice and tonight's performance is not the case," he said.

The opera was in Italian, but the English subtitles made it easy to follow. As the leads sang, the audience could glance above the stage to better understand the performance. The supertitles also made it easier to recognize what was being sung and to pay more attention to the acting.

The opera's heart-wrenching finish brought the audience to its feet as the cast stepped back on stage for their final bows.

The play's last performance will be Tuesday at 7:30 p.m.

Tickets are available and can be purchased online at sacopera.org.

Photos:
1. Karen Slack, (Violetta)
2. Alexander Boyer, (Alfredo)
3. Kenneth Overton, (Germont)
4. Erin Neff, (Flora)

La Traviata opens Friday

2010-02-24T04:34:19Z

The Sacramento Opera will present the famous, heart-wrenching opera La Traviata at the Sacramento Community Center Theater Friday.

The popular opera was written in the mid-1800s by Giuseppe Verdi, who based his tale off the widely successful novel, La Dame Aux Camélias, by Alexandre Dumas.

Though Dumas's book is written as a tragedy, adaptations of the novel, such as with La Traviata and recent films "Camille" and "Pretty Women," have been retold as a love story.

La Traviata is a romantic play set in the 19th century following the relationship of well-born gentlemen Alfredo Germont, played by Tenor Alexander Boyer, who is in love with a beautiful courtesan named Violetta Valéry, played by Soprano Karen Slack. The story follows the couple's romance, which is later torn apart by Alfredo's father Giorgio Germont, played by Baritone Kenneth Overton. The opera climaxes in betrayal as Violetta has to pretend she doesn't love Alfredo. Even though they are wrong for each other, their passion and love cannot be denied. It is when this realization hits that it is too late for one of them, and the play ends with death.

The dramatic opera will be performed in Italian with musical accompaniments by the Sacramento Philharmonic Orchestra.

La Traviata is performed by an all-American cast, none of whom are native Italian speakers. This fact is impressive because though this is a well-known opera, Artistic Director and Conductor Timm Rolek said that the performance was set up within a few short weeks. They began with two weeks of rehearsal, one week of technical, and are now preparing for their performance.

Since Italian presents a language barrier to Sacramento's audience, the opera will display supertitles - similar to subtitles - in English above the stage during the performance.

Rolek explained that the use of supertitles over the last 20 years has revolutionized how people enjoy the opera, since it is possible to follow along without fully understanding what is being said.

The opera will be two and a half hours long with two intermissions.

For those who are not sure if an opera is something you will like, Rolek said, "La Traviata is a great first-time opera. It is really easy to follow, and the play propels itself smoothly."

La Traviata will have three performances starting Friday. Rolek said that tickets to the Sunday show may be selling out, but there should be seats available on the other two nights.

Tickets are available and can be purchased online at sacopera.org

Performance Times:

Friday at 8 p.m.
Sunday at 2 p.m.
Tuesday at 7:30 p.m.

Photos:
1. Karen Slack, (Violetta)
2. Alexander Boyer, (Alfredo)
3. Kenneth Overton, (Germont)
4. Erin Neff, (Flora)

“The Lies Begin when we lift the Pen…”

2010-02-20T01:18:43Z

FICTION
by Steven Dietz
at Capital Stage

There’s an old adage in theatre that audiences attend with ‘a willing suspension of disbelief’. That is to say that they willingly set aside the truth and accept the fact that Peter Pan can fly even though the wires holding him up are plainly seen. That applies to theatre, film, and especially literature. But what if we believe every word we read? Can fiction become fact? Is something true simply because we believe it? In 2003 author James Frey wrote a memoir of his struggle with addiction called ‘A Million Little Pieces’. He was lauded as a troubled genius with a brilliant future, and America loved him. When the truth came out that a portion of the book (in fact, only one incident) didn’t really happen, we felt betrayed; so much so that we salivated when Oprah Winfrey ripped him a new one on national TV. The truth hurts, but lies can be devastating.

Linda and Michael Waterman, played by Janis Stevens and Eric Wheeler, are two novelists. He’s a Hollywood success story who considers himself a hack, and she’s a self proclaimed ‘one hit wonder’, having written one successful book followed by a stream of failures. Their marriage thrives in an environment of verbal wordplay and no illusions as to each other’s talents. You could see them forty years from now, strolling along the banks of the Seine in Paris, pleasantly squabbling about their pet topic-the greatest rock-and-role vocal performance of all time. She’s a Janice Joplin fan and he’s a John Lennon supporter. That’s how they meet in act one, and how they SHOULD spend the rest of their lives together-squabbling. But instead, Linda is diagnosed with a brain tumor “the size of a plum” and is given three weeks to live. She wants to spend that time really getting to know her husband, getting down to his core. She wants to read Michael’s journals.

They’ve both kept a series of journals over the course of their 15 years together but neither had any desire to read the other’s before, whether out of respect or fear, but probably a little of both. Michael reluctantly turns over his journals, boxed in an antique captain’s trunk in chronological order with a laminated index under the lid, and leaves her to her reading.

After plodding through Michaels florid verbosity, acted out with comedic vigor by Eric Wheeler, Linda reads about Michaels meeting with Abby Drake, a woman he meets at a writer’s retreat shortly after Linda’s one successful book was published. Abby is a peculiar young woman with an intense stare. Stephanie Gularte plays her with an almost magnetic attraction. You’re not quite sure if she wants to rip his eyes out, or just ask him a question. But the attraction is there, and Linda reads of their affair for the next twelve years.

Janis Stevens (and I’ll say this right up front-I’m a Janice Stevens FAN) is an amazing presence on stage; cool, sophisticated, with a vulnerability seething just below the surface. Her husband’s betrayal strikes a devastating chord, and her attempt to hide her own ‘fiction’ is a tangible weight on her shoulders.

Eric Wheeler as Michael changes flawlessly from the flowery prose of his journal scenes to his devastated reality. He’s a man who’s about to lose his best friend and no matter what he does he can only make it worse. Eric plays a likeable, funny guy who only lies to himself. He also reminds us that this isn’t just a drama. He makes the tragic bearable with his charming presence.

Stephanie Gularte as Abby soars through a very difficult role. She has every beat, every quirk of this woman down to a T. This is important because you have to pay attention to what Abby does to understand and put all the pieces together later. Fortunately, Ms. Gularte makes this easy for us; you can’t help watching her every move.

‘Fiction’ is a complicated and sophisticated piece of theater. It deals with how we see ourselves, and how we wished others saw us. Do we remember what actually happens or do we remember what we wished actually happened? It’s also something of a ‘who-done-it’. It’s a piece where every sentence is a clue and every beat is an ‘A-ha’ moment. At the end of the night you have this adrenalin rush and you can’t just go home; you and whoever is with you HAVE to go get coffee and compare notes.

Fiction plays through February 28 at Capital Stage on the Delta King Riverboat in Old Town Sacramento, 1000 Front Street, Sacramento, CA 95814 http://capstage.org/

'Dances' and 'Jointedness' at the UC Davis Mondavi Center

2010-02-15T08:42:25Z

Graduating Master of Fine Arts candidates are performing two new choreographed pieces at the Vanderhoef Studio Theater in the Mondavi Center for the Performing Arts at UC Davis.

Nina Galin’s three-part dance/theater/musical piece, “Jointedness,” is composed of two solo performances and a quartet. According to Galin’s program notes, it explores different senses of “joint” through her “long-term engagement with two literary texts: Shakespeare’s ‘To be, or not to be’ soliloquy from Hamlet, and Rilke’s poem ‘Sense of Something Coming,’ translated by Robert Bly.”

Jess Curtis’ excerpt from “Dances for Non/Fictional Bodies” is an hourlong piece featuring five talented performers, a variety of odd costumes and props and full nudity. According to the performance’s press release, Curtis’ piece seeks to “probe the role(s) of imagined societal ideals as a kind of ‘fictional body’ that disables individuals in terms of their abilities to see others, and be seen, as beautiful, empowered, and autonomous.”

On opening night Friday, the audience was ushered into the Vanderhoef Theater, where a series of chairs and large, flat panels sat on the stage. “Jointedness” began in the darkened theater, followed by a spotlight on Galin, who was wearing a blue jumpsuit lacking an arm and leaning against an exit door. She pressed the door open and pounded against it as it shut. She then walked around the theater, smiling, shaking hands and introducing herself politely to a few audience members. Galin’s recitation of Shakespeare’s soliloquy while gracefully jumping onto and off chairs was poignant, but her anguished repetition of various lines while swinging an orange extension cord around her head was definitely the most memorable, and tense, moment of the piece.

The second portion of Galin’s performance involved the audience. People were asked to leave their seats and walk around a set consisting of several tall white panels. Inside the panels were a creaky wooden desk and chair and performer James Marchbanks. At times the room was completely silent, at others several tracks played in the background. The beauty of the piece was created by the swirling effect of the audience milling around the panels coupled with the shadows of the lights against the white panels.

The third and final portion of “Jointedness” began with Galin in a red satin gown singing the “To be or not to be” soliloquy from the theater balcony. Three dancers, dressed in outfits that combined blue jumpsuits with red gowns, swayed to the sound of her voice as Galin climbed down from her perch using a cargo net.

While Galin’s work might not be the easiest for theater novices to interpret, she does offer some enlightenment as to the meaning of her piece. Her notes in the performance program state, “My title refers to my interest in both literal and metaphorical joints. As a dancer and bodyworker, I prize physical articulation. As a philosopher and citizen, I value moments of conceptual jointedness: points of collaboration, transformation and change … I refer to [my pieces] as ‘Presence Tests.’ Presence, meaning a very high level of bodymindspirit awareness in relationship to an audience and a space … Two of the pieces are ‘studies.’ By this, I simply mean that they function as different ways for me to engage with the ‘To be or not to be’ speech, using different tools.”

The second performance for the night was “Dances for Non/Fictional Bodies.” Audience members returned from intermission to four performers lying flat on their backs. The set was a collection of various bizarre materials, ranging from a bathtub to a nude female mannequin scattered all over the stage. The lights dimmed and the sound of breathing was heard as a silver radiation suit bearing forearm crutches slowly crossed the stage. As the piece gathered more energy, the performers on the floor sat up and began working on various tasks. Some undressed completely while others dressed up in outfits such as a yellow rain slicker and roller skates. As the piece progressed, the performers’ movements became livelier and there were even a few musical numbers, including a karaoke rendition of The Doors’ “Light My Fire.” The high point of the performance was when a male performer emerged from the bathtub wearing a child’s pink bunny slipper over his genitals.

Overall, “Dances for Non/Fictional Bodies” portrayed a mixture of emotions. There were humorous moments like when a male performer did a striptease and finally removed a tiny thong to reveal a blue penis sock. People stifled giggles, unsure if laughter was an appropriate response. There were also beautiful moments: Classically trained singer Claire Cunningham sang a piece accompanied by a man sitting on a toilet playing bass guitar. David Toole inspired a feeling of triumph in the audience when he demonstrated the power and elegance of dancing with his arms. There were also distinctly gloomy periods when the lights were dim and the performers’ movements slow and melancholy.

While the mixture of somewhat weird props and costumes might seem odd, the whole point of the piece is to celebrate difference and challenge the way the body and the imagination interact. In the performance program, Curtis claims his piece is all about “a meeting of diverse bodies and performance practices. The range of shapes and styles of training that make up our bodies is broader than in many ‘dance’ based companies. Our differences force us to question how we imagine ourselves and each other and to imagine and negotiate new ways of dancing and playing together, not in spite of, but actually in celebration of, those differences.”

The double feature of “Jointedness” and “Dances for Non/Fictional Bodies” continues Feb. 19-21. Be advised that the performance does contain nudity.

Photos courtesy of Kristine Slipson

'Fiction' creating waves at the Capital Stage

2010-01-31T03:10:56Z

Trust and betrayal took the stage Friday with the opening of "Fiction" at the Capital Stage.

The play by Steven Dietz, follows a dramatic love triangle that took the audience on a trip through the characters pasts.

"Fiction" is about married writers Linda and Michael and how their lives were not what they seemed. Linda finds out she is dying and at her request, is allowed to read her husband's journals since he will read hers once she is gone. From there, the plot twists and turns, and as it moves between the past and the present their diaries reveal bits and pieces of their lives.

The play keeps the audience guessing, unfolding the truth with each scene.

I was expecting a more serious play but was caught off guard when the opening lines had me laughing. The humor throughout the script made "Fiction" enjoyable. But the play did have serious parts, including those regarding a women named Abby who emerged from the pages of Michael's diary. They made the action gripping and on the edge of your seat.

The language in "Fiction" was sophisticated while the lines were witty and thought provoking. It was written from the viewpoint of two published writers, so the metaphors and quotes from famous pieces of literature represent their creative world.

"Fiction" was directed by Peter Mohrmann. Janis Stevens and Eric Wheeler portray Linda and Michael, and Stephanie Gularte plays Abby. The actors show the struggle of reliving the past. The chemistry between the performers, especially between Stevens and Wheeler, made the play's themes of truth, betrayal and suspicion tangible.

In addition to "Fiction" being funny and entertaining, it provides a good look at relationships and human nature.

The play runs through Feb. 28, Thursdays through Sundays, at the Capital Stage, aboard the Riverboat Delta King at 1000 Front St.

Recommended for mature audiences.

Tickets are $12-$32.

Advance purchase recommended online or through the Box Office (916) 995-5464

Photo Credit: Charr Crail

Actors from left to right: Stephanie Gularte, Eric Wheeler, and Janis Stevens.

'Fiction' tells the truth about relationships

2010-01-27T02:09:48Z

Capital Stage is testing the boundaries of trust and suspicion in its new provocative drama "Fiction" by Steven Dietz.

The theater's description of the play tells of two married writers, Michael and Linda, who decide to read each others' diaries and find that their relationship is not as open as it seems.As a woman emerges from the pages, the realization that trust and betrayal both exist begins to change the way they understand the past and the present.

Production designer Jonathan Williams describes the twists and turns of "Fiction" best with a line from the play: "The lies begin when we lift the pen."

Dietz has written over 20 original plays since the 80's, many of which revolve around the theme of betrayal.

"Dietz is a vibrant voice in modern theater" Williams said

The play was selected for the Capital Stage because it falls into the theater's long-standing tradition of bringing newer works to Sacramento.

"'Fiction' is a highly theatrical piece told from the present, reflecting," Williams said.

Capital Stage's production is directed by Peter Mohrmann and performed by Janis Stevens, Eric Wheeler and Stephanie Gularte.

The play opens Friday and continues through Feb. 28 at the Capital Stage, which is aboard the Riverboat Delta King at 1000 Front St.

Performances are Thursday through Sunday and recommended for a mature audience.

Tickets range in price from $12 to $32 depending on the show's date and time.

Purchasing tickets beforehand is recommended.

Picture from Capital Theater

'Boom' Opens with a Bang!

2010-01-12T04:37:13Z

When answering a personal ad promising ‘a night that will change the course of mankind’, expect a few disappointments. When Jo and Jules hook up in B Street Theatre’s current production of ‘Boom’, written by Peter Sinn Nachtrieb, their disappointment in each other is the highlight of their evening. Jo, played with an angry intensity by Sarah Aili, wants the human connection she’s never had…or, rather, she wants to have had a human connection; best get it over with! Jules, played by Peter Story, has a bit loftier goal. He wants to be the savior of all mankind and the father of all future generations! One small problem though; he can’t really…um…perform. “ But”, he’s quick to point out, “it’s nothing that a bottle of wine and a Jake Gyllenhaal mask couldn’t solve”. If all else fails, he’s got the savior’s best friend-the turkey baster!

Story and Aili play off each other like seasoned pros, and director Michael Stevenson guides them through their courtship with finesse, giving each a chance to shine. There’s comic nuance in both performances, and Aili, especially, can blow the roof off with her laser-focused anger. You don’t want to meet her in a dark alley!

There are five other characters in this little romantic comedy. Four fish, which have helped Jules discover that the Earth will be destroyed by a fiery comet sometime in the future, and a God-like being “with no power” named Barbara, who controls the action from billions of years in the future. Barbara is played by Jamie Jones, a B Street veteran, and it may have been tempting to just call this ‘The Jamie Jones Show’. She twinkles and shines as the far flung descendent who can’t finish a sentence. But, as I’ve said, these folks are pros, and the story of how Barbara came to be, from this night of disappointment is a trio, not a solo, and they play their instruments masterfully. (One beef though, and it’s a small one: they talk about four fish being in the tank on stage but from where I was sitting I only saw one-a big Styrofoam thing tethered to the bottom. It’s a real tank with real water, and I don’t know how many fish in the area are members of Actor’s Equity, but couldn’t they put real fish in the tank? If one of them missed their cue, it wouldn’t be any worse than the one that just sat there. I’m just sayin’…)

‘Boom’ was written by Peter Sinn Nachtrieb and it follows similar themes favored by the author in other works such as ‘Hunter Gatherers'-society’s collapse, and the rebuilding of the human race. After centuries of playwrights obsessed with where we’ve come from, it’s refreshing to hear one questioning where we’re going. It’s not an uncommon theme in literature; Kurt Vonnegut Jr. explored it in his novel ‘Galapagos’. In it, as in ‘Boom’, our legacy lives on, and in ‘Boom’, as in ‘Galapagos’, it’s probably not the legacy we’d prefer. “But it’s all ours”, as Barbara would say. “Let’s all just --- !“

Nachtrieb’s humor is bawdy and irreverent, and more than a little wicked. His character development is thoughtful, and his storytelling is razor sharp. He could very well be this generation’s Joe Orton, pending the company he keeps…

Look for Capital Stage’s mounting of Nachtrieb’s ‘Hunter Gatherers’ in May.

B Street Theatre is located at: 2711 B Street in Sacramento.

“Boom” By Peter Sinn Nachtrieb
January 10, 2009 - February 21, 2010Previews: $12
Tickets: $22–$30
To purchase tickets, call the box office at (916) 443-5300.
Showtimes:
Previews:
Jan 9 @ 5pm
Jan 10 @ 2pm

Showtimes:
Tue @ 6:30pm
Wed @ 2pm & 6:30pm
Thu & Fri @ 8pm
Sat @ 5pm & 9pm*
Sun @ 2pm
*Call to confirm dates for these showtimes

Joe Turner's Come and Gone - A Free Staged Reading

2010-01-06T01:15:57Z

STC Presents a special staged reading of one of the country's most cherished playwrights.

Battling themes of immigration and discrimination while in search for a lasting and true identity, the characters of "Joe Turner's Come and Gone" cross paths at a Pittsburgh boarding house where their journies are exposed and questioned as they embrace their deeper ancestral connections and work to transcend the trials of slavery and exploitation in an evolving America.

"Set in 1911, and the second in the series of Mr. Wilson’s 10-play cycle of the African-American journey through the 20th century, “Joe Turner’s Come and Gone” is about nothing less than the migration and dispersal of a race and culture, searching for an identity and home." Ben Brantley NY TIMES

Sacramento Theatre Company Mainstage
Friday, January 15th 8 PM
Saturday, January 16th 8 PM
Sunday, January 17th 2 PM

**This is a free event and seating is limited.
**Please call in advance to reserve tickets: 916-443-6722

STC Adds 3 More Performances of its hit CINDERELLA!

2009-12-24T01:31:18Z

It wasn't long ago that we were all hankering about in excitement (chaos, really) about bringing back, once again, our notorious production of "Cinderella"... and now here we are, days before Christmas, selling out shows and reaching out more than ever to gain a new audience of eager faces, young and old, to play along with us in the magic that is our beloved spin on the classic fairytale.

Added performances are:

Sunday, December 27th - 7 PM
Tuesday, December 29th - 7 PM
Sunday, January 3rd - 7 PM

Call the box office now for the best seats available. 443-6722. And don't miss this holiday romp at the Sacramento Theatre Company

Featured Above: Brian Rodda, William Elsman, Michael RJ Campbell.

STC's Cinderella fun for kids of all ages

2009-12-07T06:15:57Z

Saturday was opening night for Sacramento Theater Company's holiday hit, "Cinderella” Imagine British pantomime, a vaudeville act and musical comedy with a little Beach Blanket Babylon thrown in.
The show is definitely interactive. Director Peggy Shannon started things off by having the audience do a warm-up by yelling back at the characters. And the characters don't just address the fourth wall, they blast through it.

The plot is well known, but in this version a lot of topical humor and inside jokes are thrown in. The acting is excellent; many of the actors have appeared in previous STC productions of "Cinderella." This includes Michael RJ Campbell as Goneril and Brian Rodda as Regan, the evil stepsisters. William Elsman plays the even more evil stepmother, completing the drag trio. The three chew up the scenery. Many of the actors are or have been members of STC's Young Professionals Conservatory and "Cinderella" gives them a chance to shine.

Book and lyrics by Kate Hawley are based on an original concept by Paul Whitworth. Both are from Shakespeare Santa Cruz. The lyrics are greatly enhanced by Sacramento composer Gregg Coffin’s music. The actors' singing is spot-on, capturing the mood of each song. Two performances stand out: Hilary Wells as Cinderella and Brad Bong as her best friend, Buttons. Both have beautiful voices and delivered great performances. They are good examples of the quality of STC's Young Professionals Conservatory.

Shannon's directing moves things along. The only point when the action slows is the drawn-out scene of trying on the glass slipper. Well,slow for the adults maybe, but the kids were jumping in their seats for a chance to try on the slipper. Three young boys in the next row bounced up and down, waving their arms for a chance.

The sets by Giulio Perrone look like a pop-up storybook, with costumes, lighting and even the wigs adding to the magic. The three musicians sound like a small orchestra.

The plot and intrigues, the mice, dancing sheep and soft-shoe dancing bear added up to a lot of fun for all. And for the Cinderella in all of us, don't forget $5 to buy a tiara before the show.

"Cinderella" runs though Jan. 3. Sacramento Theater Company, 1419 H St. 888-478-2849
Group sales, Ext. 120.

Santaland Diaries

2009-12-07T03:43:07Z

"I'm a 30-year-old man applying for a job as an elf," said the man in the gray hooded sweatshirt, looking less than thrilled about his new position.

It was Gary Alan Wright, telling the story of his elf alter ego, Crumpet, and the mischief he got into during his time in Santaland, the mall's winter wonderland. The stage looked the part, with a beautiful Christmas tree, toys and Santa's throne. The lone cast member of "Santaland Diaries" kept the people at the Capital Stage aboard the Riverboat Delta King laughing out loud at the play by humorist David Sedaris.

Wright transformed into Crumpet on stage, stripping down to his green knickers and candy-cane stockings. He accomplished this while explaining his elf training, complete with motivational cheers.

"Give me an "S! Where's my "A? How 'bout a big ol' "N? Did someone say "T?" Let's get a recall on that "A!" What's that spell? Santa! Who's the man? Santa! Come on elves, feel good about yourselves, let's raise the roof! Santa, Santa, Santa!"

The laughing audience obliged, yelling the chants and clapping.

Wright used the entire theater, walking up and down the aisles, squeezing into the rows of people and interacting with them as he passed. Wright told details of Santaland and its secrets, including tales of mothers who instructed their children to urinate in the fake snow in order to stay in line.

He detailed the craziness of Christmas Eve with an enthusiastic air guitar solo of "We Will Rock You" and a bad rendition of "Away in the Manger" that he said was requested by a persistent Santa of whom he wasn't fond.

"This is our naughty Christmas show," said Peter Mohrmann, marketing manager for Capital Stage. "Although we do have more family friendly shows like It's a Wonderful Life."

"Santaland Diaries" runs through Dec. 27 at Capital Stage, Riverboat Delta King, 1000 Front St. For more information visit the Capital Stage website.

"Cinderella" Returns to STC for the Holidays!

2009-12-05T05:19:39Z

The Sacramento Theatre Company's most popular show ever, Cinderella, is back and better than ever!

Artistic director Peggy Shannon describes the show:

"This version of the story draws on the traditions of British Pantomime, vaudeville and musical comedy. In England every year at Christmas, you can usually find a British production of a fairy tale that is produced for kids and adults. Usually men play many of the women’s roles and often women play the male leads. The production operates on many levels, just as our production of Cinderella does. There is the fairy tale for the children – often played with lots of physical humor and sometimes accompanied by an orchestra – and there is the double entendre in the dialogue that only the adults will understand and appreciate."

With an original score by local composer Gregg Coffin, this really is Cinderella like you've never seen it before. If you're looking for something fun for the holidays no matter what your age, come check out what promises to be a magical and hilarious evening for all.

Now - January 3rd at The Sacramento Theatre Company on the corner of 14th & H Street

Box Office: 916-443-6722
Or Buy Tickets Online

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.

New Helvetia Theatre's "Tick, Tick...BOOM" - Preview, interviews, and photos.

2009-10-20T05:35:31Z

Rehearsal photos by Paul Le and Tony Sheppard – taken at the Artisan, 1901 Del Paso Blvd.

“Tick, Tick…BOOM”
Book, Music, and Lyrics: Jonathan Larson
Script Consultant: David Auburn
Directed by Connor Mickiewicz and Erin island

New Helvetia Theatre officially opens its second full production on Saturday, with previews starting Wednesday, of “Tick, Tick…BOOM.” The show is by Jonathan Larson, who won three posthumous Tony awards and a Pulitzer for “RENT.” I had the opportunity to sit in on a recent rehearsal and it literally had me both laughing and crying uncontrollably (not at the same time).

The timing was also interesting after the recent movie release of Jane Campion’s beautiful “Bright Star,” a film account of the end of the life of the poet John Keats. “Tick, Tick…BOOM” chronicles a period in Larson’s life when he was struggling with little recognition, unsure of his future, just as Keats died prior to his work receiving the acclaim that was later associated with it. Ultimately, Larson died before the first full production of “RENT” and its success has rekindled interest in his other works.

“Tick, Tick…BOOM” stars Tristan Rumery, Nanci Zoppi, and New Helvetia’s Founder and Artistic Director Connor Mickiewicz, who also co-directed the show with Erin Island. Between numbers, I bounced a few questions off Connor, his deserves-to-be-proud mother Erin Mickiewicz, and Music Director and destined-to-be-legendary cabaret impresario Graham Sobelman.

Connor Mickiewicz:

SacPress: “RENT” has become well known through multiple productions from Broadway to High Schools, as well as a film adaptation, but “Tick, Tick…BOOM” is less familiar to most people. Can you explain a little about the show and where it fit in Jonathan Larson’s career?
Connor: He had started developing it before “RENT” and with the success of “RENT” and his subsequent passing – there’s this voyeuristic sentiment that drives through it. This musical could not exist without the success of “RENT” and I think if it had been the other way around and this musical had been produced before “RENT” it would have been a lovely, moving show but I think part of the reason that people are interested in seeing this show is knowing the story of Jonathan Larson and what happened with “RENT” – which is still playing in San Francisco and around the country.

SacPress: So what made “Tick, Tick…BOOM” a good choice for New Helvetia’s second full production?
Connor: One that it’s a three person rock musical – and a Sacramento premiere, which lives up to our mission. And it’s accessible for younger audiences as well as more mature audiences.

SacPress: And part of your mission is to produce shows that are less well known – and this would fit that bill.
Connor: This would fit that bill, definitely.

SacPress: You produced the extremely well reviewed “Hedwig and the Angry Inch” earlier this year, and you got to sit up in the booth and watch every performance, but you are producing, co-directing with Erin Island, and also acting in “Tick, Tick…BOOM” – how has the multitasking experience been different?
Connor: It’s completely different and I was so nervous going into it and just working on the show with Erin and Caitlin [Caitlin Sapunor-Davis], the stage manager, we knew from the beginning that the piece was going to have to be more collaborative because I was going to on stage. So it was almost more like a scene study and the actors, Nanci and Tristan, could suggest something – or if something was not right we would get together rather than them being on the outside. That has made…the show that I had in my mind three months ago is not the same show that we have today and we’re all the better for it. So it’s been stressful but also more rewarding.

SacPress: “Hedwig” may well have been the best reviewed show in town – I don’t think I saw anything that was less than the highest possible rating or commentary. Does that make coming out of the gate the second time easier or does that make it harder?
Connor: For a minute I thought that it was going to be harder – but in the end, the respect that the audience has now for the company from “Hedwig” and from “Celebration” [an earlier one-night, semi-staged production and fundraiser] - that’s what I’m interested in, watching the audience grow and develop. I stopped thinking what the critics are going to say about this production – I don’t know if they could have…or if they can top “Hedwig.” If they do, that’s amazing for us but I’m more interested from this point on in just growing the audience and growing the audience’s trust in the company, more than the critics at this point.

Erin Mickiewicz:

SacPress: What and when was Connor’s first foray into theater?
Erin: I love this story: He played competitive soccer for a number of years and when he was 12, he had to try out every year and he didn’t make and we got the news in the mail and he was devastated. So Kiera [Kiera O'Neil], his older sister, said I’m doing “Music Man” why don’t you do [that] – it’s a children’s theater company. So he did it and that was it, he just fell in love with it.

SacPress: This is a silly question that occurred to me – kids transition from being child actors with varying degree of success, or not. How is the transition for the stage mom – do stage moms ever “grow up” or is it much the same, albeit with less carpooling?
Erin: That’s such a good question [laughs]. Because I was involved before Connor was involved with Kiera mainly and then I was the Director of the Arts of St. Francis High School, so even when my kids weren’t involved I’ve stayed involved. So I have a passion for it myself. It’s a fine line though when to back off and with Connor going professional, with his own company, the whole family has been involved - but we still respect the fact that he has to make decisions that we need to stay out of.

SacPress: With Connor as a fifth generation Sacramentan, what does this mean to you and the family to see him doing this here?
Erin: In Sacramento? Oh, I just love it. Selfishly I love him being back from New York – I love that my other son’s here and he can be part of it – he’s a total jock but he really loves his brother. I think it’s fun for us because we didn’t get to see much of him in New York and I think this is really his calling. He’s always an actor first to me but I really do think he can pull this off.

Graham Sobelman:

SacPress: Your main project for most of the last year has been the cult hit midtown cabaret Graham-A-Rama. That’s on hiatus for a couple of weeks for “Tick, Tick…BOOM” so does this feel like a vacation or like work?
Graham: Work - but I love my job so…. [smiles].

SacPress: You work with a lot of the same people in multiple projects….
Graham: That’s why it doesn’t feel like…well, it’s a job but it’s also hanging out with my friends.

SacPress: How do you balance multiple projects in production and development?
Graham: A very detailed calendar and very little sleep!

The last few questions with Graham were squeezed into an extremely short break in the rehearsal, with about one minute to talk and we were walking back into the theater by the end of the third answer, but they still illustrate one of the secrets to the success of these productions: Not only is this a very talented group of individuals who have the skills and vision to pull these things off with great success, but they are doing what they love with people they love. Not all of us have the opportunity or benefit of a workplace environment like that, but at least we can witness it in action – and it certainly shows in their work.

“Tick, Tick…BOOM”
October 21- November 14
Performance Times:
Thursdays and Fridays at 8 pm, Saturdays at 2 pm and 8 pm
All performances at the Artisan, 1901 Del Paso Blvd., Sacramento, CA 95815
Gallery and café open 1 hour prior to show

Associated links for more information:
New Helvetia Theatre: www.newhelvetia.org
Paul Le’s photography and design: www.paperwhitedesigns.daportfolio.com
Graham-A-Rama cabaret: www.grahamarama.com