Newest articles and comments on The Sacramento Press written by Bill Burgua

"Water Falling Down" American Primere at B Street Theatre

2012-02-06T06:49:38Z

“Water Falling Down,” currently in its American premier as part of the current B3 Series at B Street Theatre, is the story of Dad and Son.

Dad is an elderly man loosing his mobility, at least under his own power, and is slipping into aphasia — “poor man’s Alzheimer’s,” as his son calls it. His wife of 30-some years died not long ago without, it seems, telling anyone that she was sick.

Son is a dutiful sandwich generation child with a son who won’t talk to him and a surviving parent that often does not make sense when he does talk. The only other “family” is ex-wive(s) who only seem to make his life miserable, leaving him to deal with Father on his own.

A common story for many boomers: trying to juggle career, family generations and some semblance of a life of one’s own. The difference here is the men are Australian and the twist is the old man goads his son in to taking him on one last trip through Europe like the trip of a lifetime he and mom had taken many years ago.

Australian playwright Mark Swivel’s play takes a caring but realistic look at its characters and their situation. He obviously has great affection for his main two characters. Swivel, who describes him self as a lawyer, strategist, and writer, is a very interesting person himself with two carer tracks. One is theater. The other is micro-finance and creating capital and credit for the poor.

The play is reminiscent of a genre from the late 1940s to early 1960s that were slice-of-life or realistic. Plays like “The Subject Was Roses” and “Marty” were plays that strove to give a look at social issues but not in an overt dramatic way. These plays were also vehicles for actors to show how wonderful they could be portraying everyday people.

David Cramer, who has appeared in numerous regional productions as well as television, gives the character of Dad, whether angry, sad, or being funny, a realistic, grounded feel. His Dad ranges from funny to pretty scary.

Kurt Johnson (“39 Steps,” “God of Carnage”), who has been performing on both sides of the lights with B Street for nearly 20 years, plays Son. Johnson beautifully portrays a man pushed to the brink of exploding, pauses and centers himself and then proceeds in the most loving way in his interactions with Dad.

Another 20-year B Street actor, director and writer, David Pierini (“Snow Queen,” "Juni B Jones...”), directs, smoothly moving his actors through numerous scene changes while maintaining their characters’ underlying humanity in each scene.

All the B Street production staff do their usual good job, including newcomer Ian Wallace’s set design that cleverly borrows parts from the current Family Series.

“Water Falling Down” is a good play, well acted and nicely staged written by a fascinating playwright.

Bill Burgua on "Ask the County Law Librarian -- Law Library Closing for Move; Re-opening March 1"

2012-02-06T03:41:51Z

Coral, hope your move goes smoothly and you new location works even better for your folks to serve the public

"Forbidden Broadway" + Cosmo Cabaret Cast = Hiliarity

2012-02-02T00:17:23Z

Cosmopolitan Cabaret opened with the September 2008 to September 2009 run of “Forever Plaid,” which remains the biggest success as a show. “Forbidden Broadway,” which opened Friday night, may just rival “Plaid.”

There are lots of similarities. Both have talented creators, lots of hysterically funny scenes, songs, costuming, props and more.

"Forbidden Broadway" creator and continuing writer, Garrard Alessandrini, aims his sharp pen at mostly easy targets but in incredibly funny ways. You may never have seen “Annie,” “Les Miserables” or “Lion King,” but are still very aware of them and lots of other Broadway shows through popular culture.

Both have four very talented actors, who understand and are so good at delivering the material. There are two men in “Forbidden Broadway,” Mark Ginsburg and Jerry Lee, and two women, Jessica Reiner-Harris and Melissa Wolfklain, all credited as “cast.”

New York transplant Ginsburg, debuting with California Musical Theatre and the Cosmo Cabaret does a Jean Valjean performed by an actor overtaxed by the wrong key among the many roles for which he received long ovations.

Lee, who has been doing great things (“In Trousers,” “Musical of Musicals...,” “They’re Playing our Song”) since his return to his hometown after graduating from Pacific Conservatory of the Performing Arts a couple of years ago.

I started to say “New to Sacramento,” but Reiner-Harris is a hometown actor who has been quite busy acting, it’s just that she has been acting elsewhere. Her daring-to-take-on-the-diva Streisand is one of the priceless moments in the production. Reiner-Harris is one of those great discoveries for her home town theater scene.

Back for a third time at Cosmo Cabaret is Wolfklain (“A Grand Night for Singing,” “Suds”). The lights will go up on Wolfklain as Annie, an over-the-hill Annie, and the audience begins to chuckle at just the first sight of her character. They end in fits of laughter by the end of the song. Wolfklain definitely charms with her third Cosmo Cabaret production.

In a “West Side Story” spoof, Reiner-Harris and Wolfklain do Chita Rivera and Rita Moreno as dueling stage version Anita verses film version Anita which had both the characters and the audience yelling AYE! AYE! AYE!

Musical director Graham Sobelman (“Graham-A-Rama”) brings out great musical performances and also performs the lively piano score.

The characters would not be complete without the very character-defining costume creation for each character by Alvin Colt, working with the hair, wig and makeup designs of Christine Conklin.

Colt, who had an astounding career in costume design starting in the 1940’s, has spent 15 years designing for “Forbidden Broadway,” receiving a Drama Desk award in 2005 while in his late eighties. The pictures speak for themselves in regard to Colt’s designs.

The same thing can be said for Conklin’s hair wig, and makeup design. This is also her third production at Cosmo (“Suds,” “Bingo”), while also designing for Music Circus (“Camelot,” “Oliver!” and “I Do! I Do!”).

With all those costumes and costume changes someone is needed to keep them in order and get the actors changed - often in record time - and that would be Gabriella Nance as costume coordinator and head dresser. Nance costumed “Plaid” as well.

Three long-time Cosmo Cabaret associates complete the experience of “Forbidden Broadway.” Michael Peters has created a minimal budget-friendly single set, yet it fits so well with the whole humor of the look of an Off-Broadway production. His design is assisted by fellow longtime Cosmo Cabaret associate Sally Slocum’s lighting. Robert Sereno continues to engineer the great sound of Cosmo Cabaret productions.

Pulling all this together is director William Selby. Sacramento Press contributor Barry Wisdom has an excellent interview with Selby in his preview of “Forbidden Broadway.”

“Forbidden” has something else in common with “Plaid” in that both have several creative folks that have long histories with their respective productions. Selby has been an award winning actor, assistant director and now director, of numerous productions of “Forbidden.” His sense of timing, especially critical with this humor, is great.

With “Forbidden Broadway,” everything - the songs, music, costuming and acting - is geared to make the audience laugh. The Cosmopolitan Cabaret production of the Off-Broadway phenomenon hits on all levels and should become a Sacramento phenomenon.

Reiner-Harris says it all in her bio.

“(She) wants to thank the ridiculously fun cast and crew for making her laugh until she cries and snorts.”

With opening night’s audience giving loud ovations for scene after scene, I would say the audience felt the same way.

“Forbidden Broadway” Cosmopolitan Cabaret California Musical Theatre
Through March 18th, 2012
Information and Tickets

Bill Burgua on "Broadacre Coffee debuts live music"

2012-01-30T21:48:51Z

Don't recognize the musicians but I do know that Broadacre has some of the best coffee in town.

"Make Em Laugh" Mines the Humor of Musicals at STC Cabaret

2012-01-28T21:01:32Z

Sacramento Theatre Company associate producer Michael Laun shakes up the STC Cabaret format with some good surprises. SacPress community contributor writer/photographer Barry Wisdom has a great preview of the latest show.

Changes included the type of theme. Many previous shows have centered around specific composers. “Make Em Laugh” which runs for a short four show run this weekend on the STC Cabaret Stage, is centered around the title subject. It is a collection of songs, many of which are very well known songs by extremely well known composers from timeless shows.

Many of the songs are also from “who wrote that”? Great song, but “what show”? Never heard of it. And it all works well together to create a fun musical look at what Broadway and pop culture has seen as humorous in our lives. No surprise, much of the humor revolved around relationships.

Much of the success of “Make Em Laugh” is due to the performance of this ensemble. They are excellent at turning a good song into a whole story. Each STC Cabaret show has a mix of performers familiar to the core audience and new performers. This show has a larger mix of new faces.

Leading off with Laun is Jessica Crouch fresh off her staring role in “Bingo” at the Cosmopolitan Cabaret, a role that caused this reviewer to use the “F” word: Fabulous! She sounds so beautiful while being so downright funny. She is especially great on “What Happened to My Song” from “Monty Python’s Spamalot.”

Laun is great on a very funny song called “Hawaiian Wedding Song” from a musical called, of all things, “When Pigs Fly.”

Joining Laun and Crouch from the STC Young Professionals Conservatory for “Make Em Laugh” is 14 year old first year student Devon Hayakawa. She gives a sophisticated performance beyond her years, starting with “Shy” from the tv musical “Princess and the Pea” made famous by Carol Burnett.

New to the ensemble are Robert Irvin, Christine Nicholson, and Madeleine Wieland.

Irvin is great on the Cole Porter hit “Miss Otis” and teams with Crouch on “Sue Me” from “Guys and Dolls” and Laun on “Honest Man.”

Nicholson is a hoot on “April in Fairbanks” and “When Your Lover Says Goodbye.”

Wieland opens with “The Boy From” a Sondheim song with a mouth full of words that she readily handles.

Since a lot of the songs are about relationships and the cast is heavily tilted to those interested in men a lot of the songs are about relationships with men such as “The Boy From,” “What Do You Do About Men?,” and “100 Easy Ways to Loose a Man.”

Also new to STC Cabaret is Sam Schieber, musical director and pianist playing with frequent performer, Kellen Garcia on bass.

Love clever lyrics from Broadway shows, both popular and obscure, performed by some great talent? Check out the remaining shows today at 2:00 and 8:00 pm of “Make Em Laugh.”

“Make Em Laugh.” Sacramento Theatre Company Cabaret
Last shows today
Information and Tickets

Bill Burgua on "NAG meeting tackles big issues"

2012-01-27T19:13:54Z

Kim, An excellent job covering this month's NAG. Observing you dilligently taking notes and following up with individuals at the end of the meeting, I felt that you would produce the informative, well balanced coverage you have.

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

2012-01-27T18:21:37Z

Great preview, Barry! I am so excited to be at opening night tonight. I would suggest that anyone that wants to have a great night or afternoon of theatre where you can't stop laughing to start looking for tickets to "Forbidden Broadway" now.

"West Side Story" Revival Another Huge Hit For Broadway Sacramento

2012-01-27T02:26:18Z

Wow! That is what I have to say regarding Broadway Sacramento's opening night performance of the current national tour of "West Side Story." The sold out house at the Community Center Theater suggests others agree. While it is beautifully staged, with wonderful singing anddance, and good acting, it is the material that is the star here.

The powerful music of Leonard Bernstein coupled with the equally powerfully words of Stephen Sondheim are enough to make "West Side Story" a show worth seeing.

Add in the choreography of original "West Side Story" director and choreographer Jerome Robbins, which can move from strongly ballet to strongly modern dance in a moment, and it's hard to beat.

All of this wraps around a story that goes back much farther than

Shakespeare and his Romeo and Juliet: the consequences can be deadly if you fall in love with the wrong person. Arthur Laurents' book moves the story to the low income west side of Manhattan of the 1950s with the racial tension and gang turf warfare between the newly arriving Puerto Rican immigrants and sons and grandsons of the wave of Irish and Italian immigrants that had proceeded the Puerto Ricans.

Interestingly, Laurents who directed the Broadway revival this production is based on, did some tweaking of the original Broadway show. Most revealing is a much expanded use of Spanish by the Sharks both speaking and singing. Laurents used Lin-Manuel Miranda ("In theHeights") to write the translation. Imagine though the idea of altering Stephen Sondheim's lyrics!

Laurents also made some changes to iconic choreographer Robbin's original choreography with the assistance of Joey McKneely.

"West Side Story" which was so groundbreaking in 1957 in so many ways remains a powerful and relevant work today. Some of this might be due to how "operatic" "West Side Story" is. The staging of this productiontends to highlight the operatic elements of the play.

The scenic design by James Youmans has a very opera production feel to it in a very good way. The scenes and scene shifts are very much enhanced by Howell Bunkley's lighting design. There were several scenes where the lighting effect would be described as dramatic.

As for costuming, the Sharks really have it over the Jets in David C. Woolard's costume design. Both the Puerto Rican men and the women know how to dress up for a party. The costumes also enhance the powerful athletic movement of the actor/dancers. From the the whirling color and movement of the women's dresses to the form fitting costumes of the men the costuming adds more color and movement to the dance while beautifully displaying the human form of gifted dancer/performers. As a nod to realism the Jets male gang members are in the iconic gang look of New York in the fifties of jeans, ragged Ts, and tennis shoes.

All this is served up with live orchestra led opening night by John O'Neil.

The cast of strong triple threat performers in dance, voice, and acting were led by Ross Lekties as Tony/Anton and Evy Ortiz as Maria.

Lekties and Ortiz each have a beautiful voice and are wonderful to hear singing the great Bernstein-Sondheim solos of their characters.

Together on the great duets of their characters such as "Tonight" and "One Hand One Heart," they sound even better. Even in a quintet of "Tonight" by Tony, Maria, Anita, the Jets and the Sharks, they hold their own.

That quintet pulled out all the operatic stops in many ways including Maria arriving on the scene on her balcony as it enters above the stage from the wings. The scene is followed by the most dramatic of the scene changes as the highway and chain link fences come into place for the rumble.

Michelle Aravena and German Santiago as Anita and Bernardo and Drew Foster as Riff are equally talented stars with Lekties and Ortiz.

Every thing about this production is geared towards taking one of the most enduring works of story, music, voice, and dance that powerfully tells an age old story of forbidden love and transporting it to what was the contemporary time of its creators. What is amazing is how a story set in the middle of the last century and dealing with social issues of that time, both greatly entertains and brings up numerous issues still relevant today.

In the end though it is the excitement of holding a ticket (if you are lucky) to what will be a fantastic evening of entertainment. The
excitement of the crowd. The curtain goes up and you are treated to a most enjoyable performance of an American classic.

Bill Burgua on "STC Pollock Stage "Ruthless!-The Musical" Ruthlessly Funny!"

2012-01-21T06:25:55Z

Much thanks to Barry Wisdom for all of the great photographs he took for this review!

STC Pollock Stage "Ruthless!-The Musical" Ruthlessly Funny!

2012-01-21T06:18:48Z

Ah, the child actor. So much competition, so much drive, so many stage mothers and many others, as we shall see, pushing. Oh, and then having to survive the bad reviews.

But when a child actor makes it big, there is lots of money and other perks to go around. They say for a child actor to succeed, they and everyone supporting them need to be ruthless. But ruthless to the point of killing a rival? For the lead role in the third-grade play?

The center of attention in “Ruthless! The Musical” which is just ending its first week of sold-out and nearly sold-out shows at the Sacramento Theatre Company’s Pollock Stage is Tina Denmark. Right behind Tina is Sylvia St. Croix, child talent representative, who is going to see that Tina makes it no matter the obstacles. Not so sure is Judy Denmark Tina’s mother, a self-described talentless housewife with a husband constantly on the road for business. No problem for Tina’s grandmother, a theater critic with a nasty reputation. The other characters are the aforementioned obstacles in the way of Tina’s rise to stardom, a trajectory from starring in the third-grade play to starring on Broadway.

The book and lyrics by Joel Paley are ruthlessly funny. Marvin Laird’s music successfully taps into several well-known Broadway musical motifs. This is a show that evokes the famous stage moms and their songs from Broadway and film to evil child horror film such as “The Bad Seed.” If ever a show fits with STC’s theme this year of “A Season of Mystery, Music & Mayhem,” this is it, where all three abound.

First billing in the cast goes to Michael RJ Campbell for the role of Sylvia St. Croix. Campbell is well known around Sacramento for the many roles he has appeared in, especially at STC, most recently in “A Christmas Carol.” Closer to “Ruthless!” would be last year’s role as Jitter in “Musical of Musicals:The Musical” or Campbell’s several appearances over the years as Goneril, one of the ugly stepsisters in “Cinderella.”

The role of Sylvia St. Croix, according to lore, was not originally conceived to be a male actor’s role, but actor Joel Vig’s audition for the original 1992 off-Broadway show was the best, and it has now become a tradition.

Campbell’s performance far transcends the mere humor of a woman being played by a man dressed up as woman. He truly captures the essence of who Sylvia St.Croix is as a character and uproariously displays her humor, while doing a nice job of belting out her songs.

Mom, Judy Denmark, is played by Andrea St. Clair in her Sacramento Theatre Company debut. St. Clair’s performance is a hoot as her character morphs from the often clueless and easily outmaneuvered Judy to the ruthless, demanding Ginger.

Lauren Metzinger and ~~Julie~~ Jillie Kate Randle alternate playing Tina. Metzinger is in her third year in the STC Young Professionals Conservatory. She appeared on the STC Mainstage in last season’s production of “Brighton Beach Memoirs” as well as many Music Circus shows. Randle, now an 11-year-old sixth grader, started out with El Dorado Musical Theater at age 7.

Metzinger played Tina in the show being reviewed. She performed with the same aplomb as her much more experienced fellow actors. She also seemed to have a little wink and nod to knowing what Tina faced, being a young actor herself.

Becky Saunders was most recently seen at STC in the Pollock as the widow Lili Harrison in “Six Dance Lessons in Six Weeks.” She stretches her acting muscles as three different very funny characters: Miss Thorn, the somewhat deranged elementary school drama teacher; Lita Encore, the heartless critic and adoptive mother and grandmother; and Emily Block, the journalist for an avant garde theatrical magazine with more than just lesbian tendencies.

Netty Carey, another young actor with a growing performance résumé plays Tina’s archrival, Louise Lerman, and Eve, as in “All About,” Ginger’s backstabbing personal assistant.

Producing director Michael Laun’s direction is big, bold and brassy, as this production deserves. As a self-described musical fan, Laun’s affection for the show is obvious.

Graham Sobelman, of Graham-A-Rama fame, is the musical director working with frequent collaborator, pianist Erik Daniels, who gives his usual excellent performance, here while hidden in the scenery.

With this range of women’s costumes, many outrageous, veteran STC costumer Jessica Minnihan has lots of fun creating outfits that help create the humor of these characters.

A big shoutout to the wigs created by Nila Coats. They are as much a part of the characters as their stories.

Jarrod Bodernsteiner has created another set design (actually two sets here) for the Pollock Stage that most of us would be happy to live in. You want Texas suburban ranch house chic or New York City penthouse modern? That is what you get with “Ruthless!”

The show is nicely lit with lighting design by Ron Madonia, who has already been described as a “Northern California star lighting designer” this week.

“Ruthless! The Musical” is proving to be highly popular, and it is not surprising. Everything here, especially a great cast with a well-written play with lots of humor, have created a production that is ruthlessly funny.

“Ruthless! -The Musical” Sacramento Theatre Company
Through February 19, 2012
More info and tickets

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

"The Giver"-B Street Family Series

2012-01-20T07:55:40Z

The B Street Family Series opened, “The Giver,” an eyes wide open look at how “Utopia” can become “Dystopia.” For an excellent introduction to the show see Barry Wisdom’s Sacramento Press preview of “The Giver.”

Long time B Street Company members Elizabeth Nunziato and Jason Kuykendall are Father and Mother, the adult component of the mandatory two adult two children family unit. They are so good at creating this feeling that under the veneer of happiness is a pervasive fear of the consequences of differing at all from the norm which flares up anytime the children question something.

Nunziato also plays the elder that announces the role that has been selected for each child as they cease to be children and prepare to be adults - as they become “Twelves,” a term that may or may not be related to age or grade in school.

The female and younger child of the family unit, Lily, is played by Brittni Barger, who came to B Street in 2009 as an intern and has now become an Equity actor. Barger shows off her skill playing a character that is at the youngest end of the age range of characters she is great at performing.

She is joined by current B Street acting interns Erika Lecaj as Fiona/Rosemary and Brandon Alexander as Asher. They convincingly move from carefree childhood through the ceremony to become “Twelve” and move on to responsible adulthood and apart from each other.

Lily’s older brother Jonas, also becoming “Twelve,” is played beautifully by east coast educated Grant Jordan in his B Street Theatre debut. Jordan is wonderful as the young man that is chosen to become the Receiver of Memory by the Elders and will detach himself from his family and friends to be the one to hold all the memories, good and bad, for civilization.

Bay Area actor Gary S. Martinez gives a magical performance as the former Receiver of Memory, now “The Giver” of the title, who has failed once before in transferring the memories to a new Receiver. Sacramento theater goers don’t often get to see Martinez’s performances except for his indelible performance as “Gary” in “Every Christmas Story Told-and Then Some” at Capital Stage for the last six years. The role of The Giver could not be more different than what could be described as clowning around in “Every Christmas...” The Giver is much closer to an Albus Dumbledore. He must transmit all the memories, but in a way that the young man can absorb and handle.

Laura Baker’s direction moves from scene to scene at a teen/pre-teen pace but pauses in each scene to have her wonderful ensemble of actors beautifully deliver some profound things to think about.

To me there isn’t a preachiness to Eric Coble’s play, but more of a wide-eyed look at the demand for sameness, which even if for supposedly good reasons, can have fatal consequences.

Coble based his play on a novel by highly popular children’s writer Lois Lowry. Lowry has been travelling the world since she was a child and has undoubtedly been exposed to more diversity than most.

Northern California star lighting designer Ron Madonia’s lighting greatly aids in the shift from scene to scene and setting the mood, especially true in a play set in a world with no sun.

Ian Wallace, new to B Street, has done a fun, interesting and inspired job with this set that beautifully shifts from all the same to the impending explosion of memory and knowledge of difference, good or bad.

I would highly recommend that parents see the show with their children over ten, as recommended. I would suggest that parents be ready for their children to ask questions. I would also highly recommend that adults who love attending live theater see “The Giver” for the excellent thought provoking theater it is.

“The Giver” B Street Theatre Family Series
Saturdays and Sundays at 1:00 and 4:00 pm through February 19, 2012
More info and tickets

Beatlemainia Strikes Sacramento With “Rain: A Tribute to The Beatles” at Broadway Sacramento

2011-12-29T05:40:16Z

The latest Broadway Sacramento show “Rain: A Tribute to The Beatles” opened to a nearly sold out house at the Sacramento Community Theater Tuesday evening.

“Rain: A Tribute to The Beatles” opens with archival film of the Beatles’ first appearance on “The Ed Sullivan Show” projected on two large screens flanking the stage. As the curtain rises, the band breaks into a set of the earliest Beatles music. The audience breaks into screams.

This is followed by a set of more early music timed to the Beatles’ Aug. 15, 1965, Shea Stadium concert. The two large screens, plus a much larger screen at the back of the stage, and some props and lighting effects set the scene very well. It is still interesting after all these years to see the effect the Beatles had on their fans with large numbers of girls fainting and being carried off.

The curtain drops for each scene change while programming on the big screens set the tone for the following scene. As the show moves into “Sgt. Pepper’s Lonely Hearts Club Band” and the psychedelic period that followed it, everything becomes, well, incredibly colorful, including the great reproduction costumes of Sgt. Pepper and the psychedelic light show.

While modern video and lighting play a big role in recreating the feeling of Beatles concerts, “Rain” is all about the music. The creative team and cast are all about recreating the music to as exacting precision as possible.

The band Rain, or Reign as they were originally known, started out as a cover band in Southern California that loved doing covers of the Beatles more than anything. They evolved into doing nothing but Beatles covers. They may have remained a simple cover band if not for the success of “Beatlemania” on Broadway. When that show closed, several cast members joined “Rain” and it eventually it became an official spin off of “Beatlemania.”

The current cast consists of Steve Landes as John Lennon, Joey Curatolo as Paul McCartney, Joe Bithorn as George Harrison and Ralph Castelli as Ringo Starr, along with Mark Beyer on additional keyboard and percussion. It is nearly impossible to single out any one of these American-born cast members. Besides having to perform vocals sounding exactly like their Beatle counterpart, they each have to play the full range of instruments played by that Beatle. Oh, and they have to speak with correct British accents when they speak to the audience. On songs that featured Lennon, Landes sounded hauntingly like him.

How much each performer looked like their counterpart varied from scene to scene, but Curatolo as McCartney really looked like him throughout the show. He has, in fact, won Paul McCartney look-alike contests over the years.

The “Rain” tribute runs through “Abbey Road,” the last album recorded by the Beatles. They perform over 30 Beatles songs, including some that were never performed live by the Beatles. The Beatles ceased to be a group on Dec. 31, 1970.

For much of the audience, “Rain” was a trip down memory lane. To the younger generations, it is a musical history lesson. Interaction with the audience between songs by the band made it clear that there were at least three generations or more in the audience. We were invited to sing and clap along. We were invited to dance in our seats. It was great fun to watch Boomers now in their 60s acting like they were still in their 20s.

“Rain” is a theatrical spectacle just as much as it is a concert of some of the the best music ever written and performed in the last century. There have been countless covers of Beatles music by performers of great stature over the years, but no one does their music as perfectly as the cast of “Rain.” If you never got to see the Beatles live, here is your chance. You will get a feeling of what the shows looked like, and you will get a perfect sound of what they were like to hear (probably better given the acoustics of today’s venues).

If you love the music of the Beatles, want a look back at another time or just want to know what all the fuss was about, don’t miss “Rain: A Tribute to The Beatles.” But do act quickly. The whole run is heavily sold and there is limited ticket availability.

“Rain: A Tribute to The Beatles” Broadway Sacramento
Sacramento Community Center Theater
Through January 1, 2012
More Information and Tickets

“It’s A Wonderful Life: A Live Radio Play” A Nostalgic Look Back at Capital Stage

2011-12-21T08:18:50Z

Among all the different holiday icons, one that stands out is the 1947 black and white film, “It’s A Wonderful Life.” It is a must-see event for many during the holidays.

Playwright Joe Landry, also known for his stage adaptation of the cult film, “Reefer Madness,” has taken the story of “It’s A Wonderful Life” and integrates it into his play, “It’s A Wonderful Life: A Live Radio Play,” as if the it had been performed as a nationally broadcast radio play prior to being turned into the beloved film that it is today. Capital Stage is in the middle of a very short run of the show.

Many Sacramento Press readers may ask, “What is a radio play?”

Long before today’s audio and video media streaming to your smart phone, prior to television, folks sat around their living rooms in the evening and listened to shows on the radio. A lot of folks listened to serial dramas or comedies that went on to find success on television. There were also a lot of plays that were adapted from other work or even created for radio.

Before the lights go down, the actors begin coming on stage, arriving to perform a new radio play for national broadcast in Studio A at WBFR in Manhattan. It is Christmas Eve, 1946. For the next hour and a half plus, we the audience have the experience of attending that broadcast as a studio audience member.

The first character to speak is Freddie Filmore, the first of more than a dozen characters the well known Sacramento actor Blair Leatherwood deftly juggles. Freddie is the announcer for WBFR and introduces the station, commercials and the play in which he performs several characters.

Greg Alexander, well known at B Street Theatre for his quick change character rolls, plays Harry “Jazzbo” Heywood, a radio theatre character actor. Heywood plays 16 roles in the radio show.

The female character actor for the radio show is Lana Sherwood, reprised by Julie Anchor. Lana and her flirtatious ways would have been considered “bad girl” behavior at the time. So was the behavior of the bad girl of Bedford Falls, Violet Bick, one of the dozen other characters that Anchor as Lana takes on.

The female star of the radio production, partially due to having only two roles in the show, is Sally Applewhite, who plays Mary Hatch Bailey as an adult and as a child. Kelley Ogden’s performance of Sally embodies much of the qualities of Mary Bailey, quiet determination with no fear of doing what she needs to do to keep things right.

The male star is Jake Laurents, ladies man, so sure of himself, and for good reason. Besides being good-looking, he is fabulously talented and does an amazing performance as George Bailey, the man who learns what his little town of Bedford Falls would have been like if he had not existed.

All the performers in “It’s A Wonderful Life: A Live Radio Play” are fun to watch and do a great job being both the actor character and playing the numerous characters the actor portrays. Jonathan Rhys Williams as Jake Laurents and Jake Laurents as George Bailey is really especially fun to watch.

“It’s A Wonderful Life” has remained popular for 65 years and the role of George Bailey is one of the most defining roles in Jimmy Stewart's long and distinguished film carer thus there is a strong public image of George Bailey looking and especially sounding like a young Jimmy Stewart. Williams captures this essence of George Bailey in his performance of Jake Laurents performing the role beautifully.

“It’s A Wonderful Life: A Live Radio Play” would be a pleasant evening's entertainment if it was only the nostalgia and fun of seeing a play about how live radio plays were performed. The great bonus here is the fact that play being performed is “It’s A Wonderful Life." Seeing this particular play and its message that continues to resonate all these decades is what makes “It’s A Wonderful Life: A Live Radio Play” a wonderful holiday entertainment.

“It’s A Wonderful Life: A Live Radio Play” Capital Stage On J Street
Thursday, Friday 3:00 pm and Saturday 11:00 am
More information and tickets

Bill Burgua on "Recruitment for 2012 City Management Academy ends Friday"

2011-12-08T01:25:18Z

Note: Kris Wimberly's phone number is (916) 808-6172. The number listed is for Vincene Jones, head of Neighborhood Services. While Vincene would probably be happy to answer your questions, she is a very busy person. So call one of us and we will answer your questions.

Recruitment for 2012 City Management Academy ends Friday

2011-12-07T23:01:19Z

The 2012 City Management Academy (CMA) starts on Wednesday January 25th, 2012. Applications are being accepted through Friday, December 9th at 5:00pm, postmarks are not accepted. Completed applications can be hand delivered, faxed or mailed.

If you have a interest in how the City of Sacramento government works this is with out a doubt the best place to learn. This is especially true if you are a neighborhood activist or want to help make the city work better for everyone.

"Anyone considering running for election for mayor/ city council or serving on any board or commission would be well served by participating in these valuable orientation "academies:" fifthgenerationsacramentan SacPress reader and frequent commentor.

If you want to learn more about the CMA read this SacPress article from a year ago or the Neighborhood Services website. You can also contact Margaret Mack Alumni, City Management Academy (2008) mmackdwc@yahoo.com or Bill Burgua CMA Alumni (2003) bill@sheiladog.com or Kris Wimberly Neighborhood Services 916-808-5072 kwimberly@cityofsacramento.org

Disclosure: I am an alumni of the 2003 City Management Academy and an active member of the group of alumni members that have volunterred to see that the CMA continues-with no cost to the City of Sacramento.

Bill Burgua on "The Sacramento Press on 'Insight'"

2011-12-07T06:56:33Z

You sounded very professional Brandon.

"Every Christmas Story Told (and then some!)" a New Holiday Tradition at Capital Stage

2011-12-07T06:43:14Z

Photos by Barry Wisdom

For many people there are certain holiday traditions that if they don’t get to experience them during the holiday season, it just doesn’t feel like the holidays. Capital Stage has started its own little holiday tradition of more than five years of presenting “Every Christmas Story Ever Told (and then some!)” which skewers all those wonderful holiday traditions.

Eric steps up to the podium, opens a large book and begins to read, “Marley is dead!”

Before he even starts to read there are titters that are growing into laughter in the audience. It is those who have made “Every Christmas Story...” at Capital Stage their holiday tradition. This Capital Stage production is much like a Monty Python skit. You may have seen it before and know what is coming but it still is just as funny or even more funny.

What everyone is starting to laugh at is that Eric can’t get through the first line of “A Christmas Carol” without an actors’ strike breaking out. Gary as Marley’s ghost wanders out, refusing to go on. They are soon joined by another ghost of Christmas, played by Peter, who also refuses to go on. It seems that both Gary and Peter are only in the production for the medical insurance but just can not do “Carol” one more time.

Promising Eric that they would get back to “Carol” at some point, the three go off taking on a litany of holiday traditions of stage, screen (big and little), as well as countries around the world “and then some!” all to the amusement of the audience.

All three actors have performed “Every Christmas...” several times at Capital Stage and work very well together.

Eric is Eric Wheeler, who has also appeared in several other Capital Stage productions, as well as stages throughout Northern California, in his more than 30-year career.

Gary is Gary S. Martinez, who is primarily a Bay Area actor but states that CapStage and this show is his home away from home for the holidays.

Peter is Peter Mohrmann, one of Capital Stage’s founders and marketing director. While Mohrmann often directs Capital Stage productions, this is one of the rare opportunities to see him on the stage.

While each actor’s character is easily identifiable and each has its own characteristics, all three actors do such a great job it is impossible to single one out.

Ron Madonia’s lighting design by Owen Smith and sound design by ~~Owen Smith~~ Brad Thompson add to the mood, as does Michael Coleman’s props and set dressing and Rebecca Redman’s costume design.

Another Capital Stage founder, Jonathan Rhys Williams, directs and also did the scenic design. Williams has successfully transferred the show from the stage of the Delta King to their new 2215 J Street Midtown home. He spoke after Saturday night’s opening night show about how interesting it was for him as a director to have a very different, larger space with the audience on three sides and so close to the stage.

“Every Christmas Story Ever Told (and then some!)” works even better than it did on the Delta King at the new J Street theater. There are also the updates that help keep the humor topical. The show is great for anyone old enough to have had exposure to holiday traditions. Besides, you don’t want to upset the youngest ones with the truth about Santa and a lot of other holiday traditions.

If you are looking for fun during the holiday season or want to start a new holiday tradition, you would be hard pressed to find a funnier show than “Every Christmas Story Ever Told (and then some!)”

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

David Pierini Adaptation of Hans Christian Anderson's "Snow Queen" Opens B Street Family Series

2011-12-01T08:08:19Z

Photos by Barry Wisdom

The magic of the theatre, the theater of magic. While great children’s theatre is a wonderful experience for children and adults any time of the year, it is especially magical during the holiday season.

The most recent opening is the B Street Theatre Family Series, “The Snow Queen.” The B Street premier is an adaptation of an 1845 Hans Christian Anderson story, “Sneedronningen,” which originally appeared in Danish. The production is a story of a sister, Gerda, and her brother, Kay, who live with their grandfather.

The adaptation was written by longtime B Street Acting Company member David Pierini. This is his fourth adaptation for B Street and follows “Pinocchio,” “The Princess and the Pauper” and “The Adventures of Tom Sawyer.” Currently Pierini is appearing as Lonny, one of the central characters in “Watching Wynter,” Buck Busfield’s holiday show on the B Street Mainstage.

The plot centers around the Snow Queen of the title, who wants to bring her coldness to the whole world. Her next victim is Kay, Gerda’s brother. The Snow Queen has made a mirror that distorts people to show only their ugly, mean sides. She breaks the mirror and allows shards to enter the hearts and eyes of her victims, including Kay, who runs away from home to the Snow Queen’s palace to be her prince and help change others to be cold-hearted individuals.

The audience is told right off that what they are about to see involves magic, and so it does - magic for good, magic for bad. It seems with all magic spells there is some sort of escape clause.

Will Gerda learn the magic words that release her brother and the others from the evil spell?

Gerda is played by Cynthia Zitter, a 2010-2011 B Street acting intern. Last season, she played Margot, Anne Frank’s sister, in “Extraordinary Things: Through the Eyes of Anne Frank” as part of the B Street Family Series and as Lauren in “Circle, Mirror, Transformation” on the Mainstage. Zitter has a lovely voice and did a good job on the musical numbers.

Kay is played handily by John Lamb, a B Street Company member who has frequently been involved with the B Street School Tours and the Family series. Lamb is no slouch on the adult side of theatre and has just finished the role of Sean in “The Walworth Farce,” the story of a horridly dysfunctional family, as part of the B Street B3 series.

Grandfather and three other characters, including a reindeer, are played by Ed Claudio. Claudio has been a producer, director, acting instructor, playwright and actor for over 40 years has been associated with the B Street Family series since its inception. It is quite fun to see an old master become multiple characters.

Amy Kelly also charms and amazes both children and adults portraying no less than four distinct characters starting with Raven, a common bird made magical by the ability to speak with the other characters through the magic of the Snow Queen.

Stephanie Altholz plays a princess and a robber maiden. As usual, Altholz does a great job performing temperamental characters. Her role as May in “Junie B Jones. Jingle Bells, Batman Smells,” at last season’s Family Series is a good example.

The title character is played by Maggie Hollinbeck in her B Street debut. She is well known around Sacramento for her performances on numerous stages and is strongly associated with her song performances at the wonderful Graham-A-Rama cabaret and New Helvetia Theatre Company where she most recently appeared as Charlotte, the central character in “Little Fish.” Hollinbeck has the perfect look for the Snow Queen, tall and regal in her snow white furs.

Jerry Montoya is the associate producer and director. “Snow Queen” features music composed by Noah Agruss, whose music is also featured with “Watching Wynter,” currently on the B Street Mainstage.

"Snow Queen" is a wonderful show for introducing classic literature translated to the stage in a meaningful way to young people. Yet the show stands on its own quite well as an entertainment for both the young and their older theater companions.

While the show it's self is great family theater it is only part of the excitement of attending what is refered to a children's theater from arriving and the level of excitement in the lobby to talking about the show on the way home. Their are all generations having a great time together.

I would also suggest that adults check with their younger theater companions to find out if they are interested in reading the original Hans Christian Anderson story. The story is available in the lobby for $10.

“Snow Queen” B Street Theatre Family Series
Saturdays and Sundays at 1:00 and 4:00 pm through December 31, 2011
Additional shows: Friday, December 23 @ 1pm & 4pm Tuesday, December 27 @ 1pm & 4pm Wednesday, December 28 @ 1pm & 4pm Thursday, December 29 @ 1pm & 4pm Friday December 30 @ 1pm & 4pm
Information and Tickets

Bill Burgua on ""How Long Has This Been Going On?" at STC Cabaret"

2011-11-21T16:33:05Z

Next STC Cabaret: Make 'em Laugh Broadway's Best Comedy Songs January 26-28, 2012

"How Long Has This Been Going On?" at STC Cabaret

2011-11-19T17:52:30Z

Performer photos by Barry Wisdom

"How Long Has This Been Going On?-A Tribute to George and Ira Gershwin"
opened the fifth season of cabaret at Sacramento Theatre Company
Thursday evening to an enthusiastic audience.

Although the Gershwin's music goes back to the 1930s and George died
tragically in 1937 at the age of 38 the music they created endures as
some of the best examples of the Great American Songbook. Ira Gershwin
went on to compose with several other lyricists living to the age of 87.

STC producing director, Michael Laun who created the cabaret series,
enlisted Jerry Lee ("Musical of Musicals the Musical!!,"
"Frankenstein"-recently closed at STC) one of Sacramento's best young
actor/singers to direct. While we don't get to hear Lee sing, he does a
nice job of staging the production and helped choose the musical
selections.

The show features over two dozen of the Gershwin's most popular songs
with only a few of their less known numbers. This is in part because
their vast popularity has made so much of their work is so well known.

With all his other responsibilities, the cabaret shows are the only
opportunity for Laun to perform and it is obvious that he is having a
great time as well as turning in a great performance. He is also very
generous with giving the other performers lots of performance time.

Tevye Ditter is making his STC debut with "How Long Has This Been Going
On?" He has appeared in many of the best community theatre productions
in the Sacramento region and has been nominated for and won several Elly
Awards. Ditter has a very nice voice and did a good job on several solos.

Also debuting at STC is Miranda Lawson who has performed most of her roles outside the Sacramento region, most recently as Gary Coleman in the great musical "Avenue Q." She is a great find for the STC Cabaret. Her obvious affection for the material is part of her excellent performance.

Traditionally the STC Cabaret productions feature a performer from the
STC Young Professionals Conservatory. For this show it is Christine
Miyashiro. The level of professionalism and the quality of performance
these young people exhibit is astounding and Miyashiro is no exception.
She has a beautiful clear voice and nice delivery.

Nanci Zoppi is probably the best known Sacramento actor/singer in the
production. She has performed at the Cosmopolitan Cabaret, B Street and
New Helvetia Theatre among other local stages. Along with director Lee,
Zoppi is a popular performer at the very popular Graham-A-Rama Cabaret
shows. She is especially good on songs from one of the Gershwin's most
famous works the opera/musical "Porgy and Bess", including "My Man's
Gone Now" and singing "Summertime" as both opera and jazz.

Music director and pianist is Erik Daniels. Daniels is a familiar
figure as musical director and or accompanist at musicals all over town
including most recently "Musical of Musicals-the Musical!! (STC),
"Little Fish" (New Helvetia Theatre), and "Anything Goes" (Music
Circus). The Gershwin compositions in this show definitely gives him
something to sink his teeth in.

Daniels is joined by bassist Zack Sapunor who has also appeared in "A
Christmas Carol" and "Always Patsy Cline" at STC. Along with
performance with theatres in the region he is the bassist with his Sammy
nominated jazz duo The Afterlife at The Shady Lady on Wednesday nights.
Sapunor is especially great where he is featured on "Slap That Bass."

For anyone that is a Gershwin fan, "How Long Has This Been Going On?" is
a must see. For anyone that loves professional performance of some of
the best compositions of the Great American Songbook, they will have a
great time.

"How Long Has This Been Going On?-A Tribute to George and Ira Gershwin" Sacramento Theatre Company Cabaret

2 and 8 PM Today More Info and Tickets

"Watching Wynter" For the Holidays at B Street Theatre

2011-11-16T07:26:12Z

Photos by Barry Wisdom

“Watching Wynter” is the title of this season’s B Street Theater mainstage production for the holidays. As always, the play is written and directed by B Street producing artistic director Buck Busfield.

While Busfield’s shows have some sort of connection to the holidays, however tenuous, with this show the connection is even more minimal than past shows. This year’s production is about how family members relate to each other and to those around them, and how the holiday season can impact those relationships, making them more than a little crazy. As a playwright, Busfield is a master at making family craziness very funny.

At the center of the play are Lonny, an only child, and his mom in their Milwaukee, Wis. home. Lonny is long past when he should be living on his own and earning his own living. He plays video games day and night, only reads books on gaming strategy and tries his best to keep the outside world at bay. That outside world includes his mother. A few other serious issues complicate Lonny’s life as well.

His mom, a widow, tries her best to get through to Lonny and encourage him to get work and find a girlfriend. She rings true when she says she does this for him. She crosses more than a couple of lines in her quest to see that her son has the life she thinks he should.

Of course, she has issues of her own - like maybe her late husband wasn’t as great as she makes him out to be - and that there is a reason for what she believes is her poor health. Overall though, her life is centered around Lonny and his well-being.

In an apartment across the alley lives Wynter of the title. She is a young woman that works as a home healthcare nurse. We soon learn that she is just a quirky as Lonny, just in some different ways.

Next door to Wynter live Mr. and Mrs. Maccini and his elderly mother. A fun plot twist gets them involved in the lives of their neighbors.

Multi-talented David Pierini, who just completed his role in “God of Carnage” at B Street, plays Lonny. While the character is more than a little creepy, Pierini’s portrayal of Lonny allows the audience to see the humanity and humanness in Lonny and be able to relate to him.

Opposite Pierini is Los Angeles based actor Jayne Taini who is amazing as “Mom.” She is so funny as the devout Catholic mother who ignores all no’s - whether from her son, the young lady next door or anyone else she comes in contact with. Taini’s portrayal of mom is like a tornado that has blown into the family living room sweeping everything up in her path.

New York based actor Dana Brooke, who has appeared in several B Street shows including the recently closed “God of Carnage” opposite David Pierini, plays Wynter. Brooke also appeared as the equally strange Kellin Delahanty opposite Kurt Johnson’s DQ in last season’s holiday production, “Northport Cottage.” Her portrayal brings a definite believability to the strange Wynter.

Mr. and Mrs. Maccini are played by B Street Company members Kurt Johnson and Jamie Jones. Both are also well known from performances on several other Sacramento stages as well as their work in other dramatic arts media. They are a hoot as the “hot to trot” Maccinis. It takes little to send them off to their unseen apartment bedroom.

Scenic designer Steven Schmidt created a multi-level set that, with the help of Ron Madonia’s lighting, allows a look into each of the three residents’ lives. The set has a believable feel as rooms in an older section of Milwaukee.

Costumes by Paulette Sand-Gilbert, another B Street regular, enhance each character’s identity.

Incidental music is by Noah Agruss who has composed music for many B Street shows and numerous films.

In his program notes, Buck Busfield talks about what compels him to write about the characters he does while at the same time keeping in mind the wonderful actors he has to work with him.

“It can be fun for an actor to play someone quirky and strange, but instilling the character with honesty and depth presents a real challenge.”

Like previous holiday productions, Busfield as a playwright and director and his cast succeed in meeting the challenge. The winners are the B Street audience who get a lot to laugh about along with some things to reflect on during this holiday season.

“Watching Wynter” B Street Theatre Mainstage
Through December 31, 2011 More Information and Tickets

Lots of Funny Business in “Six Dance Lessons in Six Weeks” at STC

2011-11-15T03:27:49Z

“Six Dance Lessons in Six Weeks” by Richard Alfieri opened Saturday in Sacramento Theatre Company’s smaller Pollock Theatre.

Lily Harrison, a senior retiree living in a high rise view condo in St. Petersburg, Florida books a series of dance lessons from the Six Dance Lessons in Six Weeks company. Very quickly, Lily demonstrates how uptight and rigid she has become.

Enter Michael Minetti, the young man that the dance lesson company has sent to give Lily lessons at her condo. Michael’s problem is that he is extremely poor at self-censoring and blurts out whatever he is thinking.

Naturally, Lily and Michael start off on the wrong foot (pun intended) at the first dance lesson and succeeding lessons. Not far into the first lesson, she demands that he leave - as she does for every succeeding lesson. He persists and they go on to very funny results. Indeed, most of the audience was laughing hysterically throughout the show.

Playwright Alfieri has worked in stage, screen and television both in front of the audience/camera and in most all of the creative positions off-camera and offstage. Alfieri has also won multiple major awards in nearly every entertainment field. He has created a play that is very funny while also saying a lot about ageism, intolerance and sexism. It asks the question, why is it so hard for individuals to relate to each other?

Lily Harrison is played by Becky Saunders in her debut performance at STC. She is a very experienced actor who has performed on stages throughout the country. Harrison gives a strong performance as Lily, who knows how rigid and uptight she is but doesn’t know how to break out of the shell she has built around her and express her fears and losses to another human being.

Playing opposite Harrison is Justin Samuel Cowan as Michael Minetti, the young man that exhibits biting behavior, much of which Lily finds objectionable. Cowan is at an early point in his career. He will receive his BFA in Performance at Southern Oregon University in Ashland, Oreg., where he will return for his final semester after the closing of this show. While Cowan is a relatively new actor, he is quite familiar with the role of Michael Minetti, having portrayed the character at SOU. His Michael is both funny and charming as he ignores Lily’s protests and marches forward.

“Six Dance Lessons in Six Weeks” is Michele Hillen-Noufer’s first STC main season role as a director. She has over 20 years experience in professional theatre and has been with STC for seven seasons as an actor, singer, choreographer and director of the education shows. Arguably her greatest role at STC is that as the education director of the Young Professionals Conservatory that turns out so many great young actors.

Her great job of directing “Six Dance Lessons in Six Weeks,” in the difficult-shaped Pollock Theatre no less, should lead Hillen-Noufer to many other directing roles.

Assistant director to Michele Hillen-Noufer is Jodie George, a theater major with a Screen Actors Guild membership. What is interesting here is that George is a licensed psychotherapist in private practice. After seeing the play, it is easy to imagine how useful that background would be in looking at character motivation in this show.

Scenic Designer Mims Mattair is another newcomer to STC who has a great deal of experience. Mattair has done set and costume design for both opera and stage. Lily Harrison’s high-end condo is the set and I am sure that many audience members had the same thought, “I would love to move in here.”

It is always fun to see how the set designer deals with the quirks of the Pollock Stage and Mattair rewards with some fun design decisions.

Lighting design by Jarrod Bodensteiner and William Myers’ sound design enhances the experience of the set.

Jessica Minnihan, while most strongly associated with STC, designs costumes for stages throughout Sacramento. She surely had fun designing the costumes for Lily and Michael, as the costumes are an essential part of the humor in this production.

STC picked a very good play for the first main season production on the Pollock Stage. There is so much humor and humanity in “Six Dance Lessons in Six Weeks” and it comes across well in this intimate space where a lot would be lost on a larger stage. Saunders and Cowan have good rapport and work well off each other in both humorous and serious moments.

Given the excitement level of the audience members leaving the theatre, it is very possible that with “Six Dance Lessons in Six Weeks,” STC has a hit on their hands.

“Six Dance Lessons in Six Weeks” Sacramento Theatre Company

Through December 18, 2011 More information and tickets

Note: STC hosts a "prologue" forty five minutes before every performance giving audiences an opportunity to learn a little about the play, playwright and production.

The theatre has partnered with The Ballroom of Sacramento and will present free weekly 45 minute dance lessons every Thursday at 5pm at the theatre for six weeks. Classes begin on November 11th and will be taught by Deborah and Don Reno. The week of Thanksgiving the class will be held on TUESDAY 11/22 instead of Thursday. Call the box office at 916-443-6722 for reservations.

SARTA Clean Tech Showcase

2011-11-02T00:49:21Z

The Sacramento Area Regional Technology Association (SARTA), as part of its Clean Start initiative, held the 2011 Sacramento Clean Tech Showcase last Monday, October 24, 2011.

The showcase, entitled, “Green Innovation: Engine of Growth,” was the fifth annual showcase and was held in the California State University Sacramento Union.

SARTA CEO Meg Arnold welcomed everyone to the Union Ballroom and acknowledged the governmental leaders present.

Mayor Kevin Johnson, a strong supporter of bringing clean tech companies to Sacramento; Dr. Joseph F. Sheley, Sacramento State Provost and Vice President for Academic Affairs and Congresswoman Doris Matsui, a strong supporter of clean tech in Congress (via video); also offered their encouragement to those present.

The welcome was followed by a series of speakers, starting with Neal Dikeman, founding partner of Jane Capital; Brian Keane, President of SmartPower and Carla Peterman, California Energy Commissioner.

The morning session also featured the presentation of the first Clean Tech Innovator of the Year Award to Dr. Raju Pandey of Synapse. The Distinguished Honoree was presented to Al Rich of SolarRoofs.com. SARTA's award committee included: Jim Alves, SMUD, Jack Crawford, Velocity Venture Capital, Mark Henwood, CleanStart, Laurie ten Hope, California Energy Commisssion, Emir Macari, Sacramento State, Jay Schmidt, PG&E, Gary Simon, CleanStart and Bruce White, UC Davis.

In the afternoon, there were two tracks of panels and presentations with multiple presenters or panelists. Track A was “Driving Growth” and Track B, “Making Markets.”

At the same time, there was a large exhibition hall displaying examples of clean tech products and all the associated companies needed to develop clean technology. As with the presentations, both the technological side, including research by academic and private companies, and the technology that has been developed and is being marketed, were present.

Technology included solar panels, inverters to convert the DC electricity from the panels to AC for the grid, and plug-in stations for electric/plug-in hybrids.

Several companies displayed clean technology that sometimes gets lost in the flashy equipment. This included high powered computer technology that reduces energy consumption by better management of energy use.

Emerging or developing technology - such as new, more efficient biofuels research and better ways of capturing solar energy – was also present.

Several research groups had poster presentations with researchers present to explain their work.

The business side included venture capital companies, law firms, marketing and communications consultants, business parks and workforce development and deployment firms.

Besides business and high technology, there was very low-tech technology present as well. The Sacramento Tree Foundation was there to promote the planting of shade trees to reduce residential heat load.

Susan Frost with Alliance Mortgage and Marketing spoke about their program, which works with a partner company that flips foreclosed houses with an emphasis on refitting the houses for energy conservation. The organization can then offer buyers a more energy efficient home with a mortgage with a lower down payment.

Even with all the technology on display on the exposition floor, the big technology draw was outside the building on a nearby street. Along with electric cars on display by manufacturers, there were numerous privately owned electric cars brought by their owners. The owners enthusiastically spoke with attendees about their real life experiences owning and driving the cars. More about the cars and other electric transportation in a future article including a test drive of the latest electric car coming to maket in a future article.

While 2011 Sacramento Clean Tech Showcase is aimed at those involved in the industry from academia, the private sector and government. That said there was a lot to interest those in the general public that like to keep up on technology and any technophile would have been heaven at this event.

“Superior Donuts” Gets Capital Stage Off To A Great Start At Its New Home

2011-10-28T05:51:56Z

Capital Stage’s move from the Delta King to the heart of Midtown, while a great deal of work, seems to have gone smoothly. The new theater certainly fulfills the part of Capital Stage’s mission about performing “in an intimate, close up setting.”

Capital Stage chose “Superior Donuts” by Tracy Letts to open its seventh season. It is the first in a theater designed by them to produce the type of shows they like to do. Letts is now best known for “August: Osage County” a major Broadway hit bigger than life in every way.

“Superior Donuts” tells the story of Arthur Przybyszewski a classic hippy from the 60s. Arthur now runs the rundown North Chicago donut shop inherited from his Polish emigrant parents. We see two months of his life: December 2009 and January 2010.

Arthur's life is coasting along, slowly but surely down hill. He comes to the namesake donut shop to find the police and the Russian emigrant that owns the store next door. Someone broke in during the night and vandalized the shop and tagged it. The Russian continually pressures Arthur to sell so that he can expand his business as an electronics mega store.

Into Arthur's life comes Franco, who, pulling the help wanted sign from the front window, insists that Arthur is going to hire him. After much persistence on Franco’s part, Arthur gives in. Little does he know how much this young man will change his life in a short period of time.

The wonderful Matt K Miller plays Arthur. It is always a great experience to watch Miller act and “Superior Donuts” is an excellent vehicle for him to work his craft. He is especially good in the soliloquies where the action in the play stops and Arthur reflects on his life.

Franco Wicks, a young black man from the neighborhood with a troubled not too distant past, is played by a terrific Jammy K. Bulaya. He is especially good in the very funny patter that goes on between Franco and Arthur. Franco to Arthur disparaging his hippy ways: “Let me tell you who looks good in a ponytail: girls----and ponies.”

Lady Boyle the alcoholic elderly street person rolls in and out of the donut shop on a daily basis. Capital Stage associate artist Janis Stevens who was so great as Maria Callas in last season’s “Master Class” at Cap Stage plays Lady who is not so drunk that she does’t have wry observations and pertinent comments to make.

Debuting at Cap Stage, Lori Russo plays Officer Randy Osteen who everyone except Arthur knows is stuck on Arthur. She is paired up on the beat with fellow officer James Bailey played by Sacramento actor, stage/film director and playwright Anthony D’Juan. Officer Bailey and his wife have a secret of their own.

The Russian entrepreneur next door Max Tarasov is played by local actor Gary Pannullo with Jeffrey Lloyd Heatherly as his nephew Kiril Ivakin

Barry Hubbard plays the not so nice bookie Luther Flynn with Shane Edward Turner as his nasty enforcer.

Capital Stage artistic director Stephanie Gularte directs. She makes good use of the new theater space to strongly connect the actors and audience.

Producing director Jonathan Williams has created a set design that makes full use of the new space. Williams always creates great, interesting sets. Here audience members can feel like they are sitting at a table back in the corner of a real donut shop. He also co-ordinated the fight scenes.

Capital Stage is off to a great start at its new location. The new space opens up the possibility for an even stronger connection between the performers and the audience. “Superior Donuts” is a good choice for the premier show. It is very funny yet has lots to say to the audience. It is also written by someone who is being recognized as a major contributor to the American stage. The casting from revered veterans such as Matt K. Miller and Janis Stevens to bright new actors like Jammy K. Bulaya is a treat.

"Superior Donuts" Capital Stage through November 13, 2011
More info and tickets

Catch "Little Fish" at the New Helvetia Theatre Before It Is Gone

2011-10-27T06:25:39Z

New Helvetia Theatre ends its three-weekend run of Michael John Lachiusa’s off-Broadway show “Little Fish” this weekend. While Lachiusa is known for two Broadway shows, "Marie Christine" and "The Wild Party," he has written several smaller-scale off-Broadway shows. Most of these have a reputation of being very serious. “Little Fish” is one of his lighter works and was suggested from the short stories of Deborah Eisenburg.

“Little Fish” is New York City-centric. It is the setting of the play, and some of the interactions of the characters can be described as very “New York.” The play itself is part of a genre of musicals, many by Lachiusa, that are specifically written for off-Broadway with a more contemporary style. Lachiusa is also known for an ongoing feud in print with the creators of more traditional Broadway musicals. Nevertheless, “Little Fish” deals with universal themes of the human condition and relationships.

Charlotte, a writer living in New York City, is the center of the play. Her decision to stop smoking results in a clear look at herself and her relationships. She comes to realizes that she has low self-esteem and that her past and present relationships don’t help. This is especially true of Charlotte’s relationship with Robert in Buffalo, her first live-together relationship. He has no difficulty putting her down, telling her how untalented, dumb and uninteresting she is.

Charlotte’s way of dealing with Robert is to run off to New York City, where, moving in with a wild roommate, Cinder, she first takes up smoking. Being off cigarettes, Charlotte also discovers that running away is her usual reaction to issues she doesn’t want to deal with.

Maggie Hollinbeck is perfectly cast as Charlotte. She plays Charlotte with a vulnerability that makes her seem like she is going to break. The role has similarities to that of “The Wife” that she did such a great performance of at Graham-A-Rama’s staged concert of “In Trousers.” Yet Charlotte continues to find her strength. It is always a pleasure to hear Hollinbeck sing, and this is no exception.

Robert is performed by Craig Howard. Howard has a wonderful voice, and his Robert puts down Charlotte with such relish that some of the audience hissed at him. Howard teaches theater arts at Sheldon High School, where he has been nominated for and won numerous Elly Awards for his work. He has also has won or been nominated for Elly Awards for his performances in diverse musical theater productions on several regional stages.

Cinder the crazy roommate is performed by well-known Sacramento actor Nanci Zoppi. This is her fourth production at New Helvetia, along with several shows on other stages including Cosmopolitan Cabaret and B Street Theatre. Zoppi displays both her great singing and comic talent here.

Rosemary Babich (“They’re Playing Our Song”), Danielle Hansen (“In Trousers In Concert”), Steve Minow (“The Drowsy Chaperone”), Andrew J. Perez (“Junie B. Jones, Jingle Bells Batman Smells) and Tristan Rumery (“tick...tick...BOOM!”) are great as the friends who surround Charlotte.

While there is dialogue in the show, much of the story is told through the music. There are over two dozen songs in “Little Fish,” allowing each performer to show off their musical skills, whether as a solo, duet or singing with the whole company.

The music is so central to the show that the single set designed by Pat Farragher and Tim Mickiewicz incorporates the band as part of the set. The set also incorporates lots of storage for the props and is mostly representative of the “Y” where Charlotte swims and runs.

The band consists of Graham Sobelman on keyboard and conducting, Erik Daniels on keyboard, Kellen Garcia on bass, Ryan Harbert and James Lohman rotating on reeds and Jim Nakayama on percussion. There is a strong Graham-A-Rama influence here. It is, in some ways, as enjoyable to watch the band perform as it is to watch the actors. Speaking with Garcia after the show, he confirmed that the band members really enjoy performing the score.

New Helvetia artistic director Connor Mickiewicz directs, demonstrating his usual flare for this style of musical. Working with choreographer Michael Jenkison, the production numbers work well for both their visual impact and the balance of the singers’ voices.

Mickiewicz and New Helvetia are drawn to musicals that appeal to a younger audience. “Little Fish” is certainly one of those shows, but it is appealing to much wider audience. This show has a definite date-night feel to it, but not just a young-romantic-couple date-night feel. There is also the feel of friends, family, coworkers and longtime couples on a theater date night.

“Little Fish” enters its third and final weekend run Wednesday night. Make a date for an entertaining couple of hours.

“Little Fish” New Helvetia Theatre Through October 29, 2011
More info and tickets

B Street B3 “The Walworth Farce,” Pushes the Edge

2011-10-21T06:56:52Z

n “The Walworth Farce,” a play by prolific Irish playwright Enda Walsh that opened at the B Street Theatre this week, a father and his two sons are forced to live in s sort of exile from their home in Cork, Ireland, and survive in government housing in London. Dinny the father forces the sons to do a daily reenactment of the family history, lore and sometimes fiction according to Dinny.

Unable to control his temper after hours of drink, mourning and self pity, he kills two close relatives. Or did he? Was it an accident? Or totally justified? This and several other large issues haunt Dinny. He reacts by being a stereotypical Irish bully. Sadly for Dinny, his bulling extends only to the two young adult sons who have been living with him since they were young. The world for the three is a seedy 15th floor flat in a seedy section of South London, the “Walworth” of the title. Mostly it is sad for the boys.

The “Farce” part if the title refers to the structure of the play. Look up the definition here. Walsh pushes the absurdist farce comedy to the edge and then balances this with the feeling of how scary this would be if it were all true.

B street company member and prolific actor/director Greg Alexander’s performance as Dinny is one that accelerates toward full boil. Dinny uses every bulling trick in the book on the two left under his influence. Much of the humor in the play is about the absurd lengths Dinny will go to justify his past and present behavior. Alexander is great, and downright scary, as Dinny, who uses the quietest threat to the loudest, most absurd demands to enforce his view of the family history and his importance in it.

John Lamb portrays Sean, the one brother who is let out of the flat. Dinny knows that Sean won’t run away for 1) fear of what would happen to his brother and 2) fear of expulsion into the hell that Dinny has convinced his sons is London. Sean’s chance interaction with Hayley, a checker at the Tesco food store, sets off a chain of events that can only end badly. Lamb has performed so many roles, from very adultlike children to very childlike adults. This role works well for him, where his Sean can be adult enough to enjoy his interaction with Hayley to being forced to perform Dinny’s version of he Sean’s earliest childhood memories day after day.

Kimberly Lowe’s Hayley is a reminder of what a healthy, balanced young person looks like. Yet even she is not immune to Dinny’s bullying. Hayley doesn't put up much resistance when Dinny casts/bullies her into a new role in the play: “make the chicken dinner.” Lowe is terrific in her B Street debut.

Blake, the brother who never goes out of the flat, has — no surprise — several mental issues, yet he sometimes proves that he has a good grip at what is going on. He is portrayed by Jason Kuykendall, who never ceases amaze me. First he has to portray Blake and all that character’s facets, but then the sons split up all the other family members and friends who are characters in Dinny’s play. Blake gets all the women, including his grandmother, mother and aunt. It is quite amusing to see Blake discover his feminine side portraying the family females.

A talent Kuykendall shares with the other B Street actors is the ability to perform the quick back-and-forth between characters. The changing of characters becomes so fast that at points the characters’ disembodied wigs become the character with accompanied disembodied voice. It is amazing how well the wigs do on their own.

Director Buck Busfield spoke before the show about how happy he and the B Street creative staff were to be able to stage “The Walworth Farce.” It is easy to see why. “The Walworth Farce” is perfect material for Busfield to direct and the B Street company to perform. This is an edgier playwright and play but it has so many of the elements that B Street company actors, directors and all the rest of creative do so well at and seem to have a lot of fun doing.

It is a show I would egerly see again just to see what I missed in the first viewing.

Bill Burgua on "A look inside Broadacre, what goes into making your coffee"

2011-10-14T00:42:54Z

Had a latte there yesterday. It was one of the best if not the best latte I have ever had. I don't know if it was the specific coffee they used or their expertise at making the drink but it sure was good!

Tony Award Winning Actress and Sacramento Resident to Start Teaching Here

2011-10-12T21:00:01Z

Just before hitting the big time on Broadway, winning a Tony Award for best actress in a musical for her role as Adelaide in “Guys and Dolls” opposite Nathan Lane, Faith Prince made a major connection in Sacramento.

Prince was appearing in “On a Clear Day” with Jack Jones at Music Circus. Little did she know that the man playing trumpet in the pit, Larry Lunetta, would become her husband and father of their son, Henry. Eventually, Prince and Lunetta decided that Sacramento would be the best place to raise their child and relocated here.

Prince has continued to expand her performance world with more Broadway shows, notable roles include “The Bells are Ringing” and Ursula in “The Little Mermaid,” and on television on many series with reoccurring roles. Prince is currently featured on “Drop Dead Diva.”

With her beautiful voice and talent, Prince has also appeared in her one woman shows, with symphonies and as a recording artist.

Her last major role was as Mrs. Wilkerson in the national tour of “Billy Elliot.” When “Billy Elliot” closed in San Francisco, she returned to Sacramento.

Locally, Prince performed in a special show this year with the Sacramento Philharmonic. The show was performed at both The Community Center Theater and Folsom’s Three Stages.

Though she continues to travel here, there and nearly everywhere performing, Prince definitely considers Sacramento home.

Increasing her connection to Sacramento this Monday, Prince will start holding ongoing evening classes and workshops for teens and adults.

To do this Prince has joined forces with Natasha Burr, who holds a MA and started her theater career as an actress. Burr found she much more enjoyed the teaching and operations side of acting. A lot of her experience was gained working for talent agencies that represented high level talent.

Both Prince and Burr worked on “Billy Elliott.” The two women came to the realization that the kinds of workshops and classes they had done successfully elsewhere would work very well in Sacramento.

Given the wide range of skills and experience that they have, they could be great for Sacramento too. A lot of those skills and experiences overlap and include everything from Broadway to voicing animation.

An interesting part of this project is who they see as their students and what they feel they can provide these students.

They look forward to working with the young person that has risen through the wonderful programs throughout the Sacramento region. That actor may be looking for a leg up with their acting career. The other end of the spectrum is the adult, or senior even, that is questioning what kind of acting skills they could develop.

To read more of their bios and find information about their classes and workshops, click here for Minimoon Productions.

"Frankenstein" at STC-A Different Look at the Monster

2011-10-11T05:45:57Z

Sacramento Theatre Company opened its 2011-2012 season this weekend with one of the most classic horror stories ever told, Mary Shelley’s Frankenstein. While Shelley’s work is well known and countless screen and stage adaptations have been made of the story the one being told here is from little different angle. The play is by a prolific playwright Tim Kelly who wrote dramatizations to several Mary Shelley stories as well as stories of other writers.

All the basic elements are here. The brilliant young scientist who literally stitches together a creature out of graveyard spare parts. The creature who then escapes and wreaks havoc all over the countryside. There is the doctor’s best friend and fellow doctor who is too intrigued about the possibility of creating life for his own good. There is also Dr. Frankenstein’s household - mother, wife and housekeeper - all threatened by the monster to punish the doctor.

What is missing is the monster coming alive on the table. He has long been alive and causing the most punishing damage for the doctor when the play starts. Also missing are the townspeople with pitchforks and torches.

The big and surprising difference in Kelly’s dramatization is the monster himself. This monster knows what a great wrong has been done in creating him and is very articulate about it. He also knows how effective he can be at threatening Dr. Frankenstein and those around him.

The play opens in 1816, the year when Shelley began writing “Frankenstein”, at the Frankenstein chateau on the shore of Lake Geneva In Switzerland. The young Dr. Frankenstein has sought shelter there from the monster he created at medical school and to contemplate what he has done. He soon learns that his monster is the one who killed his 10 year old younger brother, the first act by the monster to punish the doctor.

William Elsman plays the title character. This is the third show for Elsman at STC. He was excellent as Sherlock Holmes in last season’s production “The Final Adventure” and appeared as Mrs. Badden Rotten in the last STC production of “Cinderella.” As with his portrayal of Holmes, Elsman with his tall, slender, dark, handsome good looks and brooding demeanor embodies the character.

Popular local actor and Sacramento native, Jerry Lee, plays Henry, Frankenstein’s friend and fellow scientist. Lee is great as the scientist who just can’t collect enough data on the creature. Alas we don’t get to hear Lee’s great singing voice in this production as we did at STC last year as Billy in “Musical of Musicals : The Musical!” or his exceptional performance as Marvin in the Graham-A-Rama staged singing of “In Trousers.”

The astounding performance here is by Ed Gyles Jr. as the monster. Gyles creates an overall sympathetic character out of one that has done so much evil and threatens to do more. He spoke with me after the show about the great deal of time that he and director Michael Laun spent working together to create this complex character. To learn more about this three time Elly Award nominee click here.

Longtime Sacramento actor and Sacramento News and Review film critic Jim Lane plays the perquisite Inspector-General of police, Ernst.

The four women’s roles, while played by good actors, primarily support the roles of the three primary characters. Their main job is not understanding what is going on with the Dr. or being endangered by the creature. Susan Andrews plays the elder Frau Frankenstein, the doctor’s mother. Brittany Barger plays the younger Frau Frankenstein, the doctors wife. Linda Montalvo plays their housekeeper.

Justine, the gypsy girl that witnessed the murder of the youngest Frankenstein is played by two 5th year students of STC’s Young Professionals Conservatory. Kristal Celink 16, is a junior and Miriam Gilbert a senior at Rio Americano High School.

A hallmark of the horror genre is that it is supposed to scare the audience. Director Michael Laun’s staging creates points where the audience strongly reacts to something scary they didn’t see coming.

All the action takes place in Victor Frankenstein’s beautiful study with good illusion to what takes place outside the study. Jarrod Bodensteiner now in his fourth season with STC has created another beautiful room nicely lit by Jessica Bertine.

Jessica Minnihan dressed the cast in fine period costumes. Folks dressed much better then, especially well to do doctors and their family. Minnihan aslo did a fine job on the monster's makeup.

Sound is an important element of horror and William Myers sound design supplies all the creepy sounds that mean “something bad is going to happen.”

There are lots of levels to enjoy Sacramento Theatre Company’s current production of “Frankenstein.” You can ponder what the monster has to say about his fate. You can laugh at the ironic humor of the situation. Or you can just sit there and wait for the scares.

Bill Burgua on "Everybody Wins at this Bingo-"Bingo the Winning Musical" Cosmo Cabaret"

2011-10-05T22:44:06Z

"What I did not emphasize in the review is how much fun everyone was having. People were laughing constantly in the audience while the great cast with a fun play was having a great time bringing their characters to life." "It has all the earmarks of being a see again show. A show that is fun for like minded groups to attend as a group."

Everybody Wins at this Bingo-"Bingo the Winning Musical" Cosmo Cabaret

2011-10-05T22:28:08Z

Some Bingo players are notorious for not letting anything get in the way of their Bingo night. That is definitely the case of Vern, Patsy and Honey, the trio of women at the center of “Bingo the Winning Musical,” which opened this last weekend at the Cosmopolitan Cabaret.

The show begins with our trio of bingo addicted ladies listening to emergency weather reports describing a major storm raging outside.

No one should leave their home except in the most dire emergency, but does this faze our intrepid gang? Not in the least. Besides, this is not just any Bingo night. This is the anniversary of the local bingo parlor featuring a double prize! No little storm is going to keep our girls away.

But there is another anniversary tonight that is just as significant. The trio used to be a foursome. On this night fifteen years ago, Bernice, the fourth player, committed a Bingo faux pas so great that it broke up the foursome. Vern believes herself to be the victim of the act and has not forgiven Bernice after all these years.

Naturally, they make it to the Bingo parlor where Minnie the hostess and Sam who calls the numbers are busy revving up the crowd.

Who is the crowd that made it to Bingo this dark and stormy night? Well, it is the audience.

Each audience member gets multiple Bingo cards with daubers to use to mark the cards.

A stranger walks into the Bingo parlor this night. Hesitant at first, she is seated with our trio. Little do they know that this young lady, Allison, is the daughter of the long estranged Bernice.

Eydie Alyson plays Patsy, the extremely superstitious one, hysterically so. Alyson has a long stage, television and recording resume. She was last seen at Cosmopolitan Cabaret in “Suds the Musical” as Dee Dee.

Nikki D’Amico plays Honey who makes little effort to hide the fact that she has the hots for Sam and would do anything to make him hers. D’Amico has appeared in numerous regional and national tours of major Broadway musicals. In Sacramento she appeared in Music Circus productions of “A Chorus Line,” “The Boyfriend” and “Nunsense.”

Lisa Raggio does a great job of portraying the still bitter Vern while keeping Vern a sympathetic character. It might help that Raggio has an MA in Psychology and counseling along with her extensive experience in musical theater and voicing animation.

Bonnie Bailey-Reed plays both Minnie the Bingo parlor hostess and Bernice, mostly in flashbacks. She has acted in a number of musical and dramatic stage roles along with extensive television work including roles as a series regular. Her television work includes many roles in commercials that bring you those shows. The fact that she is having a great deal of fun with these roles is obvious.

Michael Stevenson at his hunkiest and sexiest plays Sam, the object of Honey’s lust and affection, also as Frank, the man who pulled the numbers 15 years ago. His portrayal of Sam runs from sexy to silly or goofy. An MFA graduate of the American Conservatory Theatre, Stevenson is best known for appearing in numerous shows at the B Street Theatre where he is a member of the acting company. He and his wife, Jamie Jones, are co-directors of the B Street Conservatory.

The mysterious Alison is played by Sacramento native and graduate of the prestigious NYU Tisch School of the Arts, Jessica Crouch. She was most recently seen on the Cosmopolitan Cabaret stage in a reprise of Graham-A-Rama’s concert version of William Finn’s, “In Trousers,” playing Miss Goldberg. That role was a portend of her – yes, I am going to use the “F” word here, fabulous performance as Alison.

Everyone in the show is a really great singer-actor-dancer with years of experience, but when Crouch walks onto the stage and begins to sing, the whole place just lights up.

While having a fairly simple and straight forward plot, the book by Michael Heitzman and Ilene Reid is sweet and endearing. The sequences where the audience plays bingo helps create the excitement and the addictive quality of bingo while actually being fun.

The music and lyrics by Heitzman and Reid along with David Holcenberg run from fun and silly to sad and hopeful. The songs allow the talented cast to show off their best performances.

All the creative talent for “Bingo the Winning Musical” have strong ties to Cosmopolitan Cabaret and its sister series, Music Circus.

Music director Michael Paternostro, while an experienced musical director, is usually out on stage performing. He has appeared in over a dozen roles on Broadway, touring and regionally. This season he was the wonderfully over the top Carmen Ghia in the Music Circus opener, “The Producers,” and the sweet Eddie Ryan in last year’s, “Funny Girl.”

Sound designer Robert Sereno did the original sound design and engineering for the Cosmopolitan Cabaret.

Scenic designer Michael Peters is the prop designer for Music Circus and did set design for “Suds” at the Cosmo as well as the great props for “Forever Plaid,” the first production at the Cosmopolitan Cabaret.

Peters’ set design is enhanced by lighting design by Sally Slocum who did the Cosmo productions of “Shear Madness” and “A Grand Night for Singing.

Angela Enos, who did costumes, also designed for “Miss Saigon,” “The Producers” and “Camelot” this season at Music Circus.

Hair, wig and makeup design, so important in a show like “Bingo” is by Christine Conklin who did “Oliver!” “Camelot” and “I Do! I Do!” at Music Circus this season.

The biggest Music Circus and Cosmopolitan Cabaret connection here is the director, Glenn Casale.

Casale is the artistic director of California Musical Theatre, the parent company for Music Circus and Cosmopolitan Cabaret, along with Broadway Sacramento. He is a theatre icon as well as a treasure in Sacramento. He makes the most of a talented cast with a good musical show. His staging and choreography really make “Bingo” come alive.

“Bingo the Winning Musical” is easily the best show Cosmopolitan Cabaret has produced since “Forever Plaid.”

Like “Plaid,” “Bingo” will easily hold up to repeat viewings. The talented cast is a joy to watch. It is fun, funny and good time, and who knows, you may win an actual Bingo prize! Even if you don’t, you will have had a winning night at the theatre.

"Shrek the Musical" Kicks Off the Broadway Sacramento 2011-2012 Season

2011-09-29T06:57:14Z

“Shrek the Musical” kicked off the Broadway Sacramento 2011-2012 season with a Technicolor extravaganza.

Based on the characters and story of the book “Shrek!” by William Steig, DreamWorks adapted the book into its blockbuster hit animated movie ”Shrek” in 2001. With a cast of major film actors voicing the characters the movie became the first of a major film and product franchise.

DreamWorks expanded that franchise into their first foray into live productions with the opening of “Shrek the Musical” on Broadway in December 2008. After a very successful run on Broadway “Shrek the Musical” went on a US national tour and a London West End production with continuing changes to the production. The show that opened in the Sacramento Community Theater on Tuesday night is a new non-Equity US national tour. Happily this change has not seemed to reduce the production values of the show.

David Lindsay-Abaire (“Rabbit Hole”, “Good People”) wrote the book and lyrics that tell what is now a well known story of the young ogre kicked out into the world at the age of seven, which seems to be the custom of ogres. A couple of decades pass and Shrek’s quiet life in a swamp is disturbed by a host of fairy tale characters booted out of Duloc by its clearly disturbed and vertically challenged ruler Lord Farquaad.

At the same time Shrek is being sent into the world, seven year old Princess Fiona is sent by her parents to a solitary life in a high castle tower, again as was customary.

The two lives intersect when Shrek is sent on a mission by Lord Farquaad to rescue the princess and bring her back to marry him so that he can be officially the king of Duloc. Naturally there are lots of complications including a dragon guarding the princess and the not always cooperative princess herself.

Jeanine Tesori (“Thoroughly Modern Millie”, “Caroline or Change”) composed the music. The score is very much what one would expect for a Broadway musical with soaring interludes, while also being matched well with Lindsay-Albaire’s lyrics. While one may not leave the theatre humming one of the songs, the music and lyrics are a large part of what makes the evening so pleasant.

A nine piece orchestra conducted by Kevin Casey performed the score with gusto.

The star of “Shrek the Musical” is without a doubt the fantastic staging of the production by DreamWorks Theatricals formed by Dream Works Animation SKG, Inc. in 2007 to produce live productions along with NETworks Presentations LLC (“Mary Poppins, ”War Horse”) which has produced over 80 national and international touring productions. Their creative team created the visually stunning look and movement of the show that dazzled both the children and adults in the audience given the buzz leaving the theater.

A big part is due to Tim Hatley who did the original scenic, costume, and puppet designs. Hatley has used a whole spectrum of colors found in animation in his designs that along with Paul Miller’s lighting tie “Shrek” to its comic book roots.

All of this color is set in motion by the choreography of Josh Price recreated by Chris Bailey and the direction of Stephen Sposito. In the now prerequisite Broadway Musical tap number the twist here is that what begins as something like tap dancing rat slippers in a flash become human size tap dancing rats that accompany some fancy footwork by Princess Fiona.

All the actors are performing in major costuming along with heavy makeup designed by Naomi Donne. Some including Lord Farquaad are acting while being part of a puppet. The actors still need to bring out the inner life of the characters for the show to be successful. This cast succeeds at this.

Lukas Poost, performing under a lot of green makeup and prosthesis, succeeds in having the audience care about what happens to the ogre.

Liz Shivener with her beautiful voice and her dancing skill stood out during her musical solos as Princess Fiona.

The donkey, arguably the most popular character in the show, is played by André Jordan who received a lot of the laughs and applause for his performance. Jordan also did a nice job on the donkey’s songs that were surprisingly good songs.

Another character that had surprisingly good songs was Lord Farquaad, played by Merritt David Janes. Janes has a nice musical voice and did a great job on Farquaad’s songs. He also has great comic timing. Janes should win some sort of award for the athletic performance he does moving the puppet of the approximately four foot tall Lord Farquaad around in such a believable way with only his head visible.

There is also a large number of cast members that play the outcast fairytale characters who overall do a good job singing, dancing and speaking while in a whole gamut of costumes.

Not to be left out is the huge dragon which was moved by four puppeteers in black and voiced off stage. It was fascinating to watch the dragon came to life.

With “Shrek the Musical” California Musical Theatre has started off its new season with a show that not only entertains and appeals to children but also highly entertains the adults in the audience. The color, movement, and music built around a funny, sweet, affirming story makes ogres, fairy tale princesses, talking donkeys, dragons and all the rest become real and believable if only for a couple of hours.

“Shrek the Musical” Community Center Theater Through October 2, 2011
More info and tickets

Bill Burgua on "Lifelong resident celebrates milestone with PODS of Sacramento, continues support of local charities"

2011-09-28T22:53:32Z

We had a very unhappy experience on many levels with PODS when we moved a year and a half ago. I hope that Brian Bills can improve delivery of services to central city residents. Much of their program seemed to be designed to work in the suburbs with wide streets and two car or more driveways. They did not have a clue how to deal with narrower streets and very small or non existant driveways and the regulations of the central city.

"God of Carnage" Another Excellent B Street Theatre Production of a Contemporary Hit

2011-09-22T18:07:20Z

Folks can be so civil and polite when they first meet to discuss what could be a thorny issue.

“God of Carnage,” the current mainstage production at B Street Theatre through Nov. 6, follows the interactions between two couples and between the husbands and wives, escalating and disintegrating. The result is shocking and hysterically funny.

Michael and Veronica Novak invite Alan and Annette Raleigh to their ever-so-tasteful home to discuss an incident in a neighborhood park. Veronica claims the Raleighs’ 11-year-old son “armed” himself with a stick and struck the Novak’s son, breaking two teeth. “Armed” is just the first contention. As with so many issues like this, there is much more going on than what is first presented.

The play was written by Yasmina Reza, a French actress, playwright, novelist and screenwriter, who is also know for her play “Art.” With “God of Carnage,” she has written sharply defined characters who mask their true feelings and behaviors twith gentility and civility only until they are pressed.

Christopher Hampton, a British playwright, screenwriter, film director and translator, first translated the play into British English for a highly critical and successful run in London. Hampton and Reza collaborated to adapt the play for American audiences, realizing that there are cultural differences in each country. Now set in gentrified Brooklyn with characters that are easily recognizable to any American, it has again earned critical and popular success, winning the 2009 Tony Award for best play.

B Street enlisted three of its best known and most popular actors: Kurt Johnson as Alan Raleigh, Elisabeth Nunziato as Annette Raleigh, and David Pierini as Michael Novak. They are joined by New York City-based actor Dana Brooke as Veronica Novak. Brooke was last seen at B Street opposite Kurt Johnson as Kellin Delahanty, the self absorbed hitchhiker in “Northport Cottage: A Comedy for the Holidays.”

All four actors work well together and also with director Buck Busfield. This is the kind of comedy that Busfield and his actors love to do and are so good at. They each do such a good job with their character that it is impossible to single out any one of the performers. This is ensemble acting at its best.

The set design by Steven Schmidt and costumes by Paulette Sand-Gilbert are not only beautiful to look at, but they give the audience a strong sense of who these characters really are.

It is not surprising that “God of Carnage” has been so popular with both critics and audiences, no matter the language, the idioms or the setting. It has sharply written dialogue and clearly defined characters, who are not always very nice but are often very funny and easily recognizable to contemporary audiences. Busfield and his actors do the usual B Street Theatre high-quality job bringing them to life.

God of Carnage” B Street Theatre Mainstage Through November 6, 2011
Tickets and more information

Bill Burgua on "Residents worry about local developments at September NAG meeting"

2011-09-21T21:29:57Z

The meeting at City Hall on October 6 at 6 p.m. is for the NAG Agenda Committee where the agenda is put together for the next NAG meeting. The Next NAG meeting will be October 15. at 6:30 p.m. at the Hart Senior Center 27th and J Streets.

Bill Burgua on "Great Performances by David Silberman and Jason Kuykendall in "Freud's Last Session""

2011-09-10T16:47:02Z

“Freud’s Last Session” B Street Theatre B3 Series Through October 1, 2011 More information and Tickets: http://bstreettheatre.org/current-shows/freuds-last-session

Great Performances by David Silberman and Jason Kuykendall in "Freud's Last Session"

2011-09-10T16:43:40Z

Sigmund Freud, the creator of psychoanalysis, held many controversial views and theories. His staunch atheism is one of the strongest and most controversial.

The great English writer C. S. Lewis, best known for “The Chronicles of Narnia,” also a staunch atheist as a young man, embraced Christianity as a professor at Oxford. Much credit for his conversion is given to long conversations with “The Hobbit” and “The Lord of the Rings” author J. R. R. Tolkien.

Award-winning playwright Mark St. Germain’s current off-Broadway hit “Freud’s Last Session” imagines a conversation between the two brilliant men very near the end of Freud’s life, while Lewis is a young Oxford professor and little-known author outside intellectual circles. B Street Theatre is currently staging “Freud’s Last Session” as part of its B3 series.

The play is set against the background of the rise of Nazi German power on the day England declared war on Germany after the invasion of Poland. Freud and his family have recently relocated to London having barely escaped Vienna after the Nazi takeover of Austria.

St. Germain based the play on a report of Freud meeting with an unnamed Oxford professor shortly before Freud’s death by suicide, suffering from late stage oral cancer. St. Germain imagines that the professor is C. S. Lewis. Lewis believes that Freud has summoned him to discuss negative comments that Lewis has made in print regarding a recent publication by Freud. To Lewis’ surprise, Freud wants to talk about a larger issue: Lewis’ belief in the existence of God.

Given the intellect of the two subjects, St. Germain’s dialog is sometimes brilliant and often to the point. What may be surprising is how witty and often very funny it is.

All the action takes place in Freud’s London study, beautifully realized by B Street set designer Cat Frye. Yes, there is a couch. Some of the audience in the intimate B3 theatre are nearly on the couch.

Sound design by B Street staff realistically brings the war into the play both through the radio and from the skies outside the study.

The most compelling reason to see “Freud’s Last Session,” besides the script, is the actors’ performances. David Silberman as Freud and Jason Kuykendall as Lewis are perfectly cast. Both are B Street company members and are very well known to Sacramento theatergoers.

Silberman has appeared on stages throughout the country in his 40-plus-year career. At B Street he appeared in last season’s “Old Love” along with numerous other shows over several years. His performance as Morrie in “Tuesdays with Morrie” at the Sacramento Theatre Company won strong critical acclaim and favorable audience reaction.

Silberman bears a fair physical resemblance to Freud, especially with the iconic glasses. He does a nice German accent. But as with “Morrie,” it his performance as a man near death but with a mission that shines. His Freud, though weakened by end stage cancer and in great pain, continues to rally, interested in the conversation with the much younger man whose intellect he respects.

Kuykendall is one of Sacramento’s most popular actors, primarily for his roles in comedies such as “The 39 Steps” and “Searching for Eden,” recently at B Street, and as Earnest in STC’s opener “The Importance of Being Earnest” last season. He is also a member of B Street’s new B Street Sketch Comedy Group.

Kuykendall is a revelation as Lewis. While there is a lot of wit and humor, there is a great deal of more serious issues which he deftly handles. While Kuykendall bears little physical resemblance to Lewis, he is quite believable as a young academic. What is really amazing is how little his Lewis resembles any other character he has played before or Kuykendall himself. With little makeup and a simple change in hair style, this performance is a great example of how an actor can physically embody a character.

B Street associate producer Jerry Montoya directs with a deft hand giving a comfortable reality to the staging and bringing out the great performances of his actors.

With “Freud’s Last Session,” B Street Theatre has brought a currently hot-ticket New York show to Sacramento. The entertaining script, performed by perfectly cast actors at their best, creates a wonderful evening of theater.

Bill Burgua on "It's official: New map changes district boundaries until 2021"

2011-09-07T15:52:52Z

Melissa, when it says "New district boundaries become official on Oct. 6" does that mean that council members start representing the new areas on that date and cease representing the old areas then? Congratualations for the great coverage you have provided SacPress readers on this issue as it has evolved over several months. I am sure that any thumbs down were not about your coverage and only the feelings of readers regarding the issue.

Bill Burgua on "Bar West going too many directions"

2011-09-05T03:51:15Z

Angelo if you wanted good food you should have gone to Red Lotus. It is the only place on that block that the food isn't secondary to the booze.

Bill Burgua on "Taste-Testing Sacramento's Po' Boys of Pot: $3 Joints "

2011-08-25T17:46:00Z

Two things I never thought I would see in my lifetime: being married to my husband or reviews of pot in mainstream media.

Bill Burgua on "Record number of residents speak out at City Council meeting"

2011-08-25T03:01:59Z

Was she hiding out from the USA Today reporters?

Bill Burgua on "BarWest opens on J Street"

2011-08-23T14:32:51Z

Red Lotus occupies the former space of G. V. Hurly's which was previously a Radio Shack. Bar West occupies the space that previously was Aura, before that Giani's and before that Black Pearl. All of this in about a five year span. This speaks to the sustainability of eight bar/nightclub/resturants on one block, especially with the competition of th 20th and K area and now the 10th and K area.

Bill Burgua on "Something Different With "I Do! ! Do!" At Music Circus"

2011-08-18T05:54:17Z

"I Do! I Do!' runs through Sunday. www.calmt.com/index.cfm?page=639072 for schedule and ticket purchase information.

Something Different With "I Do! ! Do!" At Music Circus

2011-08-18T05:48:30Z

With “I Do! I Do!” Music Circus takes a different tack from what audiences usually expect from them. Gone are the ensembles and large production numbers. Also, gone are multiple flashy costumes and intricate sets.

“I Do! I Do!” is a two character musical with just one set which is the couple’s bedroom dominated by a large fourposter bed. The play is a musical adaptation of an 1951 play “The Fourposter” by Dutch playwright and novelist Jan de Hartog who won a Tony Award for the play.

Given the tight budgets and difficulty of finding financial resources that all theater companies face in these economic times, Music Circus is smart to work with a smaller scale production this year. Yet they must still create an audience pleasing show. Given the audience reaction at Tuesday evening’s opener they have really succeeded.

The book and lyrics for “I Do! I Do!” were written by Tom Jones (not the British singer) with music by Harvey Schmidt. Jones and Schmidt are best known for the incredibly long running “The Fantastics” which ran on Broadway for 42 years!

The plot involves the lives of Michael and Agnes Snow moving from preparing for their wedding to moving out of their house that has been sold to a newlywed couple 50 years later. The couple raise two children - a boy and a girl - that remain unseen. Michael makes a good living writing romance novels and Agnes is a full time homemaker. All the action takes place in their master bedroom, much of it in the fourposter bed. Don’t get the idea that there is anything racy going on here. When the play opened in 1966 middle class audiences were just getting used to married couples on television moving on from twin beds, Fred and Wilma Flintstone being the first TV couple to be in bed together.

The original play is set from 1890 to 1925. Jones and Schmidt update the time period to 1898 to 1948. The feel is definitely pre sexual revolution of the 1960s. This is not a detriment to the show in that the plot gives us a look back into what married life used to be and the roles of men and women in the not too distant past. Michael Snow’s chauvinistic and paternalistic behavior elicited strong reaction from the audience as did Agnes Snow’s calls for women’s roles beyond being just mother and wife.

Of course, what the Music Circus audience is looking for is the songs and music, the choreography and the laughs. “I Do! I Do!” provided lots of laughs.

There are lots of pleasant songs in “I Do! I Do!,” but it produced only one big hit “My Cup Runneth Over,” which became a recording hit for actor/singer Ed Ames.

The original production of “I Do! I Do!” featured major Broadway musical powerhouses It was produced by David Merrick, directed and choreographed by Gower Champion and featuring Mary Martin and Robert Preston. Martin and Preston were replaced by Carol Lawrence and Gordon McRae. Carol Burnett and Rock Hudson were featured in the first national tour.

Husband and wife actors Matthew Ashford and Christina Saffran Ashford, married 24 years, play the Snows here. Matthew Ashford is best known for his role as Jack Devereaux on the soap “Days of Our Lives” was also seen at Music Circus as Thomas Jefferson in “1776’ and Sky Masterson in “Guys and Dolls.” He has a nice voice, performs several solos nicely, and has good comic timing.

Christina Saffran Ashford has starred in several Music Circus productions as well as numerous musicals on and off Broadway. She has also has done several vocal performance and sings in several animated and live action movies. Her solo of “Flaming Agnes” allows both her beautiful singing and comic talent to shine.

What the two are best at is working off each other in comic, poignant, and profound moments. Also singing the numerous duets together including “When the Kids Get Married” and ‘My Cup Runneth Over.”

Will Mackenzie, who directs, has a lot of experience as first as an actor then primarily as a director in both stage productions and television. (The Bob Newhart Show, actor/director) He has previously directed the acclaimed Broadway revival of “I Do! I Do!.” Mackenzie manages to create the sense of filling the Wells Fargo Pavilion stage even with just two actors.

Choreographer Peggy Hickey has also worked in stage, film and television. She has also choreographed a number of operas. The dance here obviously does not have the big production numbers with a large ensemble but Hickey does have several nice dances with Michael and Agnes.

Leon Wiebers costume design is elegant to homey and in many ways timeless. Wiebers made interesting choices to indicate the social status and age of the characters in a play with a vague setting of time and place.

Christine Conklin’s hair wigs and makeup are also integral to who the characters are and their aging process.

Throughout the show there was lots of laughter and audience reaction. At the closing curtain much of the audience jumped to their feet and voiced their approval with loud applause.

This Music Circus production of “I Do! I Do!” shows that while big cast-large scale productions with large production numbers such as the previous production the widely acclaimed “Annie Get Your Gun” is a very successful format that they can also create an audience pleasing show with just two actors, a good play and the usual high Music Circus production standards.

Bill Burgua on "Graham-A-Rama's Excellent Production of "In Trousers" Being Reprised at Cosmopolitan Cabaret"

2011-08-16T16:34:22Z

Saw the show again last night at Cosmopolitan Cabaret. Just as great or maybe even better than at the Geary. Each performer did a song before the show. Jerry Lee's take on "Anyone Can Whistle" had the audience cracking up. Production assistant Connor Mickiewicz performed the title song from "Little Fish" which he will be producing at New Helvetia Theatre this fall.

Graham-A-Rama's Excellent Production of "In Trousers" Being Reprised at Cosmopolitan Cabaret

2011-08-12T20:35:33Z

On sporadic Sundays an audience gathers in the cosy Geary Theater in Midtown for an evening of songs performed by some of Sacramento’s best actor/singers at a cabaret event known as Graham-A-Rama, named after its’ founder and musical director Graham Sobelman.

In June Graham-A-Rama did something different. They devoted a weekend to three performances of William Finn’s one act musical play “In Trousers” in concert. “In Trousers” which Finn wrote the book, lyrics and music is the first of what became trilogy of three one act plays. Finn joined with James Lapine to create two more one act plays “March of the Falsettos” and “Falsettoland.” The second two shows were combined to create a two act Broadway musical “Falsettos.” "Falsettos" was nominated for four Tony Awards and won best book for a musical and best original score for the writers. Finn is now best known for “The 25th Annual Putnam County Spelling Bee.”

Through 30 songs, “In Trousers” tells the story of Marvin from childhood, through high school, marriage, coming to terms with his sexuality, and divorce. We see all this from the points of view of Marvin, Miss Goldberg (one of Marvin’s teachers), the sweetheart and the wife.

As a concert, only the songs of the play are performed, with out using full set design and with minimal props. The singers hold their songbooks or place them on music stands. Yet even with the minimal staging, there isn't a loss of dramatic impact. The audience is transported into the life of Marvin. Finn’s words and music are part of what makes this show so dramatic. Speaking with director Jerry Lee, who also sings the role of Marvin, he stated that: “In my opinion William Finn may be the best living American composer.”

\The other reason that this production has the dramatic punch that it does is the skill of the performers “In Trousers” features four of the best musical theater performers around in Sacramento or really anywhere. In addition, music director Graham Sobelman’s accompaniment is powerful dramatic, and flawless

Danielle Hansen is The Sweetheart. Hansen has appeared with numerous community musical theater companies and is a regular at Runaway Stage Production where she last played Little Sally in “Urine Town.” Dressed in as a cheerleader here, she is the quintessential high school girl. She does a great job on “My High School Sweetheart.”

Miss Goldberg, the teacher Marvin lusts after, always wearing sunglasses, is played by Jessica Crouch. Crouch has just finished touringwith the national tour of “All Shook Up.” Her torch-song rendition of “Set Those Sails” had the audience cheering.

Maggie Hollinbeck plays The Wife. Hollenbeck is well known on numerous Sacramento stages for her wonderful performances and beautiful voice. She is perfect as The Wife who finds herself unable to understand who her husband is and what is happening to her marriage. The audience witnesses her character dramatic trajecory falling apart on “I’m Breaking Down.” The audience cheered Hollinbeck's performance of the song.

In regard to Marvin, the production notes state: “You are about to witness a series of flashbacks, some of which are true. Some of which are probably not so true. But all of them, in their quirky, Finn-esque way, shape Marvin into the flawed protagonist we both loathe and adore.

Jerry Lee is tremendous as the flawed Marvin. Marvin must both answer to the women and hold his ground in who he is fundamentally.

Roseville native, Lee, who returned to Sacrament in 2010 after completing his studies at the prestigious Pacific Conservatory of the Performing Arts plays Marvin. He quickly began appearing on Sacramento stages most visibly at New Helvetia Theater notebly as Vernon Gershin “They’re Playing Our Song” and at Sacramento Theatre Company as Billy in their acclaimed production “Musical
of Musical: The Musical.” Lee has a beautiful voice and great musical skill. He also has the dramatic chops to embody Marvin’s moods from giddy and silly to confused and conflicted to clear and steady. As the director of the show he also has the actors communicate much of the emotion and relationship through his staging.

The fine singing performances are backed by Graham-A-Rama founder/music director/producer Graham Sobelman. Along with being a sought-after accompanist, Sobelman has been the music director at New Helvetia Theatre, UC Davis, Capital Stage, Sacramento Theatre Company, and Music Circus Junior Company. The scheduled August 28th Graham-A-Rama Cabaret show will be his 86th production of the cabaret series! Sobelman’s performance of the score reflects his feelings for one of his favorite composers.

The great news for Sacramento music and theatre lovers is that this production of “In Trousers” is being reprised. The production is moving from the restricted seating of the Geary Theater to California Musical Theatre’s modern Cosmopolitan Cabaret. Although the Cabaret is about four times the size of the Geary a great deal of work went into the design of room to have very good acoustics. The same wonderful cast will be performing the show.

Sacramento audiences are lucky to have another opportunity to experience the music and drama of a rarely produced but excellent piece of American musical theater by one of its’ great composers. All of this is lovingly rendered by a talented cast that perform so well together.

Graham-A-Rama presents William Finn’s “In Trousers”
Cosmopolitan Cabaret August 15th and August 22, 2011 7:00 pm
$18 advance $23 at door Tickets Wells Fargo Pavilion Ticket Office (916) 557-1999

Bill Burgua on ""Annie Get Your Gun" One of the Best Show Ever at Music Circus"

2011-08-11T05:39:55Z

Remember like all Music Circus shows it's only there until Sunday. www.calmt.com/index.cfm?page=177380 for tickets

"Annie Get Your Gun" One of the Best Show Ever at Music Circus

2011-08-11T05:23:20Z

Everything, including the play, cast, choreography, direction, costuming and set design, comes together to produce a near-perfect show of “Annie Get Your Gun,” which opened at Music Circus Tuesday night.

The original producers of “Annie Get Your Gun,” Richard Rodgers and Oscar Hammerstein II, no slouches at musical theater music and lyrics themselves, persuaded a reluctant Irving Berlin to write the music and lyrics for the show when Jerome Kern died suddenly.

Berlin is considered to be the preeminent American songwriter, and he created some of his most popular music for “Annie Get Your Gun.” It has song after song that became popular hits, including the opening song, “There’s No Business Like Show Business.”

The book by brother and sister Herbert and Dorothy Fields is as good as the music. Based loosely on the life of Annie Oakley and her husband Frank Butler, it is a touching story with lots of funny moments. The story had as strong a reaction from the audience as the music did.

Music Circus could not have found a better actor to play Annie than Beth Malone. She has the perfect speaking accent and voice to perform the role. She fit the role perfectly, even completely looking the part, and had the audience with her the whole way.

Edward Watts as Frank Butler easily matches Malone. His powerful voice and good looks are perfect for Butler. What makes it even better is the two have great chemistry. It was easy to hear the audience cheer on the relationship between Frank and Annie, Watts and Malone received huge ovations to their duets, including “The Girl That I Marry” and “Anything You Can Do.”

The audience also affectionately booed and hissed Dolly Tate, Annie’s rival for Frank’s affection. Music Circus veteran Heather Lee plays Dolly’s firm conviction well.

Another Music Circus vet who is a huge standout is Ron Wisniski as “Buffalo Bill” Cody. Wisniski has been great in many roles the last several Music Circus seasons, but this could be his best performance yet.

Michael D. Jablonski, who was a wonderful Will Parker last year in “Oklahoma!” plays Tommy Keeler to Jill Townsend’s Winnie Tate. Tommy and Winnie suffer older sister Dolly’s disapproval of their relationship given Tommy’s half-native heritage. Jablonski and Townsend are great singing and dancing “Who Do You Love, I Hope.”

The other actors who deserve to be singled out are the three young performers from the Music Circus Junior Company playing Annie’s younger siblings. Zac Ballard, who was one of the littlest ones in Fagin’s Gang in “Oliver!” is Little Little Jake. Sisters Haley and Rachel Finerman are both in their third Music Circus productions playing Jessie and Nellie Oakley. All three held their own with the adults and were audience favorites.

John MacInnis’ choreography ranges beautifully from athletic to highly sophisticated. MacInnis was associate choreographer to Broadway powerhouse choreographer Casey Nicholaw for “Book of Mormon,” as well as directing and choreographing the medals ceremonies for both the Vancouver and Salt Lake Olympics.

Broadway and Music Circus veteran director Gary John La Rosa not only stages the musical numbers beautifully but does a great job with the plot scenes.

The plot of “Annie Get Your Gun” allowed costume designer David Draper to design a wide range of great costumes. This ranges from cowboys and Indians shoehorned into tight pants and showgirls in corseted dresses to men in tuxes and women in flowing evening gowns. The main characters also wore suitably detailed costuming.

All of the production team are at their best game, producing a great look and sound.

Music Circus always does a great job with their shows, but with “Annie Get Your Gun” they have really outdone themselves. They have taken one of America’s most iconic musicals by one of the most revered composer/lyricists, cast it perfectly and applied the best Music Circus production values to create what is definitely a must-see show of the summer.

Bill Burgua on "City Council chooses surprise new redistricting map"

2011-08-10T18:23:26Z

Sorry to tell you the Grid is tired of being the stepchild of the Fabs and I am sure Oak Park would rapidly tire of being the stepchild of the Grid.

Bill Burgua on "City Council chooses surprise new redistricting map"

2011-08-10T17:46:42Z

Why wait for the next election? Research how to do a recall now.

B on K, New Concept, New Venue for B Street Theatre

2011-08-04T07:11:16Z

Last Thursday B Street Theatre previewed a new concept to a sold out house at the Cosmopolitan Cabaret after Cosmo Cabaret regular show of the evening, "Defending the Cave Man." The new concept is sketch comedy and some improv performed by some of B Street's funniest actors. The actors in the show along with B Street producing artistic director Buck Busfeild wrote the material. Think the funnier sketches from "Saturday Night Live"

B Street veteran Dave Peirini emcees along with appearing in several of the sketches. Peirini has appeared in many of the funniest shows at B Street over the years including last seasons opener "Love Child" The SacPress review of "Love Child" started with this: Love Child is the theatrical version of juggling. The cast consists of B Street regulars David Pierini and Gregory Alexander. Between the two of them they play eleven characters of both sexes and varying ages. Changing between characters sometimes at lightning speed.

Peirini has also appeared with two of the other B on K performers Brittni Barger and Stephanie Altholz in the very funny "Junie B. Jones, Jingle Bells, Batman Smells."

The other performers are Jason Kuykendall and Amy Kelly. The appeared in last season's hysterical "The 39 Steps" where the two played 140 different characters some changing at lightning speed.

While all are good at performing comic roles in a structured play, sketch comedy and improv is a very different thing. The cast of B on K have managed to put together some very funny material and do a good job of performing it.

Kelly who is a writer as well as an actor has the most experience performing in sketch comedy. Her waitress with no inhibitions coming on to Peirini and Kuykendall's characters is a hoot. She is in fact very willing to be quite outragous in all she appears in.

Put a bright colored wig on Barger and she will do anything.

Altholz and Kuykendall proved to be quite facile at improv along with being very funny in many of the sketches.

The audience made up primarily of B Street subscribers laughed uproarisly throughout the show. They did tend to be a little older which is not the usuall sketch comedy/improv audience. It will be interesting to see what the next two scheduled performances bring.

The show is a funny fun evening for a very reasonable price.

Showing this Thursday August 4th and next Thursday August 11th at 9:30 pm. $15 plus one drink minimum. 18 and over. Non-alcholic dirnks also available. Approximately 1 hour plus intermission.

B on K at the Cosmopolitan Cabaret More info and tickets.

The Great Lerner and Loewe's "Camelot" at Music Circus

2011-08-04T05:33:11Z

An impression that a lot of folks have about musical theater is that it is lighthearted, fun stories with popular, hummable songs and not a lot of substance.

While this is true of many great musicals, there are many substantial productions that have been wildly successful and continue to be staged as highly successful revivals. “South Pacific,” which deals with racism, and “West Side Story,” which deals with racism and gang violence, are some examples.

Playwright and lyricist Alan Jay Lerner and composer Frederick (Fritz) Loewe, longtime friends and collaborators, were two of the most powerful creators of Broadway musical theater in the ‘40s and ‘50s, starting with their first big hit, “Brigadoon,” in 1947. Their best known show, “My Fair Lady,” while full of wonderful, very popular songs, was based on social satirist George Bernard Shaw’s play “Pygmalion.” The story deals with British classism and the morality of raising a person up from the lowest class and then abandoning them.

“Camelot,” which opened at Music Circus Tuesday, was Lerner and Loewe’s last big Broadway hit, opening in 1960. It has a beautiful, powerful score and some nice songs, including “If Ever I Would Leave You.” It is Lerner’s adaptation of T.H. White’s novel “The Once and Future King” that drives the show. The major themes include rule of law versus ruling by power and adultery.

The story begins on the day that King Arthur’s betrothed, Guinevere, arrives from her father’s kingdom. It is an arranged marriage by treaty between the kingdoms. Lancelot du Lac, a French knight, comes to join King Arthur’s Round Table, but soon Guinevere and Lancelot develop strong feelings for each other.

King Arthur is portrayed by Davis Gains, who played the Phantom in “Phantom of the Opera” on Broadway, in Los Angeles, San Francisco and on national tour. Gains has the powerful voice necessary to sing the role of Arthur.

The role of Guinevere also has a large number of the songs. Lisa O’Hair does a very nice job with her lovely voice. She is very familiar with Lerner and Loewe, having performed as Eliza Doolittle in Cameron Mackintosh’s production of “My Fair Lady” and the title role of “Gigi.” She has also performed the title role of “Mary Poppins” in London. She has been nominated for and won numerous theatrical awards.

Sean Hayden, who plays Lancelot, is both a musical and dramatic actor who has been in shows from “Mama Mia” to “Angels in America.” He sings the most enduring song from the show, “If Ever I Would Leave You.”

Theater, film and television actor Time Winters was an audience favorite, playing both Merlin and Pellinore, King Arthur’s trusted friend and adviser. Both roles are the type of character roles that Music Circus audiences love.

Another audience favorite was Shannon Stoeke, who plays Arthur’s illegitimate son, Mordred, who has arrived from his evil mother’s kingdom. Mordred does all he can to cause trouble, hoping at some point to take over the kingdom. Stoeke was so good as Mordred that some booed him as a compliment at the curtain call.

Young actor Alex Greenlee already a Music Circus veteran plays the young Arthur and Tom of Warwick.

Music Circus artistic director Glenn Casale directs with his usual considerable skill.

This is the ninth Music Circus production of “Camelot” and the first in the Wells Fargo Pavilion. It is an age-old story featuring one of the first love triangles. It also has sword fights, rituals and intrigue. And all is accompanied by words and music of one of the most revered duos in Broadway history.

"Camelot" at Music Circus through Sunday More Info and Tickets

"Bob," One of the Funniest B Street Theatre Shows Ever

2011-08-02T22:25:39Z

Bob lived a strange life right from the beginning. Abandoned by his birth mother in the restroom of a White Castle in Louisville Kentucky, and adopted by the employee who found him, they wander across the U.S. living out of her beige Chevy Malibu for the next 12 years and then she dies. On his own, Bob lives for the next 12 years behind the restrooms at an interstate rest area, and that is only the beginning.

Bob is the central character in Peter Sinn Nachtrieb’s same-titled play that opened Sunday on the B Street Theater Mainstage. To say that Nachtrieb has written a very imaginative play is an understatement. As the story follows Bob from birth to his senior years, characters connected to him show up throughout his life; his birth parents, the cop who loved his adoptive mother and a host of other “out there” folks.

While this may sound like it could sad and depressing, “BOB” is actually an extremely funny play.

“Bob” is played by former B Street acting intern and now company member, Peter Story. Story has performed in several roles on stage at B Street including another Nachtrieb play, “Boom.” Late night TV fans may recognize him as the head of the Jay Leno Dance Crew on, “The Tonight Show.” Story is very good at the physical comedy that is popular with the B Street creative team and audiences. His Bob goes from a believable, albeit adult-sized, newborn to a shaggy, grizzled senior all the while evoking uproarious laughter.

The four other actors in “BOB” are titled, the Chorus. They become the different people and creatures, as in wolves, lions and others in Bob’s life. They also form a Greek Chorus announcing each of the five acts to Bob’s life. A different chorus member also does a short interpretive dance for each act.

Among the several characters, John Lamb plays the cop who is in love with Bob’s adoptive mother. One of his funniest characters is the droll, uppity man servant during Bob’s wealthy period. Lamb, a long time B Street regular, is incredibly funny.

Another very long time B Street company member, Michael Stevenson, takes on some of the more “out there” characters. Stevenson is believably crazy as a wild animal trainer turned hobo who, through a one-night stand, is Bob’s father.

Elly Award winning actress Kristine David is making her B Street Theatre Mainstage debut. She is Bob’s birth mother turned wild animal trainer. David is also quite adept at morphing into multiple characters.

Lyndsy Kail has become very familiar with Sacramento audiences since her introduction in, “The Importance of Being Earnest,” Sacramento Theatre Company’s season opener this year, and her follow-up role starring in, “The Owl and the Pussycat,” also at STC. Kail most recently starred in, “Searching for Eden,” at B Street. Along with her very funny portrayal of several characters in “Bob,” she is very loving and sweet as Bob’s adoptive mother.

Director and associate producer Jerry Montoya, along with assistant director Laura Baker, make good use of the actors’ comedic abilities. They move the action rapidly along with the laughs pouring out.

Catherine Frye has created a set that is a wonder to behold. It is a sort of junkyard chic with numerous auto body parts, an assembly area for the crates and crates of props and a Jackson Pollock paint scheme.

Costumes by Paulette Sand Gilbert, lighting by Linnae Vana and sound design by Laura Baker and Jerry Montoya all add to the effect.

Stage manager Tracy Prybyla has her hands full cuing all the action.

B Street Theatre staff discovered the perfect play to produce with Peter Sinn Nachtrieb’s, “BOB.” The rapid fire humor is totally suited for the creative team and acting company members. Every time I think I have seen the funniest play B Street theatre has ever produced, they come along with another. “BOB” is a sure-fire candidate for B Street’s funniest play ever.

Forget your troubles, come out and see “BOB” and laugh along with everyone else at someone whose troubles are downright funny.

"Bob" runs through Sept. 11 More info and tickets

Bill Burgua on "A Lively Cole Porter With "Anything Goes" At Music Circus"

2011-07-28T02:46:05Z

Photo caption Jeffrey Pew (middle right) and Drew Franklin (far right). Thanks to Charr Crail for all the wonderful photos we get each week!

A Lively Cole Porter With "Anything Goes" At Music Circus

2011-07-28T02:43:04Z

Music Circus opened its third show of the season, “Anything Goes,” Tuesday evening to much audience approval.

Clearly the stars of the show were the songs of one of America’s most beloved composers, Cole Porter. “Anything Goes” has numerous songs that are included in what is known as The Great American Song Book. This includes "You're the Top," "I Get a Kick Out of You," "It's De-Lovely" and the title song “Anything Goes.” Several other songs in the show are also well known, and the rest are above average.

Along with all the great music, there is a fun plot with book by English writer P.G. Woodhouse (“Jeeves and Wooster”) and his theatrical collaborator, Guy Bolton. Most of the action takes place on the S.S. America sailing from New York and England.

As usual, there is a great cast performing all these wonderful songs. Music Circus favorite Vicki Lewis (“Funny Girl,” “Into the Woods,” “Gypsy”) returns in the role of nightclub star Reno Sweeney. She does a bang-up job of singing and dancing on "I Get a Kick Out of You," "You're the Top,” “Blow, Gabriel, Blow” and “Anything Goes.”

Stowaway Billy Crocker, friend and former love interest of Reno, is played by David Elder, a prolific Broadway and film and television actor. His beautiful voice is featured on several duets, including “You’re the Top” with Lewis. He also sings “Easy to Love” and “”It’s De-Lovely” with Natalie Cortez who plays Hope, Billy’s true love.

Jason Graae as Moonface Martin and John Scherer as Lord Evelyn Oakleigh were audience favorites. Both are quite good at physical comedy. While Graae is new to Music Circus, Scherer has appeared in many productions, including “Dirty Rotten Scoundrels” and “Spamalot” last year.

Acclaimed director/choreographer and frequent Music Circus collaborator Marcia Milgrom Dodge (“Oklahoma,” “Guys & Dolls”) has done an excellent job with both the fast-paced direction and lively choreography. There are several large production numbers that feature every actor, including the usual excellent ensemble.

Leon Wiebers deserves recognition for his beautiful costumes and Judi Lewin for hair and makeup styling, which are so much a part of this show.

Again Music Circus has reached way back into musical theater history to produce a show with the timeless music of Cole Porter, exciting song and dance performances and very funny comic bits. Audience members of all ages will find lots to enjoy.

Shows daily through Sunday Info tickets

Bill Burgua on "Music Circus Production of "Oliver!" Features Junior Company Members"

2011-07-22T00:49:37Z

2nd photo correction: That is Lisa Ferris in the photo with Jacquelyn Piro Donovan and Aaron Serotsky as an ensemble member. Page Silvester does perform the role of Bet but it is not her in the photograph. Thankfully none of the kids in the Junior Company were identified. In a previous review of a show at another theater company with a lot of kids in it the photographer had to identify several children in each shot while they were moving about rapidly in a rehearsal. We got a lot of "that is my child in the photograph" from parents.

Bill Burgua on "Music Circus Production of "Oliver!" Features Junior Company Members"

2011-07-21T23:13:04Z

Photo caption correction: Lisa Ferris plays the role of Bet.

Bill Burgua on "Music Circus Production of "Oliver!" Features Junior Company Members"

2011-07-21T15:40:15Z

Next up: "Anything Goes" featuring the songs of Cole Porter. This is currently one of the hottest tickets on Broadway. "Anything Goes" stars the terrific Vicky Lewis who thrilled audiences as Fanny Brice in last summer's “Funny Girl." This show is bound to entertain the adult audience but is also kid friendly. The family guide recomends it for youth age four and over.

Bill Burgua on "Music Circus Production of "Oliver!" Features Junior Company Members"

2011-07-21T15:29:38Z

"Oliver!" like all Music Circus shows runs through Sunday evening. Tickes are available at (916)557-1999, In person at the Wells Fargo Pavilion Box Office at 1419 H Street or Tickets.com Tickets start at $42 Youth Tickets (ages 4-17) are $30 - $35 for every performance!

Music Circus Production of "Oliver!" Features Junior Company Members

2011-07-21T06:28:48Z

Each season, Music Circus produces a musical that includes a large number of actors from California Musical Theatre’s Music Circus Junior Company. This years’ production is “Oliver!” Lionel Bart’s highly successful musical based on the Charles Dickens classic “Oliver Twist.”

“Oliver!” with music, lyrics and book all by Bart, originally opened in London in 1960 and Broadway in 1962. It has seen numerous revivals powered by mega musical producer Cameron Mackintosh, first in 1977, last in 2009, both in London and on Broadway. It was a highly successful movie adaptation, winning six Oscars. This is Music Circus’ eighth production of the musical.

Christopher Bones, a veteran theater and TV actor already at age 13, faithfully portrays Oliver Twist. He does a nice job on “Where Is Love?”

The other major child role, The Artful Dodger, is played by Matthew Gumley, a Music Circus veteran (“The Music Man”) and Broadway veteran (original Michael Banks in “Mary Poppins”). His big number is “Consider Yourself.”The featured actor in the production is Ron Wisniski, no stranger to Music Circus audiences. Last year he was in “Spamalot,” “Oklahoma” and “Funny Girl” as Florenz Ziegfeld. He has appeared in six other Music Circus productions, numerous national touring shows and over 150 plays and musicals across the country. He portrays Fagin with a good mixture of threats and demands for his boys while also showing caring and concern. It is great to hear Wisniski’s voice on several songs, including Fagin’s solo, “Reviewing the Situation.”

Jacquelyn Piro Donovan is well cast as Nancy. She performs beautifully on several songs, including Nancy’s big solo, “As Long as He Needs Me.” Nancy is one of the emotional centers of the play, and Donovan’s performance reinforces that feeling.

Another well cast actor is Roland Rusinek as Mr. Bumble. Rusinek has a powerful and beautiful voice. He also seems to relish playing such a despicable character.

The rest of the cast is uniformly good and is made up of mostly Music Circus regulars who have a lot of performing experience elsewhere. Each of the strong ensemble members also perform in character roles in the show.

The real stars of the show to the many family members and friends are the 38 members of the Junior Company. They perform as members of Fagin’s gang, orphans and town children and cockneys. The Music Circus Junior Company staff of director Gail Dartez, choreographer Marcy Goodnow, musical director Graham Sobelman and vocal coach Rebecca Plack have done a wonderful job working with these kids to create a very professional performance.

Richard Stafford directs and choreographs the show to the high Music Circus standards with flair.

The whole production crew has created an experience with the great look and sound that their audience expects. In fact, much of the audience is most likely so used to the level of quality that these talented individuals create week after week that they have become a little spoiled by the high production standards.

This is a great show for children. There are some dark and bawdy elements to the show, so the family guide recommends the show for children 8 and older. They will be excited to see kids their own age performing in an exciting show. For adults, there is a story that has endured through the years for good reasons. There are beautiful, familiar songs and performances by actors of all ages to enjoy.

Bill Burgua on "NAG continues"

2011-07-21T00:41:22Z

One other point. NAG does not take positions. NAG is set up only to be a place to exchange information. Part of its' design is to be a place where neighborhood association leadership and other interested individuals can hear from city staff and leadership and others in the community such as developers, business owners and others without going around to every neighborhood association and interest group in Area 1 (Downtown, Midtown and East Sac.). Now individuals can ask questions and give feedback. Sometimes that may be strong feedback but as a whole NAG does not take a position on anything other that it is there to help create and maintain livable neighborhoods by having informed neighborhoods.

Bill Burgua on "NAG continues"

2011-07-21T00:30:54Z

Correction: The City did not provide pizzas. For years and years members of the agenda committee solicited donated pizzas from numerous venues that had pizzas on their menus. At times NAG regular attendees donated pizzas. For two years pizzas were donated by SacPress. Excellent pizzas I might add. When SacPress management understandably found this becoming too expensive the agenda committee decided that NAG would not end if there wasn't any pizza.

Will Monday's Neighborhood Advisory Group Meeting Be Its' Last?

2011-07-14T23:03:12Z

After operating for nearly two decades, what may be the last meeting of the Neighborhood Advisory Group (NAG) will take place this Monday.

NAG started out as a meeting of concerned central city residents meeting in private homes. Eventually a partnership with the city was formed through Neighborhood Services/Code Enforcement under Max Fernandes. Neighborhood Services has continued to work with NAG publishing and distributing the NAG agenda that was created each month by the independent and volunteer NAG agenda committee. Neighborhood Services also serves as a conduit between the agenda committed for city entities that wanted to present at NAG and city endities that the agenda committe requested presentations from.

Highlights of this NAG agenda include a presentation by interim city manager Bill Edgar. Edgar will speak about the impact of the city budget cuts. It is sugnificant that Mr. Edgar will be presenting at this NAG. He had a major influence on forming the partnership between the NAG and the city when he was city manager, including the creation of Neighborhood Services.

The agenda committee also asked the police to speak during the police activity report about the increasing sales of alcohol in Area 1 in cojunction with reductions in police resources and how Area 1 residents will keep abrest of police issues if NAG ceases to exist.

Finally attendies will discuss the future of NAG after hearing what support Neighborhood Services can continue to provide.

Area 1 Neighborhood Advisory Group (NAG) July 2011 Agenda

In Partnership with the City of Sacramento Neighborhood Services Division

Monday, July 18, 2011
6:30 to 8:30 p.m.
Hart Senior Center, 915 27th Street

Tonight’s Facilitator: Gerald Celestine, Capitol Area R Street Association (caRsa) and Friends of Fremont Park

6:30 Welcome and Introductions

6:35 City Budget Impacts
Bill Edgar, Interim City Manager

7:00 Area 1 Police Department Activity Report
· Increased alcohol sales and impact on Police
· How will residents keep up with Police issues if there is no Neighborhood
Advisory Group?
Sacramento Police Department

7:15 Announcements

7:20 Issue Updates: Mercy Hospital; Midtown Nightlife Issues/Responsible Hospitality Institute; R Street; Sutter Hospital/Trinity Cathedral; High-Occupancy Vehicle (HOV) Lanes; Preservation Roundtable; Department of Utilities Funds; The Docks Project; K Street; Special Events; NAG Action Request Form

7:30 Neighborhood Services / Parks and Recreation Updates
· Support of NAG
· Cost /Availability of Hart Senior Center

7:50 Future of NAG

Adjourn

*Next Meeting: To Be Determined*

Items are placed on the agenda based on their time sensitivity and relevance to Area 1. Join the NAG agenda committee in setting the agenda at 12 p.m. on the first Wednesday of the month at the Clunie Community Center. (If NAG continues)

See City Council agendas and reports here.

Disclosure: Bill Burgua often attends the Neighbohood Advisory Group agenda committee meetings and often facilitates the NAG meetings.

"The Producers" Gets Music Circus 61st Season Off to a Great Start

2011-07-14T03:45:18Z

Opening its 61st season with a highly popular contemporary musical with good casting has paid off for California Musical Theatre’s Music Circus.

“The Producers,” which opened Tuesday night, involves a failed Broadway producer whose most recent show closed on opening night. A passing remark by the low level accountant sent in to audit the books puts the plot in motion. If the producer would have a guaranteed flop, they could bank the investment, close the show and keep the money. They set out to find the worst play, a lousy director and terrible actors. Many complications and much humor ensue, along with lots of great songs and dancing.

“The Producers: the new Mel Brooks Musical,” while being a contemporary show, is based on much earlier material. The 1968 movie, “The Producers,” was Brooks’ first feature film. He developed it into the musical that opened in 2001. According to reports, this was done at the urging of his wife Anne Bancroft and music and movie mogul David Geffen.

The show won a record 12 Tony Awards along with a slew of other theatrical awards. This, along with the casting of Nathan Lane and Matthew Broderick in the lead roles, made “The Producers” one of the all-time hottest tickets on Broadway. During the first run, it took in a record single day ticket sales of over $3 million. When Lane and Broderick reprised their roles later in the run, the show broke that record with a $3.5 million single day sales.

It was not the star casting alone that made the show so popular. The play by Mel Brooks and Thomas Meehan is both endearing and very funny. What else would you expect from Brooks?

What is surprising is how good the music is. Brooks’ music works very well for the action. His lyrics run from poignant to hysterical.

CMT has done their usual first-rate job on casting. Broadway veteran and Music Circus alumni Bob Amaral plays Max Bialystock, the failed producer. This is the character closest to the real Mel Brooks and Amaral fits the role well.

Amaral is matched well with Matt Loehr as Leo Bloom, the milquetoast accountant. Loehr, another Broadway veteran - including another role in “The Producers,” has also appeared in several Music Circus productions. He is very good at the physical comedy required for the role. Loehr has a beautiful voice and is featured in several of Brooks’ best songs.

Very popular Music Circus actor Gary Beach plays the role of Roger DeBris, the director, a role he originated on Broadway and performed in the movie version of “The Producers.” To say that Roger DeBris is a flaming queen with a huge ego is a major understatement. The audience ate it up.

Carmen Ghia, Roger’s assistant and lover, is played with equal aplomb by Michael Paternostro. In addition to performing on Broadway in several tours and regionally, Paternostro has performed locally in the Music Circus production of “Funny Girl” and in “Suds” at the Cosmopolitan Cabaret. Paternostro’s Carmen Ghia was another scene stealer.

The audience went crazy for Bill Nolte as Franz Liebkind, the not-so-closeted Nazi playwright and pigeon fancier. Nolte returns to the Music Circus after a long absence. He last appeared in “Jesus Christ Superstar” in 1996.

Sarah Cornell is well cast as Ulla, the stereotypical Swedish blond with the fractured English pronunciation. Her height is perfect; Max and Leo’s eyes meet her at chest height. Cornell is good at the demanding physical comedy. She has a lovely voice and is also featured in several songs.

The ensemble is, as usual, made up of mostly Music Circus veterans. Kim Arnett, Michael D. Jablonski, Matthew J. Kilgore, Ivory McKay, Jeffrey Pew and Matthew Schneider also perform well in supporting roles.

Director Glenn Casale does a great job of staging the action throughout the Wells Fargo Pavilion and gives everyone in the audience good exposure to the action. Casale keeps the action moving along but gives the audience time to enjoy each song.

Production stage manager Craig Horness is in his 16th season with the Music Circus. His assistant stage manager, Katherine Cannon, keep a small army of stagehands changing sets on the run.

Great costumes (Mark Koss) and wigs (Judi Lewin), along with the scenic design by Scott Klier and Jamie Kump, and Martin E. Vreeland’s lighting, create the spectacular visual effect Music Circus audiences have come to expect. Dan Mojica’s choreography puts all of this in motion.

Musical director Dennis Castellano conducts the 16 piece orchestra that produces the beautiful music of the Music Circus.

The 61st season opener has everything expected from the Music Circus. There are lush production values, beautiful music and a good story. In addition, there are beautiful girls and boys in the ensemble dazzling the audience with their dancing. Even the intermission is great fun.

Shows daily through July 17, 2011

Tickets More info

Next up "Oliver!" Opening July 19, 2011

Bill Burgua on "National Train Show Makes Stop in Sacramento"

2011-07-14T01:26:53Z

Most of the displays are modular. Indivdual modules may be built by the club or by individuals. Each module may have its' own theme. Even with the modules putting them all together and putting the rolling stock on them must take a lot of time.

Bill Burgua on "Sacramento airport's Terminal B complex to open early"

2011-07-12T02:24:11Z

It was my understanding that Southwest will occupy the new Terminal B and the airlines currently in the old Terminal B will be going to terminal A. Is this true and if so will the change over take place all at once?

Bill Burgua on "Music Circus, A Sacramento Summer Institution, 2011 Season Opens Tuesday"

2011-07-08T23:50:41Z

Bil can't count. Eight shows in SIX days. Tuesday (opening night) 7:30 pm, Wednesday 8:00 pm, Thursday 2:00 pm and 8:00 pm, Friday 8:00 pm, Saturday 2:00 and 8:00 pm. Sunday (closing) 7:30 pm

Bill Burgua on "Lunch and Learn discusses "Photosynthetic Restaurant""

2011-07-08T19:12:51Z

As noted in the wikipedia article there are reproductions in several museums including those in the U.S. I have seen the one at the Georges Pompidou in Paris. The largest collection of Duchamp in this country is at Philadelphia Museum of Art which includes one of Duchamp's famous cubist "Nude Descending the Staircase." Nice article Pembe!

Music Circus, A Sacramento Summer Institution, 2011 Season Opens Tuesday

2011-07-08T18:27:49Z

The Music Circus is a Sacramento treasure. Few seem to realize how rare a gem it is.

Turning out seven productions that run for five days each that are of the unbelievably high production value is a truly amazing feat. The term “summer stock” does not really do justice to what California Musical Theatre produces under the tent.

I see a lot of musical theater, including, most recently, the hottest show on Broadway, “The Book of Mormon.” The entertainment quality and value that CMT creates week after week equals and sometimes exceeds that of Broadway and Broadway touring shows.

How do they do it? First it is the venue. The state-of-the-art Wells Fargo Pavilion seats over 2,000 people but manages to keep everyone close to the action. The space also allows for great lighting effects and technical surprises, such as the cow being catapulted onto the stage in last year’s season opener, “Monty Python's Spamalot.”

Creative staging with in the venue greatly enhances the experience. Almost all music theater productions are performed on a proscenium stage such as the Community Center Theater with an arch framing the stage like a picture frame. This type of stage creates a sense of distance between the audience and the action. At the Music Circus, the staging often runs into the aisles, all the way up to the back doors. This creates a great feeling of being part of the action.

“Spamalot” is a good example. I saw the road show production of “Spamalot” in San Francisco a few months before the Music Circus production. While the road show production was funny and had great songs and all the great Monty Python characters, it did not have much feeling of connection. It was a totally different experience seeing the Music Circus production. There was a much stronger feeling of excitement and involvement in what was happening.

Staging theater in the round is an industry-wide challenge, but credit is often given to CMT artistic director Glenn Casale for not only solving problems but enhancing the experience.

Casale is one of numerous individuals who have worked together on Music Circus productions many years, gaining intimate knowledge of what makes things work well. From directing actors to directing the orchestra, and from costume changes to complex scene changes, all must be learned on a much quicker time frame than a usual production and executed smoothly.

Many performers have been Music Circus regulars over the years. Several can be called audience favorites. Following the links to the individual shows at the end of the article, you will see who the featured actors are, their previous major roles and how many of them have appeared in multiple roles at Music Circus over the years.

Add a great live orchestra, wonderful costuming and interesting sets, and all the magic of the Music Circus comes alive.

This season opens Tuesday with “The Producers, a Mel Brooks Musical,”one of the most popular shows on Broadway in recent history. It features audience favorite Gary Beach, who originated the role of Rodger de Bris on Broadway and reprised the role in the film version of “The Producers” musical with Matthew Broderick.

Opening on July 19 is “Oliver,” the very popular musical version of Dickens’ “Oliver Twist” with lots of great Lionel Bart songs. It’s a great show to introduce young children to musical theater. This production will feature children from the CMT education programs like last season's "Joseph and the Amazing Technicolor Coat." For a guide to appropriateness of individual shows for children, click here. Music Circus has a special ticket price new this year for childern. All tickets for young people 4-17 years old are $30-$35.

A revival of “Anything Goes,” opening July 26, is a hot ticket on Broadway. Vicky Lewis, who was a knockout in last season’s “Funny Girl,” should be great as Reno Sweeney. And with music and lyrics by Cole Porter, what more could you want?

“Camelot,” the Lerner and Loewe classic with memorable songs, directed by Casale, opens Aug. 2.

“Irving Berlin’s Annie Get Your Gun,” opening Aug. 9, is another landmark Broadway musical that has had several revivals. It is a great story told with some of Berlin’s best songs.

“I Do! I Do!” is a two-person play with book and lyrics by Tom Jones and music by Harvey Schmidt of “The Fantastics” fame. Opening Aug. 16, it is directed by Will Mackenzie, who directed the 1996 off-Broadway revival. Real-life couple Matthew Ashford and Christina Saffran Ashford will play the couple.

Broadway monster hit “Miss Saigon” ends the season, beginning on Aug. 23. Created by Alain Boublil and Claude-Michael Schönberg of “Les Misérables” fame, the show adapts Puccini’s “Madame Butterfly” into 1970s Vietnam.

Bill Burgua on "Pangaea to open a bottle shop"

2011-07-07T18:39:39Z

Rob Archie makes such a wonderful contribution to the neighborhood with Pangaea. It is also a place neighborhood is proud to share with folks from outside the neighborhood who enjoy quality food and beverage in a great setting while respecting the quality of life of the residental neighbors. Pangaea in on track to become as iconic as our other neighborhood treasure Gunther's Ice Cream across the street.

Bill Burgua on "Cheap Thrills costume shop to reopen"

2011-07-07T18:23:51Z

The sadist thing about Uncle Fred retiring and closing Cheap Thrills was the loss of access to the McNally's incredible costume collection. It is so great that the family is bringing back Cheap Thrills. A few years ago we and friends rented vintage formal wear from the store for a cruse. We had so much fun going to the formal dinners. The ship's staff and fellow passengers loved it. Mixing accessories we had a different look for each dinner. Ironically it was no more expensive than renting tuxes. If one is inventive there are lots more occasions that Halloween to wear a costume.

A Independence Day Tradition Celebrated on Third Avenue

2011-07-06T06:50:51Z

On Monday, one two-block-long “block” of Third Avenue maintained a long standing Independence Day tradition. With a city approved street closure, a long row of tables was set up in the middle of the street. Coolers were rolled out, along with grills, gas and charcoal. A large American flag was brought out from safekeeping in the household that originally donated it, and strung between the huge trees that line the avenue.

Folks were making good use of the wading pool in one yard. Another yard had a crazy sprinkler going for the kids. The party was an amazing demonstration of the great diversity in the neighborhood. There were a lot more kids than one would expect and a lot of neighbors also invited friends and family to the event. All ages were well represented, along with every racial and religious representation, all having a wonderful time together.

How long has this event been going on? Nobody seemed to know.

Linda McAtee remembered that when she and her husband Steve Spar moved to the neighborhood, their son was three years old. He has now graduated from college and Linda said the July 4th event had gone on for years before they moved to the neighborhood.

The ritual begins at 4:00 when everyone starts to gather. First up is the kiddie parade. Every sort of child powered vehicle is present. Tricycles, bicycles, kiddie cars and parent pushed carts of all sorts are decorated for the holiday. They parade up and down the Avenue to the cheers of the crowd.

There is plenty of conversation and beverages while the grills get going. Then comes the grilling - chicken, veggies, buffalo burgers, ribs and more. Everyone brings salads, side dishes and all sorts of desserts. Most sit at the long communal tables running down the middle of the street.

After dinner the big fun starts. The kids are the first to finish dinner, as usual. They are chomping at the bit for the next event: the water balloon fight. The children are split into two groups, five years old and under and everyone over five, a group which was heavily made up of dads. More than 700 balloons had been filled with water earlier in the day. Soon, there were lots of wet people in the streets, though no one seemed to mind since it was still 98 degrees. Afterwards, the kids dutifully picked up all the broken balloons.

As soon as it started to get dark, hundreds of sparklers were handed out - one at a time - to the children. Everyone had great fun watching the kids involved in the great childhood ritual of playing with sparklers.

As each sparkler went out and the kids dutifully placed the stick in a bucket of water, the chairs were arranged on both sides of the street where there was a large space between the tree canopies. All those that brought fireworks put them in a communal pile. The rule is that everyone except the three people chosen to light the fireworks stays out of the street. Those lighting the fireworks called out the name of the one they were lighting. For over an hour, there were “oohs” and “ahhs.”

Just before ten everyone packed up, cleaned up the street and headed home with more memories of being part of a wonderful and very fun neighborhood tradition. Just one tradition, in one neighborhood, that is played out in many Sacramento neighborhoods and neighborhoods across America.

"Or," a Sexy, Hilarious and Fitting Last Show on the Delta King for Capital Stage

2011-06-28T22:53:35Z

The sixties brought a lot of changes. A new government brought hope, yet an ongoing war and its associated costs brought conflict and despair. New careers were opening up for women in nontraditional jobs, and there was a new sexual freedom in the air. It was an era of loving and being sexually attracted to whoever one found attractive while sharing them with whoever also found them attractive.

“Or” celebrates all of this. Liz Duffy Adams’ hilarious play “Or” is the final play of the sixth season of Capital Stage, and their last onboard the Delta King in Old Town Sacramento. This production also brings together Capital Stage’s original founders, Stephanie Gularte, Jonathan Rhys Williams and Peter Mohrmann.

While the description of “Or” evokes thoughts of the flower power, hippie 60’s of San Francisco, It is actually set in London during the years 1666-1670. The repressive Puritan rule of Oliver Cromwell had ended and the monarchy restored with Charles II returning from exile. A controversial and expensive war over trading supremacy continued with Holland.

Adams bases her characters on several historic figures. The central character is Aphra Behn, who spied for King Charles in the Anglo-Dutch wars. Behn now wants to become a playwright, an occupation newly opened to women. Charles II has several mistresses and presses Aphra to be another She agrees to be supported by Charles so she can write her first play but with holds the “final prize” to keep him interested. Aphra soon meets Nell Gwynne, one of London’s most popular actresses, and experiences an attraction to her. To add to all the confusion, double agent William Scott, an acquaintance from Aphra’s past life as Astrea, shows up. Scott has gone a little dodgy while in exile.

Attractive and sexy husband and wife actors Jonathan Rhys Williams and Stephanie Gularte play King Charles II/William Scott and Aphra Behn/Astrea. Williams’ Charles II in a long, curly black wig is witty and funny, but it is his deranged William Scott that is downright hysterical.

Gularte shines as Aphra Behn, the center of the story. There is little doubt why both men and women go crazy over her. Gularte’s Behn is truly affectionate and loving to those she likes but quite able to hold out for what she needs. What she needs most is to fulfill her destiny to be a great playwright.

Jessica Bates making her Capital Stage debut rounds out the trio of actors. Primarily an East coast actress, Bates becomes wilder and crazier with each character she takes on. She starts as the gruff, foul-mouthed jailer at the debtor's prison. Her primary character, Nell Gwynne, makes good use of the character’s androgyny and “modern woman” posing. Nell is quite happy to put the moves on Aphra.

Bates goes on to portray Behn’s over-the-top, cranky, old servant. Later, she plays an older female aristocrat. Bates’ Lady Davenant matches Williams’ William Scott for sheer hilarity.

The third Capital Stage founder, Peter Mohrmann, directs all this with split second timing. Jonathan Williams sometimes seems to instantly morph from one character to the other. Mohrmann has elicited performances from his actors that, in spite of all the craziness, are really very believable.

Stephen C. Jones’ minimal design of the two sets, the debtor's prison and Aphra Behn’s room, works well. Combined with Steve Decker’s lighting design, Gail Russell’s costumes and Michael Coleman’s wigs, a true sense of the characters’ styles are achieved.

Everything comes together - the play, the acting and the staging - to create a fascinating, daring, sexy show that is also hysterically funny. The laughter started immediately and continued throughout the show. There were times that members of the audience were laughing so hard they nearly started choking.

The three founders of Capital Stage and their whole production staff have created a very fitting end of an era and farewell to “The Boat.”

Bill Burgua on "Revamping Old Sacramento"

2011-06-25T19:47:37Z

Note that downtown Portland Oregon is so popular that on-street parking is charged on Sunday afternoon starting at 1:00pm. And it is worth it because Portland has created such a fun entertaining downtown.

Bill Burgua on "Redistricting 'Top Four' maps revealed"

2011-06-22T17:52:26Z

On the other hand, there is a massive amount of pessimism even among the committee members that the City Council will, as their prerogative, say thank you very much and do as they please. Which is back-room dealing to retain the status quo and protect their sorry asses.

Bill Burgua on "Redistricting 'Top Four' maps revealed"

2011-06-22T17:46:16Z

Several people attending Monday night's Neighborhood Advisory Group meeting reported that there has been little or no input to the process by residents of the central city. The folks that have complained the most privately about being in one district have said the least publicly about what they want. "You are not going to like what you are going to get (at this point)" said one observer. "The folks that are testifying do not have your interests in mind" they continued.

Bill Burgua on "Food Talk chronicles culinary highlights"

2011-06-20T17:36:47Z

Pembe you have done an excellent job of describing what took place at the last TableTalk. Each of the three TableTalks at Cafe Bernardo has been very different but have had in common the fact that lots of good food knowledge has been pasted on in a fun manor. The only thing left out was that we again got to enjoy some of the great food of Cafe Bernardo chef Shannan Burg.

Bill Burgua on "Top EPA official speaks in Sacramento"

2011-06-15T01:16:52Z

This is more support for clean technology industry in the region. Let's hope the region can get behind the growth of clean technology. Make Sacramento known for using out abundant solar energy, having a large percentage of plug-in hybrid and electric cars and other uses of clean technology. Let's have a reason to work in the area besides government and ag. Perhaps the future is better than our curent stagnation.

Bill Burgua on "Bridge over tracks to connect Curtis Park, Land Park"

2011-06-14T21:53:07Z

Looking at the article and the linked map from the city it looks like this will not connect to anything on the Curtis Park side until streets are built in Curtis Park Village. Is this true Brandon?

SMUD-CSUS Agreement Ups Region's Clean Tech Presence

2011-06-14T20:23:08Z

The Green Capital Alliance presented “Road Map to 3,000 Jobs” at the Sacramento State University Alumni Center Thursday June 9th.

The Green Capital Alliance describes itself as “a broad partnership of people and organizations aiming to make the clean technology sector a defining feature of Sacramento’s economy.”

The centerpiece of the meeting was the signing of a Memorandum of Agreement (MOA) between Sacramento Municipal Utility District (SMUD) and the Californis State University Sacramento (CSUS). The MOA formally regonies work started last year between the two institutions. The MOA basically ties together the smart meter progran at SMUD and he California Smart Grid Center work at Sacramento State. For specific details of the agreement click here.

Dr. Emir Macari, dean of the Sacramento State College of Engineering and Computer Science and member of the California Smart Grid Center, introduced the two principals for the major event of the day. SMUD general manager and CEO John DiStasio represented SMUD in the partnership. He said $127 million was being spent on smart-meter transition for all SMUD customers that will be completed in 2013. Smart meters will be a major component and source of information that will lead to new technologies in managing energy usage and the management of the smart grid that will allow implementation of these technologies. The ability to have widespread use of electric vehicles is dependent on this.

Sacramento State President Dr. Alexander Gonzales was the other principal for the partnership. He said 85 percent of the students at Sac State come from the region. He went on to stress the long relationship between SMUD and Sac State.

“Both SMUD and us are essential for the economy,” he said.

They then formalized the relationship by signing a formal memorandum of understanding.

“Students will be the greatest beneficiaries of this agreement,” Gonzales said. “This is already a living document. We have been working together for three to four years.”

While the signing of the Memorandum of Agreement was the major event of the meeting, there was a great deal of more information prestented at “Road Map to 3,000 Jobs.'

Jack Crawford of Velocity Venture Capital was the keynote speaker at the presentation. Crawford presented a quick picture of the state of the creation of green economy companies and jobs in the greater Sacramento region. He said his venture capital company has 13 companies in its profile, with seven generating income and four that are cash-positive.

Crawford lamented that, while teaching as a guest in the MBA program at the University of the Pacific, he learned that the MBA graduates leave the area because of the perception that there are no “cool” companies to work for in the region.

He talked about the uphill battle after Forbes declared Sacramento the fifth worst city in the country and the difficulty of retaining start-up companies that do succeed. They leave for the glamor and climate of entrepreneurship in Silicon Valley.

Crawford does not see everything as bleak in regard to clean technology in the region. He cited Click Nation as one successful company that chose to stay. He cited a figure of 100-plus clean tech companies in the region. Entrepreneurs that were big on the Internet are now moving to clean tech. The Sacramento region is rated 10th in job activity and fifth in percent of LEED buildings in the country.

He sees a need for public-private partnership for clean tech to succeed here. Crawford believes that there is a poor tolerance for risk in the Sacramento region, and that there needs to be a change in culture to attract risk-takers. He cited the typical pattern of fail, fail, succeed for entrepreneurial companies.

Crawford ended by saying that with a growth of clean technology companies, philanthropic contributions would grow.

Following a short break, Julia Burrows with Valley Vision spoke of some of the different organizations studying green technology in the region. These included Sacramento Area Regional Technology Alliance, Center for Strategic Economic Research (CSER), Centers of Excellence at Los Rios Community College District, Valley Vision and Green Capital Alliance. They are helping to create the clean energy sector strategy, and what followed was an overview of the RICO (regional industry clusters of opportunity) process.

Burrows introduced Ryan Sharpe from CSER. CSER was formed in 2001 to gather data on clean tech in the region. They now have a database for the region. They group the data into four groups: clean energy, energy efficiency, clean transport and green building.

Sharp doubled Crawford’s estimate to over 200 companies in the region. Most of them are small with one to 19 employees and averaging $1.1 million in sales. Most deal with clean energy or energy efficiency. He said the Sacramento region competes mostly with Austin, Denver, Portland and the greater Bay Area.

He was followed by Theresa Milan from the Centers of Excellence at Los Rios CCD. This is one of several COEs set up and funded by the state of California.

Milan said state policy drives growth such as the CA Solar Initiative and New Solar Homes Partnership. The COE looks at expanded industry growth and workforce needs. They are seeing an employment increase from 700 in 2007 to over 1,300 today, plus a 60 percent increase in the number of clean tech firms.

The final speaker was Congresswoman Doris Matsui.

“It is important to get our stories out about what we are doing about clean technologies,” Matsui said, adding that housing and governmental sectors are imploding in the region.

Matsui is working on a bill in Congress to boost the competitiveness of clean-energy manufacturing. She pledged to keep working with this segment and echoed the need to keep the knowledge and jobs here. She is part of a bi-partisan congressional high-tech caucus. Matsui emphasized that we need to “learn from the past so that we do not get stuck in the past.”

She talked about the advantages in the Sacramento region of progressive utilities, educational institutions, infrastructure and investors.

“Federal investment is absolutely necessary,” she said.

Matsui concluded saying that her grandchildren Anna and Robbie are her touchstones for the future.

Speaking with Matsui after the meeting, she railed against "the stupidity of continuing the oil company subsidies while cutting funds for clean energy research," among other problems with congress.

The Clean Energy Sector Strategy: Sacramento Region, presentation materials and more infromation from each speaker is available on the Green Capital Alliance webesite here.

Bill Burgua on "FoodTalk: Hank Shaw and Elaine Corn discuss hunting, fishing and foraging"

2011-06-13T19:21:32Z

Excellent story on the event Illian! Hank Shaw is a great speaker and very fascinating. Elaine Corn was very well prepared and asked great questions. Everyone involved in the food talk series is doing a great job.

Bill Burgua on "McCarty reflects on tough budget choices"

2011-06-09T02:27:09Z

Great catch Issac! Well written interview.

Speaking with the Caveman

2011-06-09T02:19:29Z

Los Angeles-based actor Cody Lyman is the first of four actors appearing in the solo show “Defending the Caveman” at the Cosmopolitan Cabaret. A review of the show was published earlier on SacPress. SacPress caught up with Lyman on his day off Tuesday.

You grew up in Durango, Colo. How did you end up being an actor?

I was a baseball and football player in high school. Played in an all-state game. Didn’t think I was good enough for college. I fell into acting in college. Kept going. It seemed like a lot of fun. It was a good group of people. I feel that theater is pretty important. It helps people look at the world.

“Defending the Caveman” is about more than just male-female relationships.

One of my favorite parts about the show is about men’s relationships with each other. (The play) is for everyone who loved someone enough to be frustrated with each other.

You have been performing “Caveman” for seven years. What keeps it interesting for you as an actor?

It is because the play is conversational, more than a monologue. It is the audience seeing their relationships up on the stage. (There is) a very thin fourth wall. This is the first time to have four actors. I stay closer to the script. Some are more stand-up. I have seen all the other Cavemen. Four different actors, four different performances.

Speaking of stand-up, you have a very strong background in improvisational acting. Rob Becker, who wrote the play, came from doing stand-up comedy, and the play has a very stand-up feel. How did this work out for you?

Improv helped me land the role in the show. I auditioned with Rob Becker in Chicago, where he was based at the time. I do know how to do the tricks. Five of us were hired to learn the script at the same time. We were sent to boot camp in Norman, Okla. Yes, Norman, Okla. There are a lot of cavemen there. I was the only one that was hired. I was given pages and pages of notes. “Caveman” is translated into the language of where it is performed. I saw it in Dusseldorf, Germany.

Do you pick up on caveman behavior in your friends and acquaintances?

Definitely! When I first got the script, I did not understand it. The longer I do it, the more I see it in my family and others.

When you are working in different cities, do you take the time to check them out?

Yes, I do like to do that. I have already checked out Old Sacramento. I have been to a River Cats game. I got to throw out the first pitch. I take in as much of each city as I can.

Cody Lyman will be performing the solo role of the Caveman in “Defending the Caveman” at the Cosmopolitan Cabaret through June 26, 2011

Schedule and Tickets

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

2011-06-07T05:34:40Z

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More information and tickets

Long Running “Defending the Caveman” Opens at Cosmopolitan Cabaret

2011-06-05T23:46:18Z

Is there a difference in how men and women communicate? Do they, in fact, view the world differently? Rob Becker’s comedic play “Defending the Caveman” demonstrates not only that this is true, but that this can be traced all the way back to when Homo sapiens lived in caves.

Now don’t confuse “Defending the Caveman” with some academic lecture. The show is much more akin to stand-up comedy — stand-up comedy with a nice set design, sound track and introduction video.

Speaking of the set, it looks like Fred and Wilma Flintstone meet HGTV.

The Cosmopolitan Cabaret production of “Defending the Caveman” opened Thursday evening with Cody Lyman in the role of today’s caveman. Lyman is one of several cavemen appearing in productions around the world. The Cosmo Cabaret production is going to feature four cavemen during its three-plus-month run.

Lyman is very charming as he lays out the “Caveman” premise that the original caveman was the hunter/protector and the original cavewoman was the gatherer/knowledge-seeker/reproducer/goddess. That translates to the basic premise that men are simple, uncomplicated and focused on one thing at a time, while women are complex, complicated and multi-focused.

All this is laid out with gentle humor. Yes, much of the humor is about stereotypical behavior, but it is generally acknowledged that there is usually a grain of truth in stereotypes. It is the grain of truth that sparks recognition from the audience and the ensuing laughter — not only laughter but shouted responses from the audience typical of stand-up comedy.

The show does depend to a degree on audience reaction and interaction. The more audience reaction, the more fun the play is for the audience. Stand-up fans will really love the show and will bring the rest of the audience along laughing at not only what is happening on the stage but what is happening in the audience.

Becker’s play pretty much equally highlights the behavior of men and women. It also asks that each gender think about what may be innate behavior of the opposite sex. Becker also has a lot to say about interactions of men with men and women with women. All this needs to be prefaced with that this is heterosexual behavior and that it also discounts the evolution of relationships.

“Defending the Caveman” obviously strikes a chord with its audiences. It has been showing since Becker premiered it in San Francisco in 1991. It still holds the record of the longest solo performance play on Broadway and has been successfully translated into over 15 languages. Lyman has been performing the role for seven years. He is good at making the material timely.

Go see “Defending the Caveman” and let your inhibitions go. Shout out your reactions when things spark recognition. If you have been in a successful long-term relationship, you are bound to recognize several truths. If you are new to a heterosexual relationship, you will learn some useful things. If you don’t fall into either group, you can just laugh at how crazy these people can be.

“Defending the Caveman” Cosmopolitan Cabaret June 1- September 11, 2011 More Information and Tickets

Cody Lyman-”Caveman” June 1- June 26
Ben Tedder-”Caveman” June 29- July 17
Paul Perroni-”Caveman” July 20-August 14
Vince Valentine-”Caveman” August 17-September 11

Bill Burgua on "Party with Pride this Saturday"

2011-06-02T21:47:09Z

Yes Ben there are all sorts of reasons that readers vote up or down. Subject matter is certainly one. Anything related to the LGBT community is going to get at least 2-3 thumbs down. Who ever hates live theater has been slow to react lately. It has taken them 3-4 days to thumb down theater articles and reviews.

Roy Blount Jr. Closes Out California Lectures Eighth Season

2011-05-27T05:51:55Z

Award-winning and prolific writer Roy Blount Jr. appeared at the last lecture of the eighth season of California Lectures Tuesday evening. The evening was in partnership with the Sacramento Public Library and held in the Tsakopoulos Library Galleria. Library director Rivkah Sass welcomed the audience that filled the floor of the galleria and overflowed onto the mezzanine.

California Lecture founder and president Suzette Riddle introduced Sands Hall, who would be in conversation with Blount. Hall is a writer, director and actress who resides in Nevada City. She is also a visiting professor of creative writing at Franklin & Marshall College in Lancaster, Pa.

Blount, who was interviewed in SacPress last week, made it clear throughout the evening that he is first and foremost a writer. Hall talked to him about the many things he has done in his life: sports, acting, songwriting and performing with the Rock Bottom Remainders, a rock band made up of bestselling authors. He kept coming back to what he is most interested in and attracted to: words written down on the page.

This love of words is what led him to write his latest book, “Alphabetter Juice: Or, The Joy of Text” and its predecessor “Alphabet Juice: The Energies, Gists, and Spirits of Letters, Words, and Combinations Thereof; Their Roots, Bones, Innards, Piths, Pips, and Secret ... With Examples of Their Usage Foul and Savory.”

Blount talked about words being “sonicky” a word he invented that is a combination of sonic and kinesthetic. Much of both “Alphabetter Juice” and “Alphabet Juice” are about the sound and kinesthesia of words, or, as Blount explains, how words move through your mouth. He used a couple of his favorites: splotch and squelch. He had Hall try them out, much to her amusement.

In answer to a question from the audience, he said he is not fond of audio books unless they are used while driving. When he reads, he likes to stop and go back and reread a lot. He finds that difficult with audio books.

Blount is soft-spoken with a Southern accent, a product of his childhood in Georgia. Hall had him read several passages from “Alphabetter Juice” during the evening. As with many writers, it is even more entertaining hearing him read his own work than just reading it oneself.

“I love the sound of other peoples’ voices, maybe more than my own,” he said. But after a pause, “No, I love the sound of my own the most.” Laughter ensued.

He also talked about what he called “the thumbing down of language” due to texting. He cited using “u” for you. He pronounced “u” as “ooh,” as in “I love ooh.”

Blount is married to visual artist Joan Griswold. He reflected on the different style of communication of a writer and someone who communicates visually. In regard to this, he spoke about how valuable the word “hunh?” is. It implies that one is actually listening, even several rooms away and only needs some clarification. It helps keep peace around the house.

Roy Blount Jr. says he enjoys writing about writing in the same way that food writers love to write about food. California Lectures is primarily about writers so it was appropriate that a writer who writes about words and loves to write so much ended this California Lectures season.

Glee Cast is a Huge Hit at Glee Live! Sacramento Show

2011-05-26T06:54:23Z

The Glee Live 2011 Tour rolled into Sacramento last night a day late, but no one in the sold-out Power Balance Pavilion crowd seemed to care. It was an extremely exuberant crowd, with the screaming and cheering starting long before the curtain went up.

The show had every one of the students featured in the TV show, plus Matthew Morrison (the New Directions director, Will Schuester) and Jane Lynch (Cheerios cheerleading coach, Sue Sylvester) via video. All performed as their characters, reprising a surprisingly long list of the production numbers from “Glee.”

They quickly put to rest any questions about their ability to perform live at the high-quality level of the television numbers.

The cast, backed by a five-piece band, opened with one of their first hits: Journey’s “Don’t Stop Believin’.” Everyone had a moment in the spotlight during the show. But as evidenced by the TV show, some actors are much stronger singers and dancers than others and were more heavily featured.

One of the standouts was Lea Michele as Rachel. Michele started on Broadway at 8 years old and has gathered more musical theater experience than anyone else in the cast. Her “Don’t Rain on My Parade” was definitely a show-stopper. Michele again channeling Babs and Clovis-native Chris Colfer (as Kurt) channeling his best Judy brought down the house with their duets “Happy Days Are Here Again” and “(Come On) Get Happy.”

Colfer thrilled the audience with his bestselling rendition of the Beatles’ “I Want to Hold Your Hand.”

Amber Riley (Mercedes), not one to be ignored, belted out Aretha Franklin’s “Ain’t No Way” with the rest of the cast in choir robes. Riley sounded like she was going to lift the roof off the pavilion.

Cory Monteith as Finn performed several duos with Michele and really belted out Rick Springfield’s “Jessie’s Girl. He also showed off his drumming skills.

Kevin McHale as Artie showed that he could dance, reprising his dream sequence set in a shopping mall, and even rapped.

Heather Morris (Brittany) channeled her namesake Britney Spears with the cast in full Spears drag.

Even the Dalton Academy Warblers, led by Darren Criss as Blane, did a set of songs.

Along with several other recently released songs, the cast performed Lady Gaga’s “Born This Way,” the title song from her newly released album. The cast wore their low self-esteem T-shirts from the “Born This Way” episode, which has been recognized for its promotion of tolerance and anti-bullying stance.

The staging added to the drama, using nearly every concert trick in the book: pyrotechnics, multiple staging (including a stage at the back of the auditorium), high-tech lighting and large-scale video images. Performers popped up everywhere, including on the pavilion floor.

After the curtain went down, they returned to perform no less than six encores, starting off with Colfer performing “Put a Ring On It” backed by the girls in black singlets from the rear stage. The boys did Rebecca Black’s “Friday.” And as a sly hint at their season finale, they performed Jay-Z’s “Empire State of Mind.”

The audience at Glee Live demonstrated the wide diversity of “Glee”’s following. Yes, there were small armies of adolescent girls accompanied by their parents, but there were also large numbers of folks of every age and gender.

There were long lines at the souvenir stands before and after the show.

The whole “Glee” phenomenon is a major money machine, but who cares when you are getting your money’s worth and you are left very entertained?

Thanks to SacPress photographer Randy Miramontez

Bill Burgua on "Sacramento actor learning how to stand out in Hollywood"

2011-05-24T22:52:05Z

Another STC acting program grad makes good!

"Equivocation at B Street Theater B3 Stage-Powerful Story-Great Acting

2011-05-24T06:03:13Z

Torture, questioning the effectiveness of torture, secret renditions, religious factions, assassinations, government falsehoods for the greater good, heavy loss of civilian lives for the greater good… Sound familiar in the beginning of this century? This is not just the Middle East and North Africa, but also our own country.

“Equivocation,” the title of the current offering at B Street Theatre’s B3 stage, has several definitions. All are about some form of evasion of the truth. In this case, it is about a lie not being a mortal sin if the lie results in a greater good.

“Equivocation” is not set in the beginning of the 21st century, but in the London of 1606. James I is now King of England. He has recently survived a plot to blow up Parliament that would have killed him, his whole family and much of the ruling class. The plot is the result of the religous strife started by Henry VIII's creation of the Church of England over a half century earlier. The failure of this plot is still an annual celebration in England known as Guy Fawkes Day, named after the first conspirator that was caught.

In “Equivocation,” King James’s minister Sir Robert Cecil informs the hot playwright of the day, William Shagspeare (a variation on Shakespeare), that he is going to write a play about the “Powder plot,” as it has come to be known. The play is to be based on a text written by James. This sets up the situation that Shag - as he is known - must write a play that he knows is a lie or die for treason.

There are several characters in the play including the actors in the Globe Theatre, the conspirators, jailers/torturers, the king and his minister, Shakespeare and his daughter. Four actors play multiple roles, sometimes changing rapidly from one role to another.

Remi Sandri is an experienced regional actor, including six seasons at the Oregon Shakespeare Festival where “Equivocation” was first produced. He is very good as Shag, who appears in nearly every scene.

The very talented and popular local actor, Matt K. Miller, plays Richard, the manager of the Globe, and the Jesuit priest, Henry Garnet, who is blamed for enticing the plot. Miller is especially good as Garnet.

Los Angeles based stage, screen and television actor James Leo Ryan plays Globe company member Sharpe, and Thomas Winter, a conspirator. He is very good at both roles, but it is his performance as James I that is quite a hoot.

Kurt Johnson has been with the B Street Theatre since interning in 1993 and 1994. Currently a member of the B Street Theater Acting Company, he both directs and acts. Johnson appeared in “Northport Cottage” and in multiple roles in “The 39 Steps” this season. He is good in the role of Nate, another Globe actor. He is really great as the physically and morally deformed Sir Robert Cecil.

John Lamb is another longtime B Street Theatre Company member. He has appeared in many School Tours and Family Series productions. He has also directed several Mainstage productions. Lamb plays Globe actor and keeper of the scripts, Armin, and a great turn as Coke, the prosecutor in the trial of Henry Garnet.

The one female character in the play is Judith, Shagspeare’s daughter and the twin of his dead son. Judith is played by B Street 2009-10 acting intern Brittni Barger. She was the fabulous Junie B. in “Junie B. in Jingle Bells, Batman Smells!” Judith must overcome Shag’s feelings about the death of her twin while also being the conscience of the Globe Company. Her performance easily equals that of her much more experienced peers.

Playwright Bill Cain has won many awards writing for stage, film and television, including a Peabody Award. He has a strong background in the plays of William Shakespeare including founding the Boston Shakespeare Company, where he was the Artistic Director for seven years.

Cain has created a complicated, intense play. The action jumps from within the Globe Theatre to scenes involving the conspirators to those involving the King and Cecil, yet it is very funny much of the time. The audience laughed a lot. It is best to not keep trying to figure out what is going on and just enjoy the great language and action. This is definitely a play that invites multiple viewing.

Directing Intern Laura Baker keeps all the scene changes working smoothly while bringing out numerous great acting performances. Baker worked as an assistant director for “Northport Cottage” and “The 29 Steps” this season.

Catherine Frye’s multilevel set combined with Ron Modonia’s lighting successfully creates the multiple environments needed for the play. Add Paulette Sand-Gilbert’s period costumes, and you have the feeling of 1606 London.

Bill Cain’s “Equivocation” has so much to offer. There is a lot of action, combined with a lot to think about. It is very serious, even horrific, while being seriously funny. There are several characters which are beautifully realized by the cast of this excellent B Street Theatre production. Go, and just sit back and enjoy the production. You may get it all in one viewing. You may just want to come back and see it again.

Bill Burgua on "Ask the County Law Librarian - Neighbors and Their Trampolines"

2011-05-20T16:53:34Z

There is a big red flag here. "she later squirted me with her hose over the fence" in my opinion would be considered assault and should be reported to the police. The woman next door is not just inconsiderate, she is aggressive and dangerous. Consider what she is teaching her children: disagreements are settled by bullying. Cathy might consider writing to Michelle Lazark for more advise on how to deal with this person.

Bill Burgua on "Roy Blount Jr. Has a Way With Words"

2011-05-19T22:18:58Z

When I spoke with Roy Blount Jr. about how he saw himself, one of the things he emphasized was that he did not like "ist" words. This was especially true of being called a humorist. I wrote about it but it disappeared in editing. Imagine my humor this morning reading the headline: "Humorist Roy Blount Jr. mine the language for fun" on the front page of Living Here in the Bee.

Roy Blount Jr. Has a Way With Words

2011-05-19T04:20:36Z

Roy Blount Jr. has played many roles in his life: writer, composer, actor, interviewer, musician and radio game show guest. But above all else, he believes writing is what he was meant to do.

Blount likes to write about things he is interested in doing. At one point he thought he would be a “triple-threat in sports” playing very well in three different sports. Short of accomplishing that, he is well known for writing about sports. “About Three Bricks Shy … and The Load Filled Up” (1989) is one of his better known sports books.

Blount is now fortunate to be paid regularly for writing what he wants to write about. He doesn’t go on vacations.

“I always go on assignment,” he said. He looks to “capture something lively.”

As for music composition, he says he writes songs that only he can sing, although Andie MacDowell does sing one of his songs in the Nora Ephron movie “Michael.” Blount sings in the all-writers band Rock Bottom Remainders, with such other literary luminaries as Stephen King, Dave Barry and Matt Groening.

Talk of music brought us around to his latest book, “Alphabetter Juice: or, The Joy of Text,” a followup to his 2008 “Alphabet Juice.” Both books are about the sound and kinestheses of words, or as Blount explains, “how words move through your mouth.” He said he has always been interested in words and writing about them.

“Getting two books (on the subject) has been a pleasure,” he said.

Between “Alphabet Juice” and “Alphabetter Juice,” he wrote “Hail, Hail, Euphoria!: Presenting the Marx Brothers in Duck Soup, the Greatest War Movie Ever Made.” Blount described the book as similar to a director’s commentary on a DVD. He had the movie running on one monitor while his word processor was on another.

Blount is also know as a panelist on the NPR show “Wait Wait...Don’t Tell Me,” heard weekends at 11 a.m. on KXJZ 90.9 FM.

Blount is married to Joan Griswold, an acomplished painter.

He has also been president of The Authors Guild. During his tenure he was spokesman for the guild in a dispute over the Amazon Kindle’s use of an audio translator without royalties to the author, persuading Amazon to eliminate the text-to-speech feature. The National Federation of the Blind then formed the Reading Right Coalition to protest the lack of access to audio materials. They chanted outside the Authors Guild offices in New York City: “We would have access sooner if not for Roy Blount Jr.”

With all his interests and his way with words, Blount’s California Lectures appearance in partnership with the Sacramento Public Library at the Tsakopoulos Library Galleria should be a lively one.

Roy Blount, Jr. in conversation with Sands Hall California Lectures
Tuesday, May 24, 2011 | 7:30 p.m.
Doors open at 6:00 p.m. Books available for purchase and book signing after the event.

LOCATION
Tsakopoulos Library Galleria, 828 I Street, Sacramento.

More information Tickets

Bill Burgua on "The Sacramento Press is hiring "

2011-05-13T00:11:33Z

Kathleen, Thanks for all the support and encouragement you have give me. I have always felt good about the encouragement I have given you because you have never disappointed me. You have been one of the best political/government journalists in Sacramento bar none. We can all hope that whom ever replaces you does as good a job at finding out what truly is going on with the city government. Best wishes for what ever your next endeavor is.

Bill Burgua on "Neighborhood Services could shrink to 5 staff "

2011-05-11T07:20:37Z

Neighborhood services was expanded several years ago to deal with a lot of day to day issues that had historically been done by council members and their staff. This was to free up council members to work on city policy and direction. Get ready to call your council member in the future to get your pothole fixed, neighborhood disputes settled, lack of response from city staffers (if there are any left), etc.

Bill Burgua on "KOLT Run Creations "Antigone" Exciting Drama and Excellent Performances"

2011-05-08T02:14:34Z

"Antigone" runs Fridays and Saturdays through May 28, 2011at the California Stage. Tickets and more information at http://koltruncreations.com/default.aspx Tickets are a bargain $15. The show has been receiving excellent press and the show is selling fast.

Sacramento Steampunk Society At Sherlock Holmes Opening

2011-05-08T02:04:32Z

Sacramento Steampunk Society welcomed the opening of "Sherlock Holmes The Final Adventure" at Sacramento Theatre Company last week.

The Urban Dictionary defines: "Steampunk is a subgenre of speculative fiction, usually set in an anachronistic Victorian or quasi-Victorian alternate history setting. It could be described by the slogan "What the past would look like if the future had happened sooner." It includes fiction with science fiction, fantasy or horror themes."

In keeping with the Victorian era setting of "Sherlock Holmes" the Steampunk Society were dressed in all their Victorian Science Fiction finery.

They stayed after the show for the opening night party for all to admire their fantastic costuming.

William Elsman Is Sherlock Holmes at Sacramento Theatre Company

2011-05-08T00:10:40Z

There are certain characteristics that most everyone identifies with Sherlock Holmes from the original books by Arthur Conan Doyle, film portrayal or countless theatrical productions for over a century. After all the character has been around for a long time. Doyle first created the character in 1881 along with Dr. Watson.

The first play featuring the characters was written by Doyle and a popular American actor William Gillette. The play premiered in 1899. Gillette introduced several things identified with Sherlock Holmes including the bent briar pipe, magnifying glass and syringe.

The film carer of the characters of Sherlock Holmes and Dr. Watson is nearly as long as cinema itself. The first film The Hound of the Baskervilles is from 1939. The most receint (2009) staring Robert Downy Jr. as Holmes and Jude Law as Dr. Watson was a major hit. A sequel will be released in December.

Needless to say audience members bring strong expectations to what they should experience from actor portrayals of the beloved characters of Holmes and Watson. With the current Sacramento Theatre Company production of “Sherlock Holmes The Final Adventure” William Elsman as Sherlock Holmes and Michael RJ Campbell as Dr. Watson portrayal of the characters is absolutely perfect.

Elsman is simply astounding to watch and a great deal of fun also. He captures the character of Sherlock Holmes so perfectly. It is simply great entertainment to watch him perform. Elsman is known in Sacramento for his portrayal of Mrs. Badden-Rotten in STC’s production of “Cinderella.” He has also performed for five seasons at Marin Shakespeare Company and in regional productions across the country.

No less perfectly cast is Michael RJ Campbell as Dr. Watson. Campbell is a familiar performer at STC and many other stages in Sacramento. He was most recently seen in the highly popular STC production of “Musical of Musicals the Musical.” Campbell is great jumping back and forth from Dr. Watson being in the action and giving narration to the audience.

Elsman and Campbell have the good chemistry needed for their character’s long relationship. They have performed together before, in drag no less, with Elsman as the previously mentioned Mrs. Badden-Rotten and Campbell as her no less evil and ugly daughter Goneril in “Cinderella.”

Prolific playwright Steven Deitz combines plots from two Sir Arthur Conan Doyle novellas-””A Scandal in Bohemia” and “The Adventure of the Final Problem.” The first introduces the character of Irene Adler an American opera star. She is the only woman to get the best of Holmes. The second features Professor Moriarity Holmes arch nemesis. The two fight to the death in a climatic scene at Switzerland’s Reichenbach Falls.

STC company member and education director Michele Hillen plays Irene Adler. Her performance is as charming for the audience as her character is to Sherlock Holmes.

Troy Thomas plays a suitably evil Professor Moriarity. After having appeared in regional productions for 25 years this is Thomas’ onstage debut at STC. He is also the founder of the critically acclaimed family theater company the Little Bus Players.

Justin Munoz plays the King of Bohemia who has hired Holmes to retrieve a compromising photograph from Irene Alder before his marriage to a Swedish princess.

Moriarity’s gang is played by Brian Watson (James Larrabee/Godfrey Norton), Kristen Majetich (Madge Larrabee) and Jake Murphy (Sid Prince/ensemble). Majetich is a graduate of STC's Young Professional's Conservatory. Murphy is a current YPC member.

With his performance in “Sherlock Holmes,” Jake Murphy is completing his studies with STC’s Young Professional Conservatory. Murphy has already performed in STC Mainstage productions (“Noises Off”), Oregon Shakespeare Festival and many other productions. It’s quite fun to watch his would be tough guy Sid.

Veteran costumer Jessica Minnihan has done another great job with the Victorian era costuming.

Scenic designers Morgan McCarthy and Jarrod Bodensteiner along with lighting by Bodensteiner have created a set that is both interesting to look at and versatile enough to allow rapid scene changes. Bodensteiner’s lighting effects allow for Campbell’s Dr. Watson to nearly instantly switch between narrating and being part of the action.

William Myers original score for the production drives the action along while helping convey the emotions on stage.

Director Michael Laun has beautifully developed each character while also maintaing the sense of urgency that makes an adventure so fun.

In his notes Laun states: “This production is Sherlock Holmes: The Ride-we sweep you up and take you on an adventure that is both familiar to die hard Sherlock fans and a fun way to introduce these stories to a younger generation.” So very true.

KOLT Run Creations "Antigone" Exciting Drama and Excellent Performances

2011-05-06T21:03:01Z

Over the centuries ruling family families have sprung up in many countries. They rule by force and buying off a supportive populace. Often the death of the leader leaves a power vacuum and subterfuge and fighting breaks out between the relatives of the leader. Seldom is any thought given to those being ruled. Those close to the seat of power never want to give it up.

As we have been seeing in the middle east it usually takes an outside force to end a rule of tyranny. In the middle east it has been the middle class, intellectuals, heavily the young and many women demanding the end of tyrannical rule.

“Antigone” tells the story of one woman, a member of the royal family, that says enough is enough. Her father the ruler dies. Her brothers fight to the death trying to take power. Her uncle steps into the power vacuum and ups the level of tyranny in the name of stability.

“Antigone” opened last Friday in a KOLT Run Creation production at the California Stage. The background on the play and the development of this production can be found at a SacPress preview.

KOLT co-producer and actor Kelly Ogden shines in the title role. She truly embodies Antigone the niece that stands up to her uncle’s arbitrary and tyrannical laws designed to keep him in power. The character Antigone stands in for all who reject the status quo that does not represent them-even to death. Ogden while physically slight is still a powerful force against her uncle’s wishes. Ogden’s performance leaves little doubt that Antigone will fight to the death for what she believes in.

KOLT associate artist Patrick Murphy plays the uncle, Creon, who is not about to give up the power he now holds. Everything about Murphy’s performance exudes power-the voice, attitude and demeanor is of one who controls all around him.

The performances of these two actors alone is worth seeing this show. But there is so much more including several good supporting performances.

French playwright Jean Anouilh (1910-1987) adapted several Greek Myth stories to modern settings. Sophocles’ “Antigone” remains the most popular. He wrote the adaptation during the Nazi occupation of France and had to use a lot of subtrifudge to get the play past the censors. There are lots of twists in the play. For example, Antigone is engaged to her cousin Haemon, Creon’s son.

In many Greek plays there is the Greek Chorus who make commentary, confront a character or explain the action. Often the chorus is difficult to understand. Not a problem in this production with one actor playing the chorus.

Kellie Yvonne Raines as the chorus is the first to appear. Her chorus powerfully sets out what the audience is about to see. Raines projects power with a clear voice. She is the only character that can get Creon’s immediate attention.

Other good supporting cast include Ben Moroski as Haemon, Analise Langford-Clark as Ishmene, Antigone’s sister and Gay Cooper, the sisters nurse.

Jonas, Binnns and Sout the guards are played by Ernesto Bustos, Daniel Fagan and Brandon Lancaster. Bustos stands out as the lone guard with Antigone while she waits her fate.

Mitch Worrell-Olsen who has been seen on many Sacramento stages gives a good performance as the king’s page. It is easy to forget that he is twelve years old.

Jeff Webster rounds out the cast as the messenger that brigs very bad news.

This production of “Antigone” by KOLT Run Creations has taken a very old story that has been given a well respected update and with uniformly excellent acting given the audience an entertaining evening. In keeping with KOLT’s promise the audience has something to think about after having left the show.

Bill Burgua on "David Sedaris-Entertaining Reading At Mondavi Center"

2011-05-04T16:53:36Z

David Sedaris will be at the Crest for two nights this fall. Cap Public Radio had a drawing for two tickets for the show as part of their fundraising yesterday. Beware, David Sedaris is very popular and his appearances often sell out. When tickets go on sale pick one up or you may loose out.