Cast of ADP’s “Diary of Anne Frank”
PHOTO: Bara Photography

My recent first visit to see the A.D. Players was long over-due. My friend Ray from New York had spent much time in Houston, and he had told me some time ago about this marvelous troupe while recommending I check it out for myself. Last Saturday night at the Grace Theater I finally had the opportunity to sample the theatrical excellence that has sustained this fine company for now 47 seasons. The production is a marvelous revival of The Diary of Anne Frank by Frances Goodrich and Albert Hackett, and brilliantly directed by Tawny Stephens. In 1956 the original Broadway production won the Pulitzer Prize, the Tony Award, and the Critics Circle Award. It would be hard to imagine that production being any more compelling than this superb edition. It is wondrous, and the performances are uniformly magnificent, but what is perhaps most surprising is that such a serious drama can be at once so heartbreaking, while at the very same time being so uplifting. Such is the case in this epic tale of eight Jews trapped for over two years in the hidden upper rooms and attic of an Amsterdam warehouse/office building. (The austere and authentic set design from Robin Gillock is dramatically accented by the shadowy lighting designs of Andrew Vance.) What follows is the harrowing tale of these eight courageous souls and their desperate attempt to avoid capture by the Nazis during the waning days of World War II.

My first exposure to this frightening story was as a young boy when I saw the 1959 film of the same name, directed by George Stevens. To this day I can still recall the horrifying sound of the Nazi sirens racing through the streets below the confines where these terrified war refugees were hidden.

Jennifer Gilbert as Anne Frank
PHOTO: Bara Photography

The central character in this drama is, of course, young Anne Frank herself, played here with splendid sensitivity and coming of age enthusiasm by Jennifer Gilbert. Her performance (as the real life thirteen year-old girl who documented these events in her now legendary diary) is so full of life, so overflowing with joy and optimism in the face of extreme hardship, that it cannot but lift one’s faith in humanity, the Nazi horrors not withstanding.

The characters trapped here with Anne include her father, affectionately played by Ric Hodgin, her patient and understanding mother (Jennifer Dean), and Anne’s older sister, Margot (a gentle and subtly understated performance from Melissa Molano). In addition, we have Mr. Frank’s friends, Mr. & Mrs. Van Daan (Craig Griffin and Christy Watkins) their son, Peter (handsome Braden Hunt in a wonderfully sensitive portrayal), and a quirky dentist named Mr. Dussel, with Stephen Hurst alternately bringing the dynamics of both comedy and terror to his fine performance. Nicely rounding out the cast are Kurt Bilanoski as Mr. Kraler and Leslie Lenert as Miep Gies, two kindly Dutch souls who regularly bring food, supplies and cheerful encouragement to these imprisoned refugees, all the while carefully keeping the secret of their location.

Jennifer Gilbert as Anne Frank
PHOTO: Bara Photography

Designed by Donna Southern Schmidt, the fine 1940’s period costumes are accented by the Nazi-required Star of David patch that each Jew must wear. That patch warns the populace that these people are forbidden many basic rights, and cannot even ride in a streetcar, let alone drive a car. Jews are disappearing day by day at the hands of the Nazis, and so it is that this valiant band is seeking sanctuary.

The plot begins shortly after the war when Mr. Frank returns to the hiding place and his daughter’s diary is discovered there. As he begins reading it we are drawn back in time via the flashback action that comprises the rest of the play. We see the warm relationship between Anne and her father, and then Anne’s growing friendship with Peter as that relationship blooms into a darling and poignant story of shy first love. Their scenes together are brilliantly acted and directed, and their innocent first kiss is one you will not soon forget. There are powerful performances from both Griffin and Watkins as sparks of tension fly between Mr. and Mrs. Van Daan over the value of a fur coat, the dwindling supplies of food, and (for Mr. Van Daan) hard-to-obtain cigarettes. But tensions are often relieved by the amusing wit of the script, and not infrequently, by the comic moments so beautifully handled by Hurst in his role as the dentist, Mr. Dussel.

Anne’s youthful spirit of rebellion confounds her loving mother as Ms. Dean nicely embodies the patience needed to deal with a teenager. While Anne may have a rebellious nature, her gentle and loving heart is fully revealed in the touching scene when she presents everyone with her humble, but very thoughtful Chanukah gifts. It is a moment that cements a special bond between the characters in the play and the members of the audience. It is an experience worth sharing, and I recommend it to you as validation of one memorable line from Anne’s diary: “In spite of everything I still believe that people are good at heart.”

Cast of Stage Right’s ANYTHING GOES
Photo: Dave Clements
DWC Photography

There is an explosion of local talent in town, and it is taking place at the beautifully restored, and very historic, Crighton Theatre in Conroe, Texas.

Historic Crighton Theatre

Architectural Splendor:
Crighton Theatre

No wonder it has been called the Crown Jewel of the County. I suggest you put on your tap shoes and head on over to enjoy the fun before the word gets around and all performances are sold out. The pièce de résistance is the current dazzling Stage Right production of Cole Porter’s classic musical, Anything Goes. What a way to celebrate this 80th year for one of the few surviving Vaudeville theatres still in operation. And what a celebration it is!

The zany plot of this cruise ship adventure in the 1930’s has too many twists and turns to summarize here, but believe me this show is not about plot. It is about the fabulous and enduring music and lyrics of Mr. Porter. But beyond that, this show is anchored by the wonderful dancing that is served up in this edition by Director/Choreographer, Randy Bianchi, Musical Director, Penny Andros and their brilliant cast. Amy Barnes designs the ballroom Choreography. The action all plays out on the terrific two-tiered cruise ship set from designers John Barton & Denise DeBold, along with their fine scenic design and construction team. Minor set pieces move in and out freely.

James Hunter McMahon & Christina J. Taylor
PHOTO:DaveClements
DWC Photography

The delightful characters in this first-rate musical comedy include Billy (smooth-voiced James Hunter McMahon), a young stockbroker who should not even be on the ship, and Billy’s beautiful love interest, the lovely Hope Hardcastle (Christina J. Taylor with the voice of an angel). Hope is traveling with her wealthy English fiancé, Lord Oakleigh (a campy and amusing performance from Jonathan Rozas) and her social-climbing mother (comic fun from Carolyn Wong as Evangeline Harcourt). Billy’s stock market boss, Mr. Whitney (Phil Clarke) is sailing on the ship, but he thinks Billy is back at the office taking care of business. Adding to the onboard mayhem is nightclub singer, Reno Sweeney, played by talented Meaghan Schulz who could fill that bill quite nicely in a real nightclub. Reno has eyes for Billy herself. Then there is a riotous performance by Michael Raabe as two-bit gangster, Moonface Martin. Raabe really has the comic flair to keep the audience in stitches.

That is but a glimpse of this enormous cast of some forty performers that are now thrilling audiences at the Crighton. But let us return to that bedrock of music and dancing I mentioned earlier. I had some minor misgivings at the outset because I am never a fan of recorded soundtracks supporting performers, but I must say in this case both orchestrations and synchronization worked out well and complemented the fine voices of this cast. Take for example Reno’s opener, “I Get A Kick Out Of You.” Miss Schulz looks sleek and sassy in one of the countless colorful and glamorous costumes (from designers Deborah Blake & Elaine Steinbach) that make the show so gorgeous from beginning to end. Billy joins Reno for a sparkling, “You’re the Top,” and then Billy and Hope do a memorable, “Easy to Love,” featuring some lovely dancing. Mr. Clarke delivers a rousing, “Crew Song,” and a Sailor’s Quartet has slapstick fun with, “There’ll Always Be a Lady Fair.” Schulz and Raabe offer a cute version of the tune, “Friendship.” Things move to an even higher level of excellence when we finally hear an exceptional “It’s De-Lovely” duet from Miss Taylor and Mr. McMahon. While the two danced divinely the audience couldn’t resist interrupting with spontaneous applause. Act One would close with that “explosion” I promised you as the full cast joined in the tap dancing frenzy of the title tune, “Anything Goes.” The thrilling polish on that number has to mean this cast spent many winter nights at hardworking rehearsals. The result proved that the real star of this show was the full ensemble company itself, and sent the smiling audience off to Intermission in a state of amazement at the excellence of what had just been witnessed.

Meaghan Schulz headlines with her Angels & Sailors
PHOTO: Dave Clements
DWC Photography

A touch of irony opens Act Two as the performance in the ship’s showroom is celebrating the presence onboard of a “celebrity,” none other than notorious gangster, Moonface Martin. Mr. Raabe hams it up beautifully as the Captain (Dan Tippen), joins the Purser (Nathan Owen) and the cast to pay Moonface homage with the amusing, “Public Enemy #1.” Miss Schulz follows with another knockout punch leading her backup Angels in a terrific, “Blow, Gabriel, Blow,” that features wonderful singing from the ensemble and more stunning cast choreography. The excellence continues with the thrilling voice of Miss Taylor for “Goodbye, Little Dream, Goodbye.” Her lovely voice is here reminiscent of such musical stars as Kathryn Grayson and Jane Powell. The glorious gowns in these scenes are yet another reason this is a must-see show.

(L-R) Jonathan Rozas as Lord Oakleigh & Michael Raabe as Moonface Martin
PHOTO: Dave Clements
DWC Photography

Raabe continues to amuse with his timing skill at delivering the one-liners from Moonface, and his rendition of “Be Like a Bluebird,” is adorable. Real musical elegance follows in the exquisite “All Through the Night” duet from McMahon and Taylor. They really know how to vocally embrace the warmth and tenderness of this charming Porter lyric. Mr. Rozas shifts us nicely back to outlandish comedy as Lord Oakleigh, dressed in bronze silk pajamas, joins Schulz for the hilariously tipsy, “The Gypsy in Me.” Then we work our way back to great tap dancing as the sailors join Erma (Amy Barnes) for a cute “Buddie Beware.”

(L-R) Phil Clarke as Elisha Whitney & Carolyn Corsano Wong as Mrs. Harcourt
PHOTO: Dave Clements
DWC Photography

With the approach of a great finale there was a nice taste of the familiar comic flair of Carolyn Wong as the prim and haughty Mrs. Harcourt. Then it was on to another full cast explosion with the sensational, “I Get a Kick Out of You.” It was a final delight for an audience that clearly got a big kick out of this very wonderful show. Go see for yourself, and have your smile muscles ready.
The Stage Right Players production of Anything Goes continues through March 2, 2014 at the Crighton Theatre in Conroe, Texas. Performances are Fridays and Saturdays at 8pm and Sunday matinees at 2pm. For tickets and information call 936-441-7469 or visit the website at http://www.stage-right.org

Katie Postonik & Steven Grant Douglas
PHOTO : ©Joan Marcus 2013

On rare occasions I have the inclination to paraphrase President Richard Nixon who once infamously declared: “I am not a crook.” In my own case, as I reflect on my work as a critic, allow me to simply say, “I am not a crank.” With that as a warning shot across the theatrical bow, let me first give you the good news about the most recent offering in the GEXA Energy Broadway Series at Houston’s Hobby Center. The musical GHOST is one with which I am quite familiar having had the pleasure in 2011 of reviewing the original fascinating production in London. That first edition, while not without its minor flaws, was nevertheless most enjoyable, but more about that later.

This current national tour has many of the elements that made the first production successful, but unfortunately it has one thing more. Before getting into that, let me first share the good news. The familiar plot is adapted from the award-winning 1990 film of the same name and starring Patrick Swayze, Demi Moore& Whoopi Goldberg. The enduring popularity of that film assures substantial interest at the box office for this musical version featuring music & lyrics by the team of Dave Stewart & Glen Ballard, book & additional lyrics by Bruce Joel Rubin, and direction by Matthew Warchus. The story line remains much the same, with contemporary young lovers, Sam (Steven Grant Douglas), and Molly (Katie Postonik) setting up their new apartment in Brooklyn. She works as a sculptress, and he commutes into Manhattan where he and his pal Carl (Robby Haltiwanger) are colleagues working in the banking industry.

Cast of Ghost The Musical Tour. © Joan Marcus 2013

Carl turns out to be not such a good friend, and therein lie the plot twists that result in someone’s death and resurrection as a ghost.

Carla R. Stewart and cast of Ghost The Musical Tour. © Joan Marcus 2013

To say more would give away some surprises for future audiences, but it must be added that Carla R. Stewart is a standout in the hilarious role of Oda Mae Brown, the reluctant psychic who is able to communicate with the ghost. Readers may recall this as the role that won Whoopi Goldberg an Academy Award for her performance in the film.

Now before I start complaining, let me be clear that there are lots of reasons why many theatergoers will enjoy this show. It is visually extraordinary with all kinds of exciting illusions and lighting pyrotechnics. (Lighting by Joel Shier)

Robby Haltiwanger & Cast of Ghost The Musical Tour. © Joan Marcus 2013

There is a large and energetic dance ensemble that does some fine numbers, many of which have no apparent connection to the plot, though the “More” number that establishes the frantic pace of Wall Street was very creative and particularly well done. (Choreographer, Ashley Wallen). Postonik, Douglas, and Haltiwanger are all attractive players and passable in their roles, but there is not a Broadway-worthy voice among them. That is regrettable because there are some lovely songs in this show that were never properly showcased in this production. Miss Postonik’s voice seemed to exaggerate her character’s justifiable desperation with singing that was too often strident. But there is a larger problem here that quite frankly made me angry. The outrageous, annoying and excessive sound volumes allowed by the audio engineers were simply beyond belief. Lyrics and dialogue were constantly inaudible because of this fatal flaw. This would have been bad news in any event, but it was particularly irritating because these sound problems are becoming more and more commonplace with touring productions at the Hobby Center. It is my belief that these touring sound engineers have already blown out their own eardrums and can no longer hear the distortions they are creating for the audience. When the show ended we found ourselves in a very crowded parking lot elevator with perhaps twenty people. I felt vindicated in my views as I quietly listened to unsuspecting fellow audience members who were unhappily ranting and complaining about how “terribly loud” the production had been. I hope the Hobby Center powers-that-be will look into the problem and do whatever is needed to discourage these tour sound engineers from assaulting our audience sensibilities in the future.

GHOST continues through February 23^rd at Houston’s Hobby Center with performances at 8pm Friday & Saturday, 7:30pm Sunday, and with matinees at 2:30pm Saturday & 2:00pm on Sunday. For tickets & information call 800.982.ARTS (2787) or visit the website: www.broadwayacrossamerica.com. Those wishing to read The People’s Critic review of the original London production of  GHOST may do so at the link below:

http://thepeoplescritic.com/2011/10/28/electrifying-ghost-captivates-london-and-heads-to-broadway/

Sarah Rentcome as Princess Fiona with the “Rat Tappers” Ensemble
PHOTO: Len Bates

Some may recall the Sesame Street song of Kermit the frog, “It’s Not Easy Being Green,” and the recent Class Act Production of Disney’s musical, SHREK, is a case in point. It tells the sweet tale of a lime-green ogre by that name. Shrek (Jack Wheeler) is content to live a lonely and isolated life in a swamp until a local nobleman, Lord Farquaad (Brad Brickhouse), begins exiling assorted children’s storybook characters to Shrek’s hitherto private domain.

Jack Wheeler as SHREK & Aidan Stock as DONKEY
PHOTO: Len Bates

Shrek sets out to put a stop to this invasion by visiting Farquaad himself. Joining him on this journey is the sassy Donkey, a character that, in the comical hands of actor, Aidan Stock, is nothing short of hilarious. The hilarity reaches still higher levels when the two reach the castle and we finally meet the uproarious Farquaad, played with comic mastery by Mr. Brickhouse. His costume alone was an absolute riot. It allowed the tall young actor to perform his entire role on his knees while appearing to be a pompous midget and total fop.

Brad Brickhouse as Lord Farquaad & the cast of SHREK
PHOTO: Len Bates

The midgetizing effect of the costume called to mind the comical “Triplets” number featuring Fred Astaire, Jack Buchanan and Nanette Fabray in MGM’s classic film musical, The Bandwagon. Meanwhile Mr. Wheeler was clearly the right choice for the title role. In addition to singing so well, he brought countless sweet dimensions and wonderful sensitivity to the character of Shrek, and by show’s end we all feel a special fondness for this odd creature that could have been perceived as merely grotesque.

Farquaad agrees to resolve Shrek’s dilemma if he and Donkey will first go on yet another quest to locate the lovely Princess Fiona and bring her back to the castle so Farquaad can marry her and thereby become king.

(L-R) 3 FIONAS: Lena Torluemke, Sarah Rentcome & Stephanie Ma
PHOTO: Len Bates

Fiona has waited for years to be rescued from a tower prison by her “one true love.” A clever theatrical trick allows us to see her long wait as a girl (Stephanie Ma), as a teen (Lena Torluemke), and finally as our lovely grown Princess Fiona (Sarah Rentcome). Always anticipating an imminent rescue, the three perform a lovely counterpoint trio of  “I Know It’s Today.” Miss Rentcome’s fine voice adds joy to “This is How a Dream Comes True,” “Morning Person,” the cute, “I Think I Got You Beat,” (with Wheeler), and the charming, “Who I’d Be,” (with both Wheeler and Stock). Needless to say, in this delightful fairy tale world everything turns out well, and in the process we all relearn the lesson that beauty is only skin deep.

Of course as is so often the case with Class Act Productions, the show began with the solid musical accompaniment from Music Director, Rae Moses and his 9-piece orchestra with the opening Overture. The company’s Producer/Artistic Director/Founder, Keith Brumfield was busy covering last minute details on a day when numerous events at the McCullough Junior High School had packed all the parking lots in the area of the Nancy Bock Center for the Performing Arts. As usual, Brumfield was fully prepared to pull off another miracle, especially with the help of the show’s fine Director, Tina Kraft Riddle, Set Designer, Kent Hale, Costume Designer, Laurie Lewis, Make Up Designer, Kirsten Berger and Choreographer, Jody Schrier. Along with a huge production staff and countless C.A. volunteers, only such a team could dare to undertake the management of the some 200 youngsters that make up the enormous and talented cast. It seemed as though every nursery rhyme and fairy tale character was adorably represented in this fun-filled adventure.

Vocally talented Jenny Gee nicely overcame a microphone failure in her role as the Dragon.
PHOTO: Len Bates

Delightful songs abound, and in featured roles the fine voices of Wheeler, Rentcome, Stock, and Brickhouse do justice to each tune along with marvelous support from the singing/dancing Ensemble that enriches numerous joyful and uplifting numbers. (Dig those dancing Rat Tappers!) The bad news is this show ran for last weekend alone. The good news is this 17^th season of Class Act Productions will end with a summer production of “South Pacific” that will run for two weekends, July 11^th –13^th and July 18^th –20^th. Mark your calendars!

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com

E-mail may be directed to ThePeoplesCritic@earthlink.net

LONE STAR LYRIC cast: (L-R) Stephonne Smith, Kelli Estes, Sarah Brindley & Andrew Reich
PHOTO: Alex Hemsath

It may have been a week early with its billing as a FAT TUESDAY FEAST subtitled, “WAY DOWN YONDER IN NEW ORLEANS – A Musical Mardi Gras,” but the latest offering from Lone Star Lyric Cabaret certainly presented plenty of familiar tunes associated with The Big Easy. With the talents of Joseph Li at the piano and Grant Martin on drums, LSL founder, Kelli Estes, presided cheerfully from the stage as she and her fellow vocalists, Sarah Brindley, Andrew Reich, and deep-voiced Stephonne Smith took turns at the microphone in Houston’s Ovations Night Club.

Stephonne Smith
PHOTO: Alex Hemsath

It was my first opportunity to hear Mr. Smith perform with LSL, but he is clearly what we call in show biz, “a keeper.” No wonder his résumé already includes work on Broadway, national tours with The Lion King, not to mention applying his deep, rich, bass voice to “Old Man River” in Showboat productions. His vast experience was immediately apparent, as he literally owned the stage during his LSL numbers, whether singing or softly addressing the audience between songs. A pro is a pro.

Some in the LSL audience came dressed in their Mardi Gras best!
PHOTO: Charles Luke

The group’s song list for the evening included such classics as, “Jambalaya On the Bayou,” “Bill Bailey Won’t You Please Come Home,” “Lazy Bones,” “Black & Blue,” “Mood Indigo,” “Georgia on My Mind,” and, of course, the aforementioned, “Way Down Yonder in New Orleans.

Act Two nuggets featured, “Sweet Georgia Brown,” “That Old Black Magic,” “Old Devil Moon,” “Do You Know What It Means to Miss New Orleans,” “Basin Street Blues,” Hard Hearted Hannah,” “Witchcraft,” and “I Got a Right to Sing the Blues.” All joined in for the finale of “When the Saints Go Marching In.”

Fans who missed the show can stay tuned for LSL’s next offering, “MERCY, MERCER!” featuring the words & music of Johnny Mercer and scheduled for Friday March 28^th at 8pm & Sunday March 30^th at 5pm.

FOR TICKETS & INFORMATION call 917-414-9577 or visit the website at www.LoneStarLyric.com.

(L-R) Brad Scarborough, Rebekah Dahl, Cay Taylor, Luke Wrobel, Kristina Sullivan
PHOTO: Courtesy of Music Box Theater

With so many of its stars having been polished by years of Broadway musical experience with Houston’s legendary Masquerade Theatre, it should come as no surprise that the current offering from The Music Box Theater would be themed, More Broadway At The Box. The nightclub’s ever-growing fan base knows to expect both great music and great comedy from this clever troupe of five players that includes Luke Wrobel, Cay Taylor, Kristina Sullivan and the husband and wife team of Brad Scarborough & Rebekah Dahl, founders of the trendy club. This is a special production because it celebrates the return of Dahl after a period of maternity leave following the birth of the couple’s son. With her wonderful voice and peerless flair for comedy, that return is surely cause for rejoicing.

For this edition Dahl is cast as the fictional Elizabeth “Betty” Bittermore, a somewhat jaded and aging diva of the Broadway stage who punctuates the cast’s many song offerings with juicy vocals of her own, while linking it all together as she dryly narrates the story of her life in the musical theatre with a sultry voice and demeanor that seems reminiscent of Lauren “Betty” Bacall. Dahl’s fellow actors sing along as they take on the assorted roles of the characters Miss Bittermore describes in her life story. Music Director, Glenn Sharp and his 5-piece band continue to serve up the fine accompaniment at The Box.

Luke Wrobel has the perfect opening number with a rousing “Lullaby of Broadway,” that soon evolves into a quintet from the cast. Fans of the popular PBS series, “Downton Abbey,” may have come across the follow-up Houston PBS talk show titled, “A Manor of Speaking.” In that show it is Mr. Wrobel who amusingly plays the part of Rogers, the butler.

Dahl gives us a soaring, “Don’t Cry For Me, Argentina,” and then as Bittermore’s story unfolds we learn she got her start in Detroit when music producer/songwriter, Barry Gordy, took that “little white girl,” under his Motown wing. Soon, Brad and Luke lead the gang in a funky, “I Heard It Through the Grapevine,” with dashes of amusing lightweight choreography. Miss Sullivan takes us to a much higher level in her lush performance of “Summertime.” With just elegantly gentle accompaniment on guitar, when she came to the words, “…spread your wings and take to the sky…” I felt nearly airborne myself.

The in-jokes abound as Bittermore continues the story of her career and tells of heading for New York even though, “I heard they had great cabaret in Houston, but that did not interest me.” Next Mr. Scarborough gave what may well have been the best rendition of West Side Story’s “Something’s Coming” that I have ever heard, and that led into a rhythmically wonderful, “Maria.” In his capable hands it was, as the song says, “…almost like praying.” Taylor and Sullivan combine forces for a lashing, “”Don’t Rain on My Parade. Sullivan follows with the Chorus Line hit, “Dance 10, Looks 3,” and Wrobel leads the gang in a solid, “Luck Be a Lady.” The spirit of fun is so abundant that I could not even take exception to the lampooning of theater critics with the inclusion of the song, “Loathing” in their honor.

MORE BROADWAY AT THE BOX continues at the Music Box Theater through March 29^th with performances Fridays and Saturdays at 8pm and a Sunday Matinee at 2pm on March 16^th. For tickets and information call (713) 522-7722 or visit the website at www.themusicboxtheater.com.

Photo by Cylla Von Tiedemann

What a magical wonderland of joy awaits those lucky Theater Under the Stars patrons who have the good fortune to scoop up the remaining tickets for the current run of the new musical stage adaptation of The Wizard of Oz from Andrew Lloyd Webber and the show’s brilliant director, Jeremy Sams. (Musical Director is David Andrews Rogers). We find ourselves in a dream-like world of fantasy that captures the imagination of both children and adults with equal success, and I must confess that success came as a surprise to me. You see, I am of the old-school mentality that says, “If it works don’t fix it.” I had thought that tinkering around with the structure of the 1939 MGM film would only be a disservice to the original while attempting to capitalize on the true masterpiece now celebrating its 75^th year as a Hollywood film classic. WRONG! Perhaps I should have known better with Broadway veterans like Mr. Webber, supplying additional fine music, and Tim Rice, providing some clever new lyrics, while at the same time retaining the wonderful original score with the beloved music of Harold Arlen and lyrics of E.Y. Harburg. The end result is a really memorable trip down that Yellow Brick Road.

The opening scene looks almost like a sepia-colored antique postcard of the Kansas farm that young Dorothy calls home. Now who would dare to follow in the ruby slippers of Judy Garland in this role of a lifetime? How about beautiful young Danielle Wade, who not only does an absolutely marvelous job of capturing the sweet innocence of Dorothy, but also brings a lovely voice to both classic songs like “Over the Rainbow,” and the newer ones like, “Nobody Understands Me.” Of course the real magic begins shortly after Dorothy runs away from home and meets the mysterious Professor Marvel (a jovial performance from Jay Brazeau, who later doubles in the role of The Wizard). When Dorothy is swept away in a tornado and suddenly transported to the “merry old land of Oz,” the lighting designs of Hugh Vanstone, and video projection designs of Jon Driscoll & Daniel Brodie sustain the magic that continues throughout this dazzling production with its whirlwinds, snowstorms, flying monkeys, lightning and mysterious 3-D images of everything from wizards to witches. Adding to the success (and delighting this critic) were the beautifully managed sound designs of Mick Potter, who kept volumes at enjoyable levels that always enhanced the action and should become the gold standard for this cavernous 2650-seat Sarofim Hall in Houston’s Hobby Center, where annoying sound distortions have not been uncommon in the past. Bravo!

Photo by Cylla Von Tiedemann

But of course first Dorothy must meet the Scarecrow (Jamie McKnight), the Tin Man (Mike Jackson), and the Cowardly Lion (Lee MacDougall). One might think these three lads were entering a danger zone in trying to follow in the renowned footsteps of Ray Bolger, Jack Haley and Bert Lahr, but not to worry! Their costumes are a pure delight, they each capture an adorable new persona of their own, and all three sing beautifully. As they travel along with Dorothy through lush fields of multi-colored flowers or mysterious and frightening forests, the magical Yellow Brick Road continues to unwind before them as each new scene reveals more visual splendor.

Photo by Cylla Von Tiedemann

Adding to the fun is Dorothy’s sweet little dog, Toto, played here by the amazingly well trained, Nigel, who never missed a cue. Many children in the audience were happily hugging their own little stuffed Totos, available in the theater gift shop.

Photo by Tom Donoghue/Donoghue Photography

The Land of Oz in this production is a wondrous place, sometimes spooky, sometimes splendid, but always full of artistic and eye-popping scenic and costume designs from Robert Jones, who was clearly not afraid to make maximum use of glittering Swarovski Crystal elements as in the case of the stunning dress for Glinda, the Good Witch (Robin Evan Willis). Miss Willis’ voice is stunning as well, as she proves convincingly in singing the lovely and touching new song, “Already Home,” toward the end of the show. But she is not the only witch with a wonderful voice. Jacquelyn Piro Donovan has devilish fun with her role as the Wicked Witch, and her show stopping “Red Shoes Blues” number with the Winkies is a knockout.

It must also be mentioned that complementing the gorgeous scenic designs and costumes are the glorious dance designs from choreographer, Arlene Philips. Whether the little residents of Munchkin Land, the townsfolk of Oz, or the ominous army of Winkies (don’t miss the stick dance), the singing and dancing of this talented ensemble is uniformly wonderful to behold. It is just one more of the countless reasons that this show is an absolute must. Don’t miss it!

Young Texas Artists 2014 Competition Finalists
PHOTO: Brad Meyer

Last Saturday night there was a Texas-style barbeque worthy of a scene in the classic motion picture, “Giant,” but it was so much more than that. One could sense the presence of both the new money and the old under the huge catering tent that had taken up residence across the entire street in front of Conroe’s Crighton Theater for a fund-raising concert and dinner billed as Bach, Beethoven & Barbecue. Guests had paid $125 to enjoy the delicious pre-concert dinner by Texan Barbeque & Catering with flowing wine & beer, as well as an after-party for champagne, coffee, dessert, and a chance to meet the concert stars at the end of the evening. Invitations had recommended attire from “Jeans to Jewels,” so there were plenty of cowboy hats and boots around, while diamonds and Rolex watches flashed in abundance. But these “just plain folks” from Montgomery County weren’t there to show off their wealth.  They had turned out in large numbers to support a uniquely worthy cause, the annual Concert of Finalists for the Young Texas Artists Music Competition (YTA), sponsored by the Montgomery County Performing Arts Society. Now in its 30^th anniversary year as the crown jewel of the MCPAS season, the event is an official State of Texas music competition. The young musicians competing in the weeklong competition must be either Texas residents or students studying classical music in Texas. This gala concert presented performances of the eight finalists, two each in the four categories of Strings, Piano, Voice, and the catchall category of Winds, Brass, Percussion & Harp.

Honorees Carol and Dr. Douglas Aycock
PHOTO: Pat Spackey

Susie Pokorski again served as Chair of this year’s event, and Emelyne Bingham served as Artistic Director. Special honorees for this 2014 edition of the competition were longtime YTA supporters, Carol and Dr. Douglas Aycock.

Before the concert got underway there was yet another competition. As an additional fundraiser for YTA, this one involved the dinner guests bidding for various exciting donated items during both silent and live auctions. To add to the excitement, a group of local merchants had joined forces and agreed to match, dollar for dollar, all new and increased contributions, made to this year’s Young Texas Artists Music Competition. Those merchants included Streater-Smith Honda Nissan, Wiesner Buick GMC, Buckalew Chevrolet and the Gullo auto dealerships.

Barbara Bouma receives the car keys from Sewell Maserati Rep, Miguel Alvarado, as David Dow Bentley looks on.
PHOTO: Brad Meyer

Sewell Maserati of Houston had donated to the auction the use of their brand new model — the Maserati Ghibli — for a Friday thru Monday “weekend-of-your-choice” to the highest bidder. During the bidding on that item I had quite a scare when the auctioneer loudly announced, “SOLD for $1,450.00!” and appeared to be staring directly at me. Little did I know that my guest for the evening, Barbara Bouma of The Woodlands, had been quietly giving subtle hand gesture bids while seated right beside me. Hers was the winning bid.

Jade Simmons
PHOTO: Courtesy of Young Texas Artists

Then it was on to the main event of the concert competition, emceed this year by St. John Flynn from KUHA 91.7fm, along with special guest and classical pianist, the very lovely Jade Simmons. Her charm and poise as a former 1^st Runner-Up for Miss America (2000) was evident as she interviewed each contestant. In this year’s Piano category the silver medal and $1,000 prize went to Jun Cho for his performance of Prokofiev’s Finale: Allegro Tempestoso from the Concerto No.2 in G Minor, Op.16. From the fierce opening passages, Cho brought breathtaking skill and thunderous waves of energy to his powerful performance of the difficult piece.

YTA Chair, Susie Pokorski (left) with Grand Prize Winner, Allegra DeVita
PHOTO: Brad Meyer

The gold medal and $3,000 prize in this category went to Hui Shan Chin who beautifully performed the Andante and Presto from Mendelssohn’s Piano Concerto No.1 in g minor, Op.25. Dressed in a shimmering black & silver gown, her slender arms and the smooth, fluid motions of her delicate attack made her appear to almost be floating under water during the Andante. Her wondrous, rapid-fire dexterity and intensity of focus made for a thrilling Presto finale.

In the Winds, Brass, Percussion & Harp category, the two finalists this year were both clarinetists. Graeme Johnson captured the silver medal and $1,000 prize as he displayed the seductive body language of a Pied Piper while casting his spell with the haunting beauty of Debussy’s Premiere Rhapsodie. Winning the gold medal and $3,000 prize in this category was Nicholas Davies for his performance of both Schumann’s Fantasiestücke, Op.73, and Stravinsky’s Three Pieces for Clarinet Solo. With boyish charm and evident youthful enthusiasm, he had demonstrated a fluid and intimate mastery of the instrument, along with a great range of virtuosity.

In the final Strings competition Philip Marten would take home the silver medal and $1000 prize for the smooth elegance and technical skill in his performance of the Allegro moderato from Prokofiev’s Concerto No.2 in g minor, Op. 63. His lashing virtuosity and crisp dexterity were clearly evident in capturing the many moods of the complex work.  The gold medal and $3000 prize in this category went to Lovely Emma Hoeft. Adorned in a beautiful gown of pale pastel blue/green, she would win over the judges with Tchaikovsky’s Variations on a Rococo Theme for violoncello and orchestra, Op.33. The gentle sweep of her nodding head and long brown hair seemed to echo the brisk moves of her bow across the richly resonant instrument with which she clearly had an intimate connection. The audience was impressed as well, interrupting with applause before the performance was over, and later voting her the additional $1000 Audience Choice Award.

For further YTA information visit www.YoungTexasArtists.org. The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com E-mail may be directed to ThePeoplesCritic@earthlink.net

INHERIT THE WIND Courtroom
PHOTO: Don Hampton

Many readers will recall tales of the sensational Scopes “Monkey” Trial of 1925, which became a notorious clash between science and religion. Schoolteacher, John Scopes, was charged with teaching the evolutionary theories of Charles Darwin in spite of Tennessee law to the contrary. Legendary lawyers, Clarence Darrow (defense) and William Jennings Bryan (prosecution) entered the fray, and the rest, as they say, is history. It was that history that inspired Jerome Lawrence and Robert E. Lee to write their fictionalized account of similar events in the sizzling courtroom drama, “Inherit the Wind,” now being presented by The Players Theatre Company at Conroe’s Owen Theatre. Director, Don Hampton, and his fine cast of thirty actors have brought this fascinating story to very exciting life on the Owen stage.

The looming excitement was not immediately apparent during the somewhat sleepy first act. It is a necessary first act as it sets the stage for the thrilling trial to come in Act Two. (Don’t even think about leaving during Intermission). We meet Bert Cates (Clinton Jeter), the high school teacher now in jail and awaiting trial for daring to teach evolution in this small Bible Belt town of Hillsboro. Rachel Brown (Jessica Honsinger) is Bert’s sweet friend and colleague. She is much conflicted by her affection for Bert and her fear of defending him in the face of her father, the fiery fundamentalist preacher, Rev. Jeremiah Brown (Rick Sellers).

Pre-Trial Picnic
INHERIT THE WIND
Photo: Don Hampton

Pre-trial excitement is building in the town as mobs parade singing songs like “Marching to Zion” and “Old Time Religion,” while carrying signs that read, “Darwin is Wrong,” “My Ancestors Ain’t Apes,” and “Save Our Schools From Sin.” Out of town reporters like the cynical and sarcastic E.K. Hornbeck (Joey Lamont) are arriving to get maximum press coverage of the carnival-like atmosphere that is building with hot dog vendors and lemonade stands catering to the growing crowds.

Then the play really begins to take off with the arrival of nationally known defense attorney, Henry Drummond, superbly played by area newspaper journalist, Mark Hayter, known for his amusing, somewhat tongue-in-cheek columns reflecting on everyday life as seen from Up On the Roof.

Mark Hayter (left) with Quint Bishop
PHOTO: Brad Meyer

His feisty flair for looking at things from a humorous angle may have served him well in his creation of this even-handed, thoughtful and very likable character of Drummond, a man who dispenses bits of wisdom like, “The person who thinks he’s got everything figured out is probably a fool.” And what a perfect legal pairing we have with the arrival of renowned prosecuting attorney (and three-time Presidential candidate) Matthew Harrison Brady, with an explosive and brilliant performance from Quint Bishop. Mr. Bishop’s commanding stage presence gives us a Brady so full of bluster that he seems to even dwarf the presence of the prosecuting District Attorney, Tom Davenport (Mike Ragan). Cindy Siple does nicely as Brady’s sweetly attentive wife, Sarah.

(L-R) Quint Bishop, Rick Sellers, Joey Lamont & Mark Hayter
PHOTO: Brad Meyer

Another fiery performance came from Mr. Sellers as the Rev. Brown lashes out at his congregation in a ferocious, wild-eyed, Elmer Gantry-style sermon full of hellfire and damnation for evolutionists and their sympathizers, even his own daughter. That rant prompts the horrified Brady to warn the reverend of Proverbs 11:29, “He that troubleth his own house . . . shall inherit the wind.”

The sparks really begin to fly in Act Two on the panoramic set design of Mr. Hampton. It encompasses the entire courtroom with a scowling Judge (gavel slamming David Herman), jury (audience members like Jim Pokorski recruited during Intermission), reporters, witnesses and gossiping onlookers crowding the well-lit stage (lighting designer Scotti Smith). The simple costume designs of Marieda Kilgore work very well and the sound designs of Mike Ragan combined with recent acoustic improvements to the theater to make everything clearly audible. Projection Visuals from designer, Roger Ormiston, created instant background scenery as pleasant bluegrass music accompanied scene changes.

During the trial Brady continues raging about “godless science” and what he calls “Evilutionists.” Drummond counters reminding the court that “The right to think is on trial.” He goes further to say, “Right has no meaning. Truth has meaning,” and warns the court that, “An idea is more of a monument than a cathedral.” There is another moment of high drama when Miss Honsinger gives a convincingly emotional performance as Rachel breaks down on the stand while testifying. But nothing beats the fireworks that take place when Drummond calls Brady to the witness box. This is local theatre at its best with two talented actors in top form and a fine supporting cast backing them up all the way. As for the thrilling conclusion, to learn the verdict you must buy a ticket. You won’t be sorry.

INHERIT THE WIND continues through April 6^th at The Owen Theatre, 225 Metcalf Street in Conroe. Performances are Fridays and Saturdays at 8pm with 2pm Sunday matiness on March 30^th and April 6^th. Tickets are $10, $18, and $20. For information visit the website at www.owentheatre.com or call 936-539-4090.

For you followers of farce it may be time to head over to Texas Repertory Theatre to take in the latest offering, the Marc Camoletti / Beverly Cross comedy, BOEING BOEING.If the recent audience of which I was a part was any indication, you may be in for plenty of laughs. Now I should offer one caution at the outset. I do not object to farce. As a student of theater at the University of Texas many years ago, I recall my delight on first reading Moliere’s The Miser. At one time I was also a member in good standing of The Sons of the Desert, the international comedy fraternity honoring the collected works of Laurel & Hardy. Having said that, I do have some difficulty when comedy plots such as this one seem so far-fetched that I cannot believe what I am seeing. That may just be a personal shortcoming, as part of enjoying farce requires surrendering to the nonsense. With able direction from Steven Fenley, rest assured there is plenty of nonsense in BOEING BOEING.

For those unfamiliar with the play’s plot (or that of the film starring Tony Curtis and Jerry Lewis), the action takes place in the modest Paris flat (scenic design, Trey Otis) of a playboy named Bernard (Tom Long). Bernard has established intimate relationships with three different airline stewardesses, each of whom thinks she is his fiancée. As each of these gals visits the apartment, it falls to Bernard’s feisty and grumbling housekeeper, Bertha (Marcy Bannor), to try and juggle the meal menus and framed photographs on display to fit the current overnight guest. Meanwhile, it is Bernard’s task to maintain a careful timetable detailing the travel schedules for each flight attendant in order to avoid any embarrassing conflicts. Therein lies the lunacy that propels this show’s hilarity. In the process we meet TWA stewardess, Janet, (Christina Stroup), Air France stewardess, Jacqueline (Robin Van Zant), and Lufthansa stewardess, Judith (Lauren Dolk). Adding to the comic confusion is the unexpected arrival of Bernard’s old friend, Robert (David Walker). Robert is justifiably mystified by Bernard’s uncanny skill for carefully scheduling the visits of his assorted fiancées so that they never run into one another, —or do they?

(L-R) Lauren Dolk, Tom Long, Robin Van Zandt, and Christina Stroup in The Texas Repertory production of Boeing Boeing. Photo by Douglas Kreitz and Larry Lipton.

The schemes of this scoundrel begin to unravel as people come and go through the seven slamming doors in this apartment, and the timing of these unmanageable entrances and exits is quite a test of Bernard’s ability to maintain the charade. When we first meet Janet she is relaxing in black lace loungewear while devouring extra helpings of Bertha’s pancakes. Bernard has to hurry her off to her flight lest she encounter the expected arrival of Jacqueline, fiancée #2. She bounces in with devilish glee sporting black patent leather platform boots. It isn’t long before fiancée #3, the German Judith, arrives wearing a crisp, gold colored airline suit that is almost as severe as the militaristic atmosphere that surrounds her. When the men excite her, she affects a laser-like gaze and a set of quasi-orgasmic and undulating gyrations. The robotic angularity of her body language brings many a laugh from the audience, although Miss Dolk’s wild-eyed intensity sometimes resulted in lines of dialogue being lost as she spoke too rapidly to be understood. It was, nevertheless, a uniquely nutty characterization for this uniquely nutty play.

If this all sounds a bit predictable, well yes, it is. But each of our costars brings a special brand of zaniness that helps sustain this comic romp until it comes in for a safe landing with some final relationships that may surprise you.

\BOEING BOEING continues thru April 13th at Texas Repertory Theatre in the Northwoods Plaza, 14243 Stuebner Airline Rd., Houston, Texas. Performances are  Thursdays at 7:30 pm, Fridays & Saturdays at 8 pm, and Sundays at 3 pm. For tickets ($35) and information on Senior and Student discounts, call 281-583-7573 or visit the website at www.TexasRepTheatre.org.

The Cast of KINKY BOOTS
Photo: Matthew Murphy

It is a bit of a fairy tale in its own right, and that may be the source of the joy that now spreads across the theatrical world leaving smiles on the faces of everyone it touches. I refer, of course, to KINKY BOOTS, the Tony Award-winning Broadway musical now delighting audiences via the national tour currently playing at Houston’s Hobby Center through February 22^nd. With the very likable music & lyrics of Cyndi Lauper, the cleverly witty book by Harvey Fierstein, and the shimmering direction & choreography of Jerry Mitchell, we have a real winner on our hands. Better still, the theater’s sound engineers seem to have begun mastering, for the most part, the art of creating comfortably audible sound levels for music and dialogue that can be clearly heard without assaulting the audience with excess volume and distortion. Bravo!

The pleasant story is based on some real events and revolves around the struggling Price & Son shoe factory in Northampton, England. Kenny Morris plays the elder Mr. Price with such powerful vocal projection, that like several other strong cast members, one suspects he could play the part without microphones or amplification. With bright enthusiasm and a solid singing voice, Steven Booth plays his son, Charlie, an eager young fellow all set to leave this small town with his self-centered fiancée, Nicola (Grace Stockdale), and head for new adventures in London. That dream is short-lived when the elder Mr. Price suddenly passes away and Charlie inherits the factory he had planned to escape. (Fine workplace scenic design from David Rockwell, complete with moving conveyor belt.)  

Darius Harper as Lola
PHOTO: Matthew Murphy

With business dwindling at the factory, Charlie has an unexpected encounter with the hilarious drag queen, Lola (Darius Harper). That’s where the real fun begins. Lola needs a nice outlandish pair of custom made boots to wear in her performances at the clubs. One of Charlie’s factory workers, Lauren (Lindsay Nicole Chambers), gives Charlie an idea that perhaps this could open an equally outlandish product line for his failing factory. Thereby hangs the plot of this fun-filled production, but it is the singing, dancing, and above all, the music that give the show its winning personality. (Musical Director, Adam Souza, with arrangements and orchestrations by Stephen Oremus).

The vocal power of the full cast ensemble was immediately apparent in the opening numbers of “Price& Son Theme,” and “The Most Beautiful Thing in the World.” Charlie has his work cut out for him in running the factory, but he learns he must play the hand life has dealt him as he joins his friend Harry (Mike Longo) and the full ensemble for the encouraging song, “Take What You Got.” The song features great guitar work and hints of bluegrass. Then the show rockets to a whole new level when we first see Lola in performance for the dazzling fun of “Land of Lola.” Surrounded by gleaming tinsel and decked out in a glittering outfit of sexy red (Costume designer, Gregg Barnes), Mr. Harper is bold and sassy as he leads this sensational number. It is further enhanced by the fine backup singing of the half dozen “Angels” who beautifully support several of the show’s numbers. With campy flair, Lola is deliciously bawdy as she takes pride in performing for “a room full of people waiting to feel normal by comparison.” Many in the audience would no doubt qualify.

Cast of Kinky Boots
PHOTO: Matthew Murphy

The excitement continues as Charlie brings his boyish enthusiasm and sense of discovery to the new boot designs during the explosive energy of, “Step One.” Not to be outdone, Lola returns with a brief lecture on her favorite color, red, and follows with the thunderous and rockin’ rhythms of “Sex is in the Heel.” The number is a knockout celebration of ultra-stiletto heels on boots, and if the singing here was a touch strident at times, Mitchell’s eye-popping choreography and the waves of pastel lighting (designer, Kenneth Posner) kept the focus on the visual.

Lauren soon finds she is falling for Charlie as Miss Chambers delivers a soaring, “The History of Wrong Guys.” Meanwhile, Lola senses some disdain for drag queens among the factory workers, especially rugged Don (Joe Coots). Before long the two will come to blows during the cleverly staged boxing match of Act II that is performed in convincing, but harmless, slow motion. I won’t reveal the tender outcome. And speaking of tender, there are sweet reflections when Lola reveals her name was Simon as a child. She and Charlie join in thoughtful self-examination for the touching and poignant song, “Not My Father’s Son.” Act I then closes with the frenzied excitement of another show-stopper as the workers celebrate the first finished pair of new boots, and Charlie becomes the head cheerleader for the sensational, “Everybody Say Yeah.”

Cast of Kinky boots
PHOTO: Matthew Murphy

Act II’s thoughtful examination of “What a Woman Wants” gives Don a chance to think about what virtues women seek in a “real man.” The number is a pip and features some buxom fun from a gyrating factory worker named Pat (Bonnie Milligan). Complications ensue as Charlie insists the new boot collection must be taken to Milan for the fashion show. In a power-packed scene he alienates Lola by refusing to have her backup Angels as the boot models on the Milan fashion runway. As Lola departs in anger, Charlie becomes so tyrannical and demanding as the boss that the workers all walk off the job. His self-examination in the song, “Soul of a Man,” was an exception to the fine sound engineering mentioned earlier. The lyrics were inaudible amid the over-amplification on that one. That sin would quickly be forgotten in the following stunning scene as Lola, sparkling in a soft and flowing chiffon gown, is found giving a concert in the nursing home where her long-estranged father is a wheelchair-bound patient. This number, “Hold Me in Your Heart,” tops the list of great moments in the show. Harper gives a memorable performance that seemed like some sensational Las Vegas showroom finale from Whitney Houston at her peak. But of course there is much more as things finally work out for the boot show in Milan. We all remember the Ruby Slippers. Now we have the Ruby Boots and a whole lot more. Talk about a finale! This one has to be seen to be believed.

________________________

KINKY BOOTS continues through February 22nd at Houston’s Hobby Center main stage with performances on Fridays and Saturday evenings at 8pm, Tuesday thru Thursday & Sunday evenings at 7:30 pm (dark on Monday), Saturday and Sunday matinees at 2pm. For tickets ($24-$100) visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

Cast of Singin’ in the Rain
Photo: Michael Pittman
*CLICK any photo to enlarge*

Director, Manny Cafeo
PHOTO: Dave Clements

For lovers of musical theatre there is something incredibly important and very wonderful going on at Conroe’s Crighton Theater. Brilliantly directed by Manny Cafeo, the current production of Singin’ in the Rain from the Stage Right Players is an absolute wonder to behold. In fact, let me take that a step further. It is miraculous! Fondly remembered and revisited by most of us, the 1952 MGM film version starring Gene Kelly, Debbie Reynolds and Donald O’Connor is a classic cinema masterpiece by any standard. Attempting to duplicate its joys on the stage would be a daunting task in any event, but to accomplish it with the artistic perfection found in this production must certainly be a crowning achievement for Stage Right producers, Steve & Carolyn Wong.

The realization of this miracle has countless ingredients which must begin with the unmistakable love, energy and joy this universally excellent cast has brought to the performance. Common sense tells us how much hard work made this all possible. But somehow it comes across the footlights that everyone on that stage is having as much fun as the audience. At the same time virtually every detail of the film is brought magically to life on the Crighton stage. Of course that magic includes the witty original screenplay of Betty Comden & Adolph Green, and the memorable music of Arthur Freed (who also wrote the lyrics) & Nacio Herb Brown. In this production the score is in the very capable hands of Musical Director, Ana Guirola Ladd, and the superb dancing is a much deserved jewel in the crown of both choreographer, Dinah Mahlman, and her astonishing cast that repeatedly sets the house on fire with sensational tap dancing.

Let’s get more specific about the stellar cast that brings to life this amusing tale about the silent film star pairing of Lina Lamont (Alexandra Casey), and Don Lockwood (Victor Suarez) at the time in the 1920’s when the “talkies” were about to replace silent films. Self-centered Lina is a perfect example of the silent film stars who had no suitable voice for sound. Don’t miss the fun of the vocal coaches played by Lindsay Freireich & Adam Isbell, and Todd Brady as the amusingly desperate director trying to make sense of cinema’s transition to sound.

Alexandra Casey & Will
Alexandra Casey & Will Radcliffe
PHOTO: Dave Clements

Lina’s persistent whining and poor diction are totally annoying, and all the while she is oblivious to the fact that Don is only her lover on screen and has no interest in her otherwise. Pretty Miss Casey carries off the part with consistently hilarious comic flair, even as vain Lina does some serious soul searching during her deliberately annoying Act II song, “What’s Wrong With me?” The head of Monumental Pictures, R.F. Simpson (Willard Radcliffe) has his hands full trying to deal with his spoiled brat starlet during filming of “The Dueling Cavalier,” and that problem is central to the fun that follows.

The Dueling Cavalier
PHOTO: Dave Clements

Amazingly, video engineer, Steven Wong, assisted by his son, Michael Wong as fencing choreographer, has created superb silent film segments for “The Dueling Cavalier” that are incorporated into the plot using the actual members of the cast. The professional high definition clarity of the result adds endless fun to the action, and it is worth mentioning that even before the show began, Mr. Wong created an amusing silent comedy take-off of Laurel & Hardy designed to gently remind the audience about cell phone shutdowns. On the other hand, Mrs. Wong, always a comedic winner in Crighton productions, is no less in her deliciously outlandish role of film columnist and radio personality, Dora Bailey, who hosts the red carpet arrivals of the stars for the Hollywood movie premiere that opens Act One.

R. Isaiah Owens sings
“Beautiful Girls”
Photo:Dave Clements

Ryan Rodriquez- “Make ‘Em Laugh”
Photo: Dave Clements

Oh, those glamorous costumes that would lavishly continue to be a feature throughout the show (Designer, Marieda Kilgore). It would also quickly become clear that a central core of this show’s success is the splendid singing of the leads. In the song, “Make ‘Em Laugh,” Ryan Rodriquez is terrific capturing the comic deviltry as Don’s pal, Cosmo Brown, the role originally played by Donald O’Connor in the film. Ryan is a perfect pairing with Suarez in the role of Don. The two gents are as handsome as matinee idols with vocal chords to match.

“Fit as a Fiddle”
PHOTO: Dave Clements

Their singing and athletic tap dancing will dazzle you with numbers like “Moses Supposes,” the show-stopping “Broadway Melody,” and the very cute and acrobatic “Fit as a Fiddle.” That latter number is cleverly staged as a memory flashback and might be clarified as such if the surrounding stage lighting briefly dimmed to set the focus on the boys during the song, but the overall lighting designs of Roger Ormiston and Lighting Engineer, Peter Kelly really make this show shine.

Victor Suarez & Sara Priesler-Kent
Photo: Dave Clements

Another technical triumph came in the area of sound. (Designer, Ms. Wong, and Engineer, Nick Marshall). I point this out because there is always danger when coordinating performances with a recorded musical soundtrack. With one or two minor glitches it is splendidly carried off here. I first realized that when Suarez began singing the lushly romantic, “You Stepped Out of a Dream,” to beautiful Sara Preisler Kent. Kent portrays Don’s love interest, the lovely ingénue and would-be star, Kathy Selden. It’s the role that helped make Debbie Reynolds a Hollywood legend. As Suarez’ velvet smooth voice embraced the audience, I thought at first he must be lip-syncing to some professional voice recorded on the soundtrack. What a pleasure to discover this talented young man’s voice was the real deal. And what a match to have him in duet with the sweetly elegant voice of Miss Kent. Wow!

“Good Morning” (L-R Suarez,Kent,Rodriquez) PHOTO: Dave Clements

The duo would team beautifully for the songs, “You Are My Lucky Star,” and “Would You,” and the pair would join Rodriquez for the playful delights of “Good Morning.” As for outstanding solo moments, Kent delivers a wonderful “All I Do is Dream of You,” with great back-up from the Chorus Girls.

Suarez: “Singin’ in the Rain”
PHOTO: Dave Clements

Suarez shines for, “You Were Meant for Me,” and of course for the title tune. Thanks to the creativity of Master Carpenter, Dennis O’Connor and Scenic Designer, Denise DeBold, “Singin’ in the Rain” was able to actually happen right there in front of our eyes as Mr. Suarez joyfully danced and sang through showers and puddles, umbrella in hand. It was a delight.

Mahlman as seductress in “Broadway Melody”
PHOTO: Dave Clements

Other sensational production numbers include the classy “Beautiful Girls” led by talented, R. Isaiah Owens, and a jazzy “Broadway Melody” that featured the seductive dance talents of choreographer, Mahlman.

(L-R) Victor Suarez, Sara Priesler-Kent, & Ryan Rodriquez
PHOTO: Michael Pittman

Throughout this epic masterpiece of musical theatre, the Dancers and Chorus of the cast really deserve top billing. They are amazing, so readers beware. If you miss this sweetheart of a show you will miss something so special that my eyes were moist with tears of joy at the conclusion. I will never forget Valentine’s Day 2015.

SINGIN’ IN THE RAIN continues through March 1, 2015 with Friday & Saturday performances at 8 p.m. and Sunday matinees at 2 p.m., all at the beautiful Crighton Theatre, 234 N. Main St. in Conroe. (Prices are $20 adults, $18 for seniors and groups of 15 or more, $15 for youngsters 16 and under, and senior groups of 15 or more persons). For tickets and information call 936-441-7469 or visit the website at www.stage-right.org

Andersen McDaniel as PINOCCHIO and Jordan Rubio as GEPPETTO
Photo: K. Navarra

***Click Any Photo to Enlarge***

Before curtain time at the Nancy Bock Center for the Performing Arts, the room was filled with the familiar buzz of audience excitement that one has come to expect when Class Act Productions is presenting a show from Founder/Producer, Keith Brumfield. In this case, the offering was the Disney musical, MY SON PINOCCHIO Geppetto’s Musical Tale. With book by David I. Stern and Music & Lyrics by Stephen Schwartz, this edition was delightfully directed by Tina Kraft. Adding to that delight was the enormous cast of talented local youngsters that brought this new and amusing take on the familiar story to joyous life for last weekend’s three sellout performances.

This charming journey, based on both the original 1883 Carlo Collodi tale, The Adventures of Pinocchio, and the later 1940 Disney film, Pinocchio, begins as we meet the hilariously egotistical Blue Fairy (Isabelle Yost) who thinks she is the living embodiment of perfection and can do no wrong.

Isabelle Yost as THE BLUE FAIRY
Photo: Paul Wickboldt

Enter Geppetto the woodcarver and toymaker (Jordan Rubio), who approaches the Blue Fairy to complain he would like to return the wooden boy, Pinocchio, that she had once brought to life through her magic. Mr. Rubio displays his fine singing voice as Geppetto claims the fairy has created an imperfect boy because Pinocchio (Andersen McDaniel) is a problem child. She is incensed at the suggestion her handiwork was not perfect, and her blatant narcissism is so innocently and genuinely over-the-top it adds to the fun throughout the show. Miss Yost plays it to the hilt with a terrific flair for comedy, but better still she has a very wonderful voice for songs like “Just Because It’s Magic,” and of course the classic, “When You Wish Upon a Star.”

The Blue Fairy & her Fairies-in-Training
PHOTO: K. Navarra

She is merrily assisted by her four Fairies-in-Training (Marina Garcia de Quevedo, Katarina Brosvik, Madisen Campbell, and Riley Mitchell). They sing beautifully as well, and add to the hilarity, but conflict arises when we meet the conniving puppeteer, Stromboli, wickedly played by Jessica Helgerud.

Jessica Helgerud as STROMBOLI
Photo: Paul Wickboldt

Stromboli has two very animated marionettes (Emily Freeman & Greta Faith Lamb), and meanwhile conspires to capture the amazing live wooden boy, Pinocchio, to be the star of her own puppet show. For his part, Mr. McDaniel brings both deviltry and tenderness to his performance in the title role, and does nicely performing the charming, “I  Got No Strings.”

Anchoring all this action is the beautiful singing (Music Director, Laurelyn Korfhage) and dancing (Choreographer, Jodi Schrier) from this huge ensemble of very talented young people. The beaming joy they project for the many songs in this labor of love would clearly warm the hearts of all those present in the audience. The music in this edition is pleasant enough and appropriate to the light-weight plot, but the new songs are probably not destined for the classic status awarded to “When You Wish Upon a Star,” and “I Got No Strings,” both included here from the earlier Disney film with the music by Leigh Harline & lyrics by Ned Washington.

Sromboli’s Puppet Show
PHOTO: K. Navarra

Never-the-less, there was fun on every hand in various brilliant scenes that take place in Geppetto’s toyshop, at Stromboli’s puppet show, along a forest road, or in the laboratory of zany, Professor Buonragazzo (Maeve Jensen), who has invented a machine that can manufacture perfect little boys and girls.

PLEASURE ISLAND
Photo: K. Navarra

Another dazzling scene was the world of “Pleasure Island,” where bad boys soon make jackasses of themselves, and the joyous “Mardi Gras Dance” there was a knock-out that wove its way right through the audience! All these scenes featured the beautiful set designs of Kent Hale, the scenic artistry of Katie Arceneaux & Sally Menes, and fine lighting from designer Blake Minor. The countless and glorious costumes were designed by Kristi Tabor. Score this another victory for Class Act Productions and the countless community volunteers that make the magic happen. Area resident, Mattie Tabor, seemed to agree as she was leaving the theater. She was overheard to say, “I’ve never seen one of these shows that wasn’t wonderful!”

Cast of MY SON PINOCCHIO
Photo: K. Navarra

CLASS ACT plans performances of MARY POPPINS on July 10, 11, 12, 17, 18, & 19 in 2015. Auditions are scheduled for May 2, 2015. For further updates visit http://www.ClassActProductions.org .

Artists of the Houston Ballet
PHOTO: Amitava Sarkar

Karina Gonzalez & Connor Walsh
PHOTO: Amitava Sarkar
**Click any photo to enlarge**

Even before the opening curtain, there was a ballet of sorts in the Wortham Center’s soaring lobby, with its steep and rolling escalator, towering windows, and the high walls adorned with beautifully projected scenes from Houston Ballet’s current repertoire. It almost seemed a kind of modern dance as these elements all combined to grandly welcome the throngs of arriving guests for the Opening Night performance of the company’s elegant production of Sergei Prokofiev’s Romeo and Juliet. But the best was yet to come.

As a young lad, the first ballet I ever attended was Prokofiev’s Cinderella, and I would be in high school before becoming acquainted with the similarly rich and haunting music of the Romeo and Juliet. It would have been in itself worth the price of a ticket just to hear this score performed by the peerless musicians of the Houston Ballet Orchestra, under the loving baton of maestro Ermanno Florio (Music Director). But to see Shakespeare’s classic tale of love and tragedy unfold in the splendor created here by Artistic Director & Choreographer, Stanton Welch and his brilliant team, would seem at times more like a beautiful medieval dream than a reality.

Artists of the Houston Ballet
PHOTO: Amitava Sarkar

The exquisite costume and scenic designs of Roberta Guidi Di Bagno give the production the look of having popped out of some lush and ancient tapestry of the period. Rich colors abound and are endlessly enhanced by the varied lighting designs of Lisa J. Pinkham. Thus, we are magically transported to the world of ancient Verona and this enduring saga of the rival families, the Montagues and Capulets.

As the ballet begins, graceful young maidens dance about, but the youthful Romeo (Connor Walsh) is love-struck and infatuated with the lovely Rosaline (Sara Webb), even though she is a Capulet and he, a Montague. The action moves to the merry excitement of the beautifully staged Market Scene. As the stage begins to fill with arriving townspeople weaving amongst one another in the marketplace, the eye-popping choreography of both dance and simple movement suggests the precision of the finest college marching band on the gridiron. Romeo’s friends, Benvolio (Oliver Halkowich) and Mercutio (Jared Matthews) try to cheer the brooding Romeo, and there is some lusty and high-energy dancing from the threesome and the wonderful ensemble. From the dullard, Peter, (an amusing portrayal by Hayden Stark as a bumbling Capulet servant) Romeo learns the Capulets plan a grand ball. The family has actually planned the ball to bring daughter, Juliet (Karina Gonzalez), together with the eligible young Paris (Ian Casady). Meanwhile, Romeo plans to crash that party so he can be near Rosaline. But soon conflict arises at the market between members of the opposing families. The fiery Tybalt (Christopher Coomer), a temperamental Capulet nephew, provokes a street brawl between the young men of these families.

Connor Walsh, Christopher Coomer and Artists of the Houston Ballet
Photo: Amitava Sarkar

The neatly choreographed and swashbuckling swordplay that follows is full of excitement worthy of an Errol Flynn film. There is a powerful performance from Simon Ball as Escalus, the Prince of Verona, and it is Escalus who impressively steps in to demand that the brawling cease.

Karina Gonzalez and Jessica Collado
PHOTO: Amitava Sarkar

As the action shifts to Juliet’s chambers, the mood is brightened by her cheerful dancing and that of her attendants and playful Nurse (Barbara Bears in a charming and lighthearted performance). It is there that Juliet’s mother, Lady Capulet (Jessica Collado), gives her the news that Paris will be a guest at the special ball being planned. As the ball guests arrive, Prokofiev’s regal music embraces the audience while stunning tapestries look down from the walls above.

Connor Walsh, Jared Matthews and Artists of the Houston Ballet
PHOTO: Amitava Sarkar

The entrance hall for the ball is richly aglow with lushly beautiful costumes, generously anointed by dramatic blood-red colors. Amid the excitement, Romeo and his friends, Benvolio and Balthasar (Derrick Dunn), sneak into the ball where Romeo is instantly enchanted by his first glimpse of Juliet, even as she discovers her own fascination with this handsome young stranger. The lads glide gracefully through the scene with the synchronization and lively designs of their athletic dancing illuminating their joyful camaraderie.

The ball opens with the ominous power of one of the composer’s most memorable themes, and the dramatically impressive choreography here is every inch the equal of the powerful music. The scene is an unforgettable highlight in the production, and it was notable that the light and airy fabrics of costumes on the dancing ladies created wonderful visuals as they seemed to allow the gowns to whirl about doing a beautiful dance of their own. Soon we see the first warm embrace of Romeo and Juliet, and the romantic magic of this pairing is perfectly captured by the beautiful Miss Gonzalez and the handsome Mr. Walsh. Nevertheless, when Tybalt discovers Romeo is present he reaches for his sword and is only kept in check by intercession of the host, Juliet’s father, Lord Capulet (Linnar Looris).

In the iconic balcony scene, amid the lovers’ tender yet fearful connection, the warmth of Prokofiev’s romantic score embraces them as they sweetly dance together. The dance lifts are lovely and beautifully executed by Walsh, and all the while the two are surrounded by a glittering starry sky. With the aid of Friar Lawrence (Steven Woodgate) and Friar John (Rhodes Elliot), a clandestine wedding for the lovers is quickly arranged, with plans to secretly consummate the marriage that night in Juliet’s bedroom where the soaring canopied bed is the dramatic centerpiece on the stage. Plans are greatly complicated during the festive and colorful Carnival scene. Now married, Romeo tries to avoid combat with his unaware new in-law when Tybalt, sword in hand, again challenges him. Murcutio intercedes, but is fatally wounded by Tybalt. Enraged at the murder of his friend, Romeo stabs Tybalt, killing him in revenge, and escaping the wrath of Prince Escalus by retreating to the bedroom of his secret bride for what will be a last night of bliss.

Jessica Collado and Karina Gonzolez
PHOTO: Amitava Sarkar

The final act has Romeo in the role of fugitive, and Friar Lawrence supplies Juliet with a potion that will cause her to appear as dead until Romeo can rescue her from the tomb for their escape. A message is sent to Romeo with the plan’s details, but it never reaches him. Meanwhile, Lord and Lady Capulet prevail upon Juliet to marry Paris, and their daughter relents thinking she will soon escape that fate with her beloved. Following Lady Capulet’s horrifying discovery of her lifeless daughter’s body on the bed, a dramatic and candle-lit funeral procession crosses the stage as word reaches Romeo of Juliet’s “death.” The funeral over, he enters the shadowy crypt to find the grieving Paris, who then attacks him. Romeo stabs him to death in self-defense, and then takes poison himself upon discovering his lifeless bride. As Juliet awakens to find her lover dead, she takes her own life with the knife, and the lovers’ bodies intertwine in tragic death. How ironic that at that moment, the audience erupted with an extended ovation of joyous applause and appreciation for the masterpiece of dance it had just witnessed. Bravo!

Houston Ballet’s ROMEO and JULIET continues through March 8^th at the Brown Theater in the Wortham Theater Center, 501 Texas Avenue in downtown Houston. Evening performances are at 7:30 pm on February 28^th and March 6^th & 7^th. In addition there will be a 1:30 pm matinee on February 28^th, and 2:00 pm matinees on March 1^st & 8^th. For tickets & information visit www.houstonballet.org or call (713) 227 ARTS or 1 800 828 ARTS

The columns of David Dow Bentley III have appeared in newspapers from the East Coast to the Gulf Coast and may be viewed online at the website: www.ThePeoplesCritic.com E-mail may be directed to ThePeoplesCritic@earthlink.net .

PHOTOGRAPHY BY DANIEL BRODIE
Ace Young as Joseph, Diana DeGarmo as Narrator & Company

With Spring Break underway for many in surrounding Houston areas, the Theater Under the Stars offering of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT had no opening week shortage of eager young faces looking down to the stage from box seats high above on either side of the Hobby Center’s Sarofim Hall. Those youngsters no doubt shared my own puzzlement before the production got underway, as a shadowy projection lingered too long on mid-curtain, apparently designed to suggest a dream with its cloudy and ill-defined content looking a bit like some genie escaping from a bottle. The odd collection of sounds accompanying this vision perhaps suggested children playing, trolley cars, crying babies, passing trains or ghostly spirits, but who knew for sure?

When the action finally begins for this lighthearted musical (some call it an operetta as all words are sung, not spoken) it revolves around the familiar Biblical story of Joseph, his coat of many colors, his doting father, and the eleven jealous and conniving brothers who sell Joseph into slavery in Egypt while convincing their father that he is dead . With the cheerful lyrics of Tim Rice and the often catchy melodies of Andrew Lloyd Webber, the show is anchored by the Narrator (pretty Diana DeGarmo) who sings clarifications of the action as the show progresses. As a well-known former contestant on American Idol, DeGarmo clearly has a crisp, articulate and powerful voice, but the challenges of an extended national tour may be straining that voice, which would seem somewhat shrill at times.

PHOTO: DANIEL A. SWALEC
Ryan Williams as Pharaoh and Ace Young as Joseph

Co-starring in the role of Joseph is DeGarmo’s handsome husband, singer/songwriter Ace Young, another graduate of American Idol. His smooth voice worked well for numbers like “Close Every Door,” and the lovely and very melodic, “Any Dream Will Do.” Claire Camp plays the seductive wife of Joseph’s wealthy Egyptian slave master, Potiphar (a second role for Mr. Evans). With a bit of help from lusty Mrs. Potiphar, Director/Choreographer, Andy Blankenbuehler, made sure that Mr. Young played most of his subsequent scenes shirtless to display his impressive physique. Meanwhile, William Thomas Evans has great fun in the merry role of Joseph’s father, Jacob.

PHOTO: DANIEL A. SWALEC
William Thomas Evans as Jacob, and Company in “Those Canaan Days”

As to the wonderful cast portraying Joseph’s brothers, their lusty choral singing in numbers like, “Those Canaan Days,” was as terrific as their athletic execution of Mr. Blankenbuehler’s choreography. Paul Castree was a showstopper leading “Those Canaan Days” in his role as Simeon. Additional ensemble showstoppers included a real winner with the “Benjamin Calypso” (led by Max Kumangi in the role of Judah), and then a show highlight as good-looking Ryan Williams brings down the house as the Pharaoh, while doing a first-rate and hip-swiveling impression of Elvis for the “Song of the King.”

PHOTO: DANIEL A. SWALEC
Ryan Williams as Pharaoh, and Company

Often complementing the fine vocals of the brothers is a talented Female Ensemble that enriches many of the splashy numbers.

It must be said that this production has the overall look of a packaged show ready to be quickly broken down for truck shipment to the next city. Set pieces are minimal and much staging depends on foggy mists pierced by colored lasers etc. (lighting by Howell Binkley), some clever projections (designs by Daniel Brodie), and all accompanied by the non-pit orchestra consisting of only an overloud synthesizer, supplemented by some drums and guitars. Performers must struggle to compete with noise levels which, in a perfect world, would have been replaced by a fine full orchestra to more effectively reveal the richness of the score. The costumes (designer, Jennifer Caprio) are flashy fun, but not masterpieces. Think Halloween. But none of these shortcomings seemed to bother the crowd as it rose to its feet and clapped along during the curtain call finale of the jazzy “Joseph Megamix,” a number that reprised many of the show’s tunes in Las Vegas showroom fashion.

­­­­­­­­­­­­­­­JOSEPH & THE AMAZING TECHNICOLOR DREAMCOAT continues through March 29th at Houston’s Hobby Center main stage with performances on Friday and Saturday evenings at 8pm, Tuesday thru Thursday & Sunday evenings at 7:30 pm (dark on Monday), Saturday and Sunday matinees at 2pm. For tickets visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

YTA Grand Prize Winner, Yurie Farnsworth
PHOTO: Dave Clements

As the Young Texas Artists music competition entered its fourth decade of showcasing the very finest of our state’s young, classical musicians, it would be no surprise that last Saturday night’s eight 2015 finalists would epitomize musical excellence for the packed house in attendance at Conroe’s elegant Crighton Theatre. For three days some 70 candidates had competed for this opportunity to display their talents for the annual Finalist’s Concert & Awards program. For lovers of the arts in the Lone Star State, this official Texas music competition is one of the most anticipated events of the year. It is also a time for YTA’s most active supporters to attend the annual Bach, Beethoven & Barbeque Gala, which this year honored Lee and Shirley Pruitt for their many contributions to both YTA and the Montgomery County Performing Arts Society.

YTA Co-Chairs, Shirley & Lee Pruitt
PHOTO: Alan Montgomery

The guests gathered in a grand party tent that filled the entire street in front of the theatre on this special night of nights. Prior to the concert, the guests mingled for a cocktail hour and were then served a sumptuous feast prepared by Texans BBQ & Catering. While there was actually no Bach or Beethoven to accompany the delicious barbeque, there was plenty of festive fiddling from Bill Mock’s country band adding to the fun. Then an exciting, fund-raising YTA auction would conclude just in time for the evening’s concert, hosted by Houston Public Media’s St. John Flynn of KUHA Classical 91.7FM. Revelers would later reunite “under the big top” for post-concert coffee, champagne and dessert.

The evening’s performers consisted of eight finalists (ages 18-32) in four divisions: Piano; Voice; Strings; and a catchall category for Winds, Brass, Percussion, Harp and Guitar. To qualify, contestants must be Texas residents or enrolled in a Texas higher education program. A distinguished five-judge panel included two returning judges, Roger Pines of Chicago’s Lyric Opera, and renowned pianist, Daniel Cataneo, faculty member at both Temple University and the Delcroze Institute at Juilliard. New judges included Larry Hutchinson, bassist with the Detroit Symphony; John Ellis , Director of Graduate Studies in Piano Pedagogy at the University of Michigan; and Becky Brown, Artistic and General Administrator for Da Camera Chamber Music & Jazz in Houston.

Jade Simmons (left) with YTA Chair, Susie Pokorski
PHOTO: Brad Meyer

As she has for several years, Emelyne Bingham of Vanderbilt University again served as YTA’s Artistic Director, and Susie Pokorski continued to bring boundless energy to her role as Chair of this prestigious event held under the auspices of the Montgomery County Performing Arts Society. Again this year a special highlight of the night would be the onstage interviews with the contestants conducted by concert pianist and former YTA winner, the very beautiful Jade Simmons. Dressed in a sleek and elegant scarlet gown that may have been the most splendid of the night, the statuesque and charming Miss Simmons demonstrated a spontaneous gift for eliciting informative conversation from the nervous participants that should win her a talk show of her own.

With prize money totaling $20,000, finally it was on to the evening’s competition with Silver Medal winners taking home $1,000 prizes, and Gold Medal winners each being awarded $3,000. Performing in the Winds, Brass, Percussion, Harp and Guitar division were Adam Gingery on euphonium and Grace Browning on harp. Mr. Gingery was accompanied on piano by his wife, Erika, as he performed “Zigeunerweisen” by Pablo Sarasate/Frey. It was an always elegant, sometimes playful display of the deep, rich sounds of an unusual instrument that seemed able to echo itself while beautifully merging its mellow tones. Gingery would win the category’s Silver Medal.

Grace Browning (right) receives her Gold Medal from Shana & Tim Arthur
PHOTO: Brad Meyer

Meanwhile, dressed in a striking black and coral gown, Miss Browning would dazzle the crowd with her astounding skill on the harp, surrounding the instrument with an almost romantic embrace while performing the myriad complexities of “Scintillation” by Carlos Salzedo. In this work full of unpredictable and sometimes hypnotic intervals, she captured the whispering opening phrases as delicate as raindrops, but could transition skillfully to the composition’s building power and pulsations, all the while maintaining a focused intensity that was remarkable. She would have that division’s Gold Medal for her reward.

In the Voice Division, soprano, Megan Gryga, brought theatrical and vocal excellence to her joyful performance of two operatic selections: “Como Scoglio” from Mozart’s Cosi fan tutte, and “Depuis le jour” from Charpentier’s Louise. Gryga had an immediate connection with her audience, and one could almost visualize the invisible opera cast members to whom she was singing. The judges awarded her the category’s Silver Medal. Capturing the Gold Medal in this division would be tenor, Galean Salas, for another warmly theatrical performance featuring two opera favorites: Puccini’s, “Che gelida manina” from La Bohème, and Gounod’s “Ah, lève-toi soleil,” from Roméo et Juliette. Mr. Salas’ richly resonant voice combined with his cheerful countenance and animated gestures to make us feel language was no barrier in his fine performance. In addition to his $3,000 prize, he was awarded the $1,000 Audience Choice Award via ballots submitted from the crowd during the judges’ final deliberations.

Beverly Melder (left) and Conroe Mayor Webb Melder (right) with VOICE Gold Medalist & Audience Choice Award Winner, tenor, Galeano Salas
PHOTO: Brad Meyer

Competing in the Strings Division were Mingyao Zhao (violoncello) and Jihyun Kim (violin). Miss Zhao came onstage in a soft and flowing gown of eggshell blue and quickly displayed her technical virtuosity bringing a brisk and authoritative attack to the galloping intensity of the Shostakovich Concerto No.1 in E-flat major, Op. 107. The division’s Silver Medal would be hers, while the Gold Medal would go to Miss Kim following her impressive performance of the richly romantic Sibelius Concerto for violin and orchestra in D minor, Op. 61. Her lovely evening gown was highlighted by a glittering silver accent as flashy as her fine musicianship, and as she coaxed warm and wonderful tones from the instrument, one suspected that the quality of the violin was as exceptional as the artist herself.

The Piano Division was hotly contested between Yibing Zhang and Yurie Farnsworth. Performing the “Presto—Molto allegro e vivace” from Mendelssohn’s Concerto No.1 in G minor, Op. 25, Mr. Zhang displayed immediate power and fluidity. The prancing delicacy of his fingering one moment would alternate with precise and thunderous attack the next, as he skillfully moved toward a beautiful execution of the thrilling conclusion that would help to win him the Silver Medal. Miss Farnsworth would close the evening’s offerings with her elegant performance of the “Andantino semplice” and “Allegro con fuoco” from Tchaikovsky’s Concerto No.1 for piano in B-flat minor. From the enchanting opening, the familiar theme subtly draws us in before the work takes off in new and wondrous directions in Farnsworth’s talented hands. It was a thrilling and rapturous performance propelled by a kind of technical wizardry on the keys that we mere mortals might think of as impossible had we not seen it with our very own eyes. Perhaps the event organizers had inadvertently “saved the best for last,” as Farnsworth would not only win the Gold Medal award, but also the evening’s Grand Prize, an additional $3,000!

To learn more about the Young Texas Artists Music Competition, visit the website at www.ytamc.net. For further information e-mail info@ytamc.net

Cast of MAMMA MIA!
Photo: Joan Marcus

It seemed more like attending some grand and joyous party than it did attending a run-of-the-mill musical. The fun began right in the elevator that took my guest and me up to the orchestra level of the Sarofim Theatre in Houston’s Hobby Center for the Performing Arts. We were joined in that elevator by about a half-dozen chattering young women who were giddy with delight as they prepared to attend the current Broadway tour of the perennial favorite, MAMMA MIA. They were undoubtedly as guilty as I of having seen the show before, and probably more than once. It’s that kind of show, and people keep coming back for more. Not because it is a great theatre piece, but just because it is so doggone much fun. I knew before that short elevator ride ended, that these women would all be on their feet as Dancing Queens before the final curtain.

Written by British playwright Catherine Johnson, the plot is cleverly constructed around the popular songs of the band, ABBA, and composed by two former members of that band, Benny Andersson and Björn Ulvaeus. (Stig Anderson collaborated in composing some of the show’s songs, and Catherine Johnson wrote the book). The original London production opened in April of 1999, and the Broadway production opened just weeks after the terror of 9/11 in 2001. The show became such a Broadway staple that the marquee even found its way onto the Broadway masthead photo atop this critic’s website at ThePeoplesCritic.com.

Phyllida Lloyd brightly directs this current and very successful national tour of a show familiar to many from the popular screen version starring Meryl Streep and Pierce Brosnon. But the high-energy excitement Mamma Mia brings to the live stage could never be fully captured on film. The forgivably far-fetched plot surrounds a single mother named Donna (Georgia Kate Haege), and her daughter, Sophie (Chelsea Williams), who live on the lovely Greek Island of Calicos where Donna operates a taverna guest house. Twenty year-old Sophie is about to be married to her beloved Sky (Eric Presnall) and longs to know which of the three men her mother had flings with years before could be her real father. In hopes of solving that mystery she has secretly invited the three to her forthcoming wedding. When the gents arrive (Andrew Tebo as Harry, Michael Colavolpe as Bill, and Jeff Drushal as Sam) the real fun gets underway. Adding to the fun is the arrival of Donna’s feisty old girlfriends, Tanya (Bailey Purvis), and Rosie (Sarah Smith). Years before the three gals had their own singing group known as, “Donna & the Dynamos.” Before show’s end they unite for some spectacular numbers.

Cast of MAMMA MIA!
Photo: Joan Marcus

As in previous touring productions that I have reviewed, the action plays out on what I found to be a simple, yet very appealing set, depicting the tavern’s Mediterranean-style stucco buildings, capped by the lacy silhouette of a tree and an occasional rising moon. The secret of this successful simplicity rests with the ever-changing and brilliant pastel lighting designs of Howard Harrison, which give an airy and romantic look to many scenes, and electrifying excitement to others like the explosive song, “Money, Money, Money.” With such popular hits as, “Dancing Queen”, “Chiquitita, ” “Super Trouper,” “Take A Chance On Me,” “Voulez-Vous,” “SOS,” “Thank You for the Music,” “The Winner Takes It All”, and the tender, “Knowing Me, Knowing You,” the fun-filled and lovely tunes overshadow the twists and turns of the convoluted plot. But as Sophie’s wedding day approaches, there are enough mysteries and surprises to keep it all interesting while the dynamic voices in the cast add to the magic. Miss Haege brings fierce vocal power to her numbers and Miss William’s voice is pure perfection. While there are many fine voices in this exuberant cast, these two women stand out as they anchor the production with exceptional vocal brilliance that contrasts considerably with the low-key male leads playing Sophie’s possible fathers. With consistently sweet harmonies, the Ensemble cast support is strong throughout. I was briefly concerned during an embarrassingly over-amplified Overture that was annoyingly loud, but happily that Opening Night problem was quickly corrected as the rest of the show proceeded smoothly with not only good sound levels for music, but also for dialogue that could be clearly heard.

The flashy choreography of Anthony Van Laast is ever-present as a highlight of the production, and don’t miss the hilarious flipper-footed dance of the scuba divers. And speaking of “don’t miss,” word must have gotten around town about the wonderful encore numbers this show offers following the bows and curtain calls. The usual rude race to the exits and parking lots did not occur, and the happy audience seemed delighted to remain standing and dancing during the dazzling final bonus numbers that made one wonder just where these young performers seem to find such boundless energy.

Cast of MAMMA MIA!
Photo: Joan Marcus

The full cast again explodes on stage, (with the lead performers now suddenly dressed in the glitz of ABBA-style costumes), and there follows another twenty minutes of joyful encores that included, “Dancing Queen,” and, of course, “Mamma Mia.” I’m sure that somewhere in that room my friends from the elevator were having a ball.

MAMMA MIA continues at the Hobby Center with performances tonight & Saturday at 8pm, matinees both Saturday & Sunday at 2pm, and a final performance at 7:30 this coming Sunday night, April 19^th. To capture any of the few remaining tickets 800-952-6560 or visit the website at www.BroadwayAtTheHobbyCenter.com. Those who miss out may want to have a peek at the tour video available at:

http://www.mammamianorthamerica.com/land/tour/?gclid=CO62uufX4qgCFUHr7QodtjZGCw

Peking Acrobats
PHOTO: Ted Washington

For the orchestra’s part, musical selections accompanying the acrobatics included exciting performances of Falla’s Ritual Fire Dance, Wagner’s The Ride of the Valkyries, Elgar’s Enigma Variations, and Khachaturian’s Suite from Masquerade, all under the able baton of conductor, Robert Franz. The music was splendid, but center stage on this night clearly belonged to the amazing Peking Acrobats. The atmosphere was clearly that of a grand circus, and while there were no real animals involved, the exotically costumed “lions” that performed the fantastic feats of the opening Lion Dance would dazzle the audience right out of the gate. A segment of the program called, “Squeeze Play,” was clowning at its best as two of the young men in the cast had the audience roaring with laughter while one of them repeatedly found extraordinary ways to squeeze himself in and out of a very small metal cylinder. There would be exotic oriental drumming for, The Sounds of Rolling Walnuts sequence, and mind-boggling balancing tricks during the Aerial Chiffon display. Closing Act I of the program was an incredible Kung Fu Ceremony delivered by a large group of young men who appeared to be at the peak of physical perfection and athletic prowess during the many acrobatic tricks they performed.

Peking Acrobats
PHOTO: Tom Meinhold Photography

Following intermission, another group of athletic male performers demonstrated the mysterious art of hoop diving in a segment titled Diving Derring-Do. The ladies quickly followed with more incredible balancing stunts during the Fantasia sequence. In The Bull and the Tiger segment that came next, two huge ceremonial drums were brought on stage and the two drummers could certainly have qualified for the Drummer’s Olympics. By the way, in addition to the full symphony orchestra, there was a separate smaller orchestra with this company that accompanied many parts of the program playing traditional Chinese instruments.

Perhaps the most thrilling acrobatic demonstrations were three that capped the evening. A gentleman with amazing gifts of balance and strength performed the astounding In the High Chair segment that eventually had him high atop a huge stack of large wooden chairs and balancing himself upside down there on just one hand. It was actually frightening to watch as the audience collectively held its breath until roaring approval at the trick’s conclusion. Not to be outdone, five lovely young women followed that performance with a dramatic chair-stacking trick of their own that once again had the audience breathless.

Peking Acrobats
PHOTO: Tom Meinhold Photography

Then came the stunning finale of the Bicycle Pagoda and the Human Pyramid. They say “seeing is believing,” but I’m still finding it hard to believe that I saw eleven acrobats, balanced on each other’s shoulders, while all on one bicycle riding around the stage! Allow me to use that most overworked word: AWESOME!

The Kinkaid School’s A CHORUS LINE cast performance (Best Musical)

Whenever he was distressed about disturbing current events in the news, it was not uncommon for my late father to announce, “The world is going to hell in a handbasket!” If he could have been with me for the recent Tommy Tune Awards program in Houston’s Hobby Center for the Performing Arts, I’m sure he would have found cause for much greater enthusiasm about where this world is headed. That optimistic enthusiasm was immediately evident as one entered the buzzing excitement of the Sarofim Theatre and its soaring lobby for this much-anticipated annual event produced by Theatre Under the Stars. Celebrating the year’s finest high school musical productions from Houston and the surrounding area, the event showcased some 45 school’s that participated in this year’s competition. The many hundreds of multi-talented and beautifully dressed young people filling that theater looked like a pretty good future to me.

Tommy Tune

As tall, lanky and graceful as ever, the seemingly ageless Mr. Tune bounced on stage in a sensational crimson suit as he opened the proceedings with an elegant tap dance sampler of tunes like “Fascinating Rhythm,” “ ’S Wonderful,” and “I Got Rhythm.” (Boy, does he ever!) A Houston boy himself, he greeted the audience with, “Hi Y’all. I’m Home!” and then declared the evening’s event, “The biggest celebration of live theater on this planet.”

Next it was on to a night of explosive youthful energy and exceptional talent as the eight schools nominated for Best Musical each had an opportunity to do a show-stopping number from their nominated productions. The many other individual awards (detailed here) were presented in between each of these astonishing production numbers. First up, from Houston Christian High School, was an opulent scene from PIPPIN with its mystical circus, dramatic tableaus, flying hoops, fluttering feather boas, and Broadway-worthy Big-Top staging.

Alec Michael Ryan (Best Leading Actor) as Lawrence in Klein Oak High School’s Dirty Rotten Scoundrels performance with cast.

Next came the whirling grace of fine choreography in Klein Oak High School’s selection from DIRTY ROTTEN SCOUNDRELS. A very rockin’, “Sit Down, You’re Rockin’ the Boat,” from Pearland High School’s GUYS & DOLLS had a few moments of microphone failure, but featured a nice finish with the title tune from that show. From Second Baptist High School the audience was treated to a magical transformation with the ballroom scene from its lush CINDERELLA production, and there was more magic when

Audrey McKee (Best Leading Actress) as Mary Poppins in Friendswood High School’s Mary Poppins performance with cast.

Friendswood High School took the stage with the dazzling tap dance glory of its “Step in Time,” from MARY POPPINS. Those dancers looked like they could substitute for Radio City’s Rockettes!

Following the intermission, the eager young audience heard some kind words of encouragement from the 2010 Tommy Tune Award winner for Best Actress in a Leading Role, Stephanie Styles. Miss Styles is currently playing the lead role of Katherine in Disney’s first North American Tour of the Tony Award winning musical, NEWSIES. That show will arrive for Houston performances beginning on May 19^th. Other special appearances included Stanton Welch, Artistic director of the Houston Ballet (to present the Best Choreography Award), Tommy Tune Orchestra Conductor & Musical Director, Michael Moricz (to present the Best Musical Direction Award), and renowned actor and Houston native, Jim Parsons, (Big Bang Theory etc.) who addressed the crowd by video expressing great appreciation for the theatrical training he received here, and recalling the advice of one teacher who taught him that, “Someone else’s success is not your failure.”

As Act II got underway, Klein High School offered a “One Day More,” from LES MISERABLES School Edition that was full of gleaming power and thrilling vocal counterpoints. Next, Stratford High School presented the charming number, “Put on a Happy Face,” from its BYE BYE BIRDIE production. It produced happy faces throughout the theater. The final Best Musical nominee was The Kinkaid School with its performance of a golden and glowing, “One” from A CHORUS LINE. There could not have been a more thrilling and spectacular conclusion to the competition, and the school would be rewarded with the evening’s top prize of Best Musical. Speaking of spectacular, there were two heart-stopping moments. As young Harrison Poe scurried onto the stage to receive his award as Best Supporting Actor, he briefly tumbled into the orchestra pit, but was cheerfully unhurt during his smiling acceptance. Winner of the Best Leading Actor Award, Alec Michael Ryan, was so excited on receiving his crystal trophy that if slipped from his grasp and shattered on the floor. Here’s hoping the generous Mr. Tune will quickly arrange for a replacement.

Tommy Tune Scholarship Recipients with Bruce Lumpkin (TUTS Artistic Director), Tommy Tune and John Breckenridge (TUTS President and CEO).

Numerous scholarships were awarded and there was much more entertainment thanks to the creative brilliance of the aforementioned Mr. Moricz. In his role as Musical Director he composed both music and lyrics for three stunning and original musical highlights of the night. First there was a Best Leading Actor Medley featuring each of the nominees in that category. Next came the Best Leading Actress Medley, again featuring each of the ladies nominated. Finally, the show closed with the thrilling, Eyes on the Goal that brought all the evening’s nominees on stage for a grand finale. It was grand indeed! What the logistics must have been for hundreds of students from different schools all over the area to learn and rehearse these three complex production numbers can only be imagined. Bravo!

A nine-time Tony winner himself, Tommy Tune with be honored with a Lifetime Achievement Award this June at the Tony Awards in New York. Also in June, on Sunday the 21^st, Houston’s ABC-TV channel 13 (KTRK) will televise the Tommy Tune Awards with a 2-hour special at 12 noon.

CHICAGO lights up stage at Lone Star College-Montgomery
*Courtesy Photo*

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Tony Bennett & Lady Gaga
PHOTO: Courtesy of The Cynthia Woods Mitchell Pavilion

Last weekend approached with ominous Houston-area Friday morning thunderstorms that seemed a bad omen for the much-anticipated Friday night concert of Tony Bennett & Lady Gaga at the Cynthia Woods Mitchell Pavilion. Who could have guessed that by that evening the sky would clear while pleasant breezes and a crescent moon would greet the huge crowd looking forward to the pair’s now famous interpretations of the American Songbook? Yet another weekend surprise awaited me as I would discover a miraculous production of the classic musical, CHICAGO, presented by Lone Star College-Montgomery in The Woodlands. Both events were on such a high plane of excellence they have earned the right to be spoken of in the same breath with this critique.

Lady Gaga & Tony Bennett “Cheek to Cheek”
Photo: Courtesy of PBS

At the Pavilion I had wisely chosen a comfortable grass location at the front of the Great Lawn. It could not have been a more beautiful night to listen to beautiful music under the stars, and both Mr. Bennett and Miss Gaga were in fine voice for the occasion. It was hard to believe that 14 years had passed since I first reviewed Tony Bennett at the Pavilion in concert with k. d. lang during August of 2001, just one month before the tragic events of 9/11. That concert took place on Mr. Bennett’s 75^th birthday, which suggests the great star’s 89^th birthday will arrive later this year. For anyone attending this energized and sensational performance, that fact would seem all but impossible. The normal aging process seems to have mercifully passed him by, that great voice remains intact, and the pairing with youthful and talented Miss Gaga seems a perfect way to bring out the best of both performers.

The recorded voice of the late Frank Sinatra began the program describing Bennett as, “The greatest singer in the world today,” and these many years later Tony was ready to validate that claim as the night progressed. Then he introduced his co-star as, “The most popular singer in the world today: Lady Gaga.” The crowd cheered, and it wouldn’t be the last time.

Pavilion patrons arrived early to capture the few remaining seats.

The pair looked as elegant as they sounded with Tony in a crisp and cool white dinner jacket, and Gaga in an endless assortment of colorful wigs, glittering gowns, sparkling jewels, lots of feathers, and headdresses that would make Cher jealous. The pair would offer lush duets of, “Anything Goes,” “Cheek to Cheek,” “Let’s Face the Music and Dance,” “They All Laughed,” “Firefly,” “I Won’t Dance,” an enchanting, “Nature Boy,” and a delicate rendition of, “But Beautiful.” There was a cute, “The Lady is a Tramp,” with Gaga strutting about in the sexy style of Mae West.

Mr. Bennett’s winning solos included, “For Once in My Life,” “Sing You Sinners,” “The Good Life,” “When You’re Smiling,” “Stepping Out With My Baby,” “The Lady’s in Love,” “In My Solitude,” a Sinatra Centennial tribute (with “I’ve Got the World on a String,” and “In the Wee Small Hours”), and then, of course, Bennett’s signature song, “I Left My Heart in San Francisco.” The audience roared its approval.

Tony Bennett & Lady Gaga
Photo: Courtesy of PBS

For her very elegant part, Gaga’s solos included a seductive and Latin-flavored, “Bang! Bang!” a sensational, “Bewitched, Bothered and Bewildered,” “I Can’t Give You Anything But Love,” and a perhaps over-extended and exotic interpretation of, “Lush Life,” that sadly closed with the star sounding less like a Lady when she unexplainably dropped the “F-Bomb” on a night that had been otherwise free of coarse language on the Pavilion stage. Score that in the mistake column for an otherwise elegant evening.

Joey Sheaff and members of CHICAGO cast at Lone Star College-Montgomery

Meanwhile, in a mistake-free zone on the other side of The Woodlands, audiences were prepared for some saucy content as Lone Star College-Montgomery presented a thoroughly brilliant production of the John Kander/Fred Ebb musical classic, CHICAGO. The school’s Dance, Drama, and Music Departments had combined forces to produce what is arguably one of the top local productions I have ever seen during nearly twenty years as a performing arts critic in the Houston area.

CHICAGO Cast
Photo: Lone Star College-Montgomery

It was sensational on every level, and we can only hope director, Tim Campbell does not get whisked away to Broadway, because if this revival had opened there it would have been a surefire hit. My only regret is that it was performed one weekend only, but I am thankful my friend Dennis O’Connor at Stage Right Productions had alerted me that this was a “Don’t Miss” show. He was right about that.

CHICAGO Cast
Photo: Lone Star College-Montgomery

The staging was slick and classy (Scenic & Lighting designer, Rob Kreps) with a set of brightly illuminated risers across the stage that would be home for much of the action, as well as for the wonderful 13-piece onstage orchestra conducted by Cristina Mendoza. (Music Director, Dr. Mark Marotto). The jazzy and legendary choreography of the late, great, Bob Fosse is brought brilliantly to life by choreographer, Travis Prokop, and the very talented Student Dance Ensemble. I hope Mr. Fosse was smiling down from above at the creative perfection this cast brought to his marvelous dance designs.

Isabelle Yost & cast of CHICAGO
Photo: Lone Star College-Montgomery

Joey Sheaff & Christine Saenz in CHICAGO
Photo: Lone Star College-Montgomery

The delightful and satirical plot is based on the 1926 play of the same name by Maurine Dallas Watkins with its descriptions of the courtroom and prison corruption that often turned criminals of the era into tabloid celebrities. Velma Kelly (brilliantly played here by beautiful Isabelle Yost), and Roxie Hart (another brilliant portrayal by lovely Christine Saenz) are two accused murderers conniving their way to fame and fortune with the aid of shrewd and slick lawyer, Billy Flynn. (A devilishly satirical performance from handsome, Joey Sheaff).

Ana Ramirez-Morales & Isabelle Yost in CHICAGO
Photo: Lone Star College-Montgomery

Victor Suarez & Christine Saenz in CHICAGO
Photo: Lone Star College-Montgomery

Rounding out this really flawless cast we have Ana Ramirez-Morales as the deal-making prison matron, “Mama” Morton, Lauren Salazar as the always-optimistic reporter, Mary Sunshine, and Victor Suarez with a subtle and amusing performance as Roxie’s luckless and clueless husband, Amos Hart.

Lauren Salazar as Mary Sunshine in CHICAGO
Photo: Lone Star College-Montgomery

Mama Morton’s, “When You’re Good to Mama,” Mary Sunshine’s “There’s a Little Bit of Good,” and Amos’ “Mr. Cellophane,” are all stand-out numbers from these three vocally talented performers.

But let us return to our talented lead performers who never ceased to amaze. Arriving onstage looking like a young Shirley MacLaine, Miss Yost lights up the room immediately when she ignites the show while leading the cast in the exciting, “All That Jazz.” She is luminous!

Christine Saenz as Roxie in CHICAGO
Photo: Lone Star College-Montgomery

Her co-star, Miss Saenz, is every inch her equal and quickly demonstrates as much with a solid and sexy performance of the seductive, “Funny Honey.” Seductive is the operative word for the smooth, polished and super-cool look of the entire production. Adding tremendous fun to it all is the deliciously suave and cocky performance of Mr. Sheaff as the con-artist lawyer, Flynn. Rarely have I seen an actor have this much fun with a role. He was a comic delight, most especially during the spectacular, “Razzle Dazzle” number, and that was just one of the many show stoppers that included, “Cell Block Tango,” “All I Care About,” “We Both Reached for the Gun,” “Me and My Baby,” “When Thelma Takes the Stand,” and the haunting and melodic, “Nowadays.” All of this was accomplished with such a perfectly professional look and feel to the show, it was easy to forget being in a college theater. The superb performance of the orchestra, snazzy costumes of designer, Macy Perrone, perfect sound designs of Bryan Woodall, and the choreographic splendor of the dancing, all combined to seal the deal in making this production certainly one of the most memorable ever presented in the Houston area. Bravo!