Houston Symphony Orchestra at the Cynthia Woods Mitchell Pavilion
PHOTO: Ted Washington

Pavilion entrance sculpture by J. Hester honoring Pavilion founder, Cynthia Woods Mitchell

Pavilion Entrance Sculpture by J. Hester Honoring The Woodlands founder, George P. Mitchell

For those of us fortunate to have homes in The Woodlands, Texas, there have been countless opportunities through the years to enjoy the wonderful concerts of the Houston Symphony Orchestra at its “summer home,” the famed Cynthia Woods Mitchell Pavilion. The excitement of the orchestra’s annual cannon-blasting performance of Tchaikovsky’s 1812 Overture has become traditional on the eve of Independence Day. But I would suggest there has never been more musical excitement on the Pavilion stage than during last Thursday night’s concert titled, Music of The America’s. If the performance was available on a CD, I would buy a copy immediately.

There were several reasons for the extraordinary excitement that filled the air on that lovely summer evening. Perhaps first among them was the electrifying performance of conductor, Andrés Orozco-Estrada, who just began his tenure as the Houston Symphony’s 15^th music director.

Houston Symphony Music Director, Andrés Orozco-Estrada
PHOTO: Werner Kmetitsch

Let us hope he will be with us for many years to come. The animated physical energy he brings to every gesture of his baton is only equaled by his evident passion for both the music, and the 89 talented musicians under his direction. His athletic movement on the podium suggests he may have been a great ballet dancer in some previous existence, and I suspect if he just stood on the empty stage waving his arms without an orchestra, there might be those who would pay for a ticket just to watch him in action. Clearly, the excitement he projects is brilliantly reflected in the performance of the orchestra. Adding to the glow of excellence are the superb acoustics now achieved in this arena where sound problems have not been unknown in the past. An additional treat are the pristine projections on the enormous high definition screens at either side of the stage, allowing intimate looks at both the conductor and orchestral soloists throughout the performance.

Gianluca Littera
PHOTO: Courtesy of The Woodlands Pavilion

Another reason for the dramatic success of this concert was the stunning selection of exciting works, all thematically linked with Latin American roots. Two of these selections featured the astonishing talent of the evening’s featured soloist and renowned master of the harmonica, Gianluca Littera. He joined the orchestra first for the unusual and very beautiful Villa-Lobos composition, “Harmonica Concerto.” The crisp clarity and precision of his artistry as he raced up and down the full range of the instrument, blended beautifully with the fluid motions of his body and created the perfect marriage of soloist and orchestra. Further evidence of Littera’s brilliance came with his performance of the next selection, “Toledo, Spanish Fantasy for Harmonica & Orchestra.” by composer, James Moody. With its dazzling, rapid-fire pace, lashing excitement and seductive rhythms reminiscent of Ravel’s “Bolero,” it was yet another showcase for this exceptional musician.

Also on the program was Revueltas’ composition of “Sensemayá,” with its undulating pulsations and intense crescendos reminding one a bit of Stravinsky’s “Le Sacre du Printemps.” An additional treat was the performance of Piazzolla’s virtual smorgasbord of musical variations in the orchestral piece, “Tangazo.” Richly somber one moment, rhythmically awakening the next, it seemed, at intervals, to highlight every section of this great orchestra.

The cheering and delighted audience would eventually be rewarded with several encores, but not before the exquisite final offering on the formal program. It was a rapturous performance of Leonard Bernstein’s Symphonic Dances from “West Side Story.” These classic and familiar melodies from the legendary American musical have never sounded better. At the conclusion, the audience — at first spellbound — erupted in applause and shouts of “Bravo!” It could not have been more deserved.

The Oak Ridge High School Orchestra, directed by Linda Nicolosi, delighted arriving guests with a pre-concert performance on the Pavilion plaza.
PHOTO: Courtesy of ThePeoplesCritic.com

Readers desiring information on the Houston Symphony’s upcoming performances may call The Patron Services Center at (713) 224-7575, or visit the website at www.houstonsymphony.org.

Marilyn Moore as Ethel & Don Hampton as Norman in “On Golden Pond”
PHOTO: Michael Pittman Images

[ Editor’s Note: Click any photo to enlarge ]

There was a special kind of warmth and intimacy coming across the footlights when director, Jim Walker, stepped out on the Crighton Theatre stage last Saturday night to speak with great affection about the cast and crew of his very marvelous new Stage Right Production of Ernest Thompson’s touching play, ON GOLDEN POND. That same warmth, intimacy and great affection would soon permeate the heartwarming and marvelous performance of the play that followed. It would be a memorable night of theatre with a memorable cast to match the fine direction of Mr. Walker. Score another winner for producers, Steven & Carolyn Wong.

This charming tale tells the story of the Thayers, an elderly couple opening up their cozy Maine cottage “on Golden Pond,” for yet another of the many summers they have enjoyed there for forty-eight years. Norman (Don Hampton) is about to become an octogenarian, and the years have begun to steal a bit of his memory while replacing it with a cranky and cantankerous disposition. This is a strain for his perky and optimistic wife, Ethel (Marilyn Moore), whose cheerful nature is the very opposite of his own. With curling lip and sneering expression, Norman grumbles about everything from the latest major league baseball news to the rickety screen door that keeps falling off its hinges. Ethel counters with good cheer as she dusts and sweeps the long-closed cottage, and admires the diving and singing of the returning loons that are visible out on the pond. With lines like, “You’re the sweetest man in the world, and I’m the only one who knows it,” we can sense that it is Ethel’s patience, understanding and joie de vivre that have allowed this longstanding marriage to survive the occasional bickering her husband so often provokes. It must be said that both Mr. Hampton and Ms. Moore have really “nailed” their rich characterizations of Norman and Ethel, and their very different ways of coping with old age. These talented actors make the characters very much their own, but on some level the elegance of their performance seems almost to be channeling the spirits of Henry Fonda and Katherine Hepburn who passed into cinematic legend playing these same parts in the 1981 film that garnered Best Actor & Actress Oscars for them, and a third for Mr. Thompson’s screenplay. Thanks to the comic wit of the play’s fine script, the relationship of Norman and Ethel is great fun to watch, in addition to being central to the plot.

The cast of “On Golden Pond”
PHOTO: Michael Pittman Images

But the couple is not always alone as several other interesting characters visit the cottage.

Charlie the mailman arrives. (Allen Dorris at right)
PHOTO: Michael Pittman Images

Allen Dorris plays Charlie, the jolly local mailman who arrives by boat to make his deliveries of both mail and merriment. Mr. Dorris brings an infectious laugh and comic skill to his amusing performance.

Jennifer Hennessy Marshall as the Switchboard Operator
PHOTO: Michael Pittman Images

Another character adding levity to the piece is the nutty and snorting switchboard operator (Jennifer Hennessy Marshall) who casually handles phone call connections for this rural community while chewing gum and manicuring her nails.

Chelsea (Kim Bryant at left) visits Mom & Dad
PHOTO: Michael Pittman Images

Next we meet the Thayer’s 42 year-old daughter, Chelsea (Kim Bryant), who lives in California and is somewhat estranged from her parents because she and her father have never seen eye to eye. Ms. Bryant gives a sensitive performance as a daughter hoping for reconciliation.

Bill (Jim King at left) meets Norman (Don Hampton)
PHOTO: Michael Pittman Images

Chelsea is engaged to Bill Ray (Jim King), a dentist who is amusingly ill at ease in meeting Chelsea’s parents for the first time.

Billy (Ian Montez) prepares the fishing gear.
PHOTO: Michael Pittman Images

He has a feisty teenaged son, Billy Jr. (Ian Montez) who has a knack for getting reclusive Norman out of his shell as they go off together on local fishing expeditions. I recall describing young Mr. Montez as “adorable” when I reviewed his performance in the 2009 production of “Cheaper by the Dozen.” He’s still very cute here, and brightens up the stage with terrific acting and a winning personality.

Speaking of the stage, Jill Villalobos acts as Stage Manager, while Mr. Hampton’s lovely cottage interior set design serves as home to all this action and was beautifully constructed by Master Carpenter, Dennis O’Connor. The sound designs of Melody Montez, the effective lighting of Roger Ormiston, and the costume designs of Marieda Kilgore were all additional elements making this show a must for those seeking a really satisfying experience in the theatre. Don’t miss it!

ON GOLDEN POND continues through September 27, 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 12 or more persons). For tickets and information call 936-441-7469 or visit the website at www.stage-right.org

[Click any photo to enlarge ]

Cast of “Bye Bye Birdie”
PHOTO: Brad Meyer

As I put pen to paper for this review, I am reminded of that wise old expression: “Better late than never.” As a critic, I have never been fond of reviewing shows on opening nights as I feel it is best to let cast and crew work out the kinks and get their feet on the ground in front of an audience before I enter the picture. Thus, I often attend productions on the second night of performances before preparing my remarks for devoted readers of The People’s Critic. My recent out-of-town travels made that option impossible for the Owen Theatre’s August opening of The Players’ Theatre Company production of a fun-filled, BYE BYE BIRDIE. While Opening Night had not been a possibility for me, I’m very glad the theatre invited me to attend the gala closing night last Saturday.

On entering the attractive lobby, there was an immediate buzz of excitement generated by a long receiving line of handsome and smartly uniformed Aggie cadets from Texas A&M University. They greeted arriving guests with wide smiles while handing out the show programs. (I never mentioned they were shaking hands with this U.T. Longhorn, Class of ’66. Why start trouble?) Before the show began, these eager lads were called to the front to be introduced by Owen president, Mark Wilson, and the show’s talented director, Mary Yost. They explained that this fine contingent is called into service for the closing night of each of the Owen’s productions, serving as volunteers to break down the set when the curtain falls. Gig’em Boys!

With its book by Michael Stewart, music by Charles Strouse and lyrics by Lee Adams, the 1961 Tony Award-winning original Broadway production of BYE BYE BIRDIE would spawn countless revivals, tours, and of course, the ever-popular 1963 film version. Most recently I had the opportunity to see the 2009 Broadway revival in New York. With its enormous and energetic cast of 44 local thespians, this current Conroe edition at the Owen was smoothly directed by Ms. Yost. Dave Englert beautifully conducted the terrific 17-piece Virtuous Pit Band from its unusual location to the rear of the audience. Credit the fine cast singing to Vocal Director, Joshua Yost, and the bright costumes to designer, Marieda Kilgore. The cheerful plot is set in the Presley rock-n-roll era of the 1950’s and gently spoofs the fan pandemonium that ensued when Presley was drafted into the army. In this story we have vocally talented Jared Barnes portraying about-to-be-drafted rock star, Conrad Birdie.

Amy Barnes as Rose and Ben Miller as Albert
PHOTO: Brad Meyer

Conrad’s agent, songwriter Albert Peterson (Ben Miller), is panicking at the thought of losing his prime client, but Albert’s secretary and amorous girlfriend, Rosie (dance sensation, Amy Barnes) suggests a publicity stunt send-off for Conrad featuring a new song by Albert titled “One Last Kiss.” The plan is to have Birdie sing the song on the Ed Sullivan show before planting a kiss on one randomly chosen Birdie Fan Club member.

Jared Barnes as Conrad with devoted fans and starry-eyed Kim (Sachi Tanaka)
PHOTO: Brad Meyer

Pretty Sachi Tanaka plays the lucky teenaged winner, Kim MacAfee, a teen who lives in Sweet Apple, Ohio. Kim is on the mature side of adolescence as Miss Tanaka sweetly sings the coming of age song, “How Lovely to be a Woman.” Kim’s parents, Doris and Harry (amusingly played here by Julia Reece and Michael Hayes) have initial misgivings about their daughter being involved in this Conrad Birdie campaign, but they change their tune when confronted with the possible celebrity of the family appearing on the Ed Sullivan Show along with Kim’s little brother, Randolph (Hayden Olds), to sing the hilariously reverent, “Hymn For a Sunday Evening.” Doris and Harry bring more fun to Act II when they sing the comical, “Kids,” reflecting on all the problems parents have in dealing with teens. Mr. Hayes gives us a Harry that is deliciously droll.

Mother Mae (Martha Davis) eyeing Rose and Albert suspiciously
PHOTO: Brad Meyer

Adding to the comedy is the character of Albert’s possessive and overbearing mother, Mae (Martha Davis), who specializes in insulting Rosie in hopes of frustrating her romantic intentions with Albert. Miss Davis gives us a Mae who is a real drama queen and wants her son all to herself. Rosie just wants to settle down with Albert and sings longingly of his becoming “An English Teacher.”

Utilizing the fine set design of Roger Ormiston, the lively and colorful cubicle staging of the Telephone Hour song has the town’s teens gossiping on the phone about the exciting news that Kim is going steady with young Hugo Peabody (Eric Phillips). The complicated number, full of challenging counterpoints, was beautifully executed by this large cast of talented young performers. I wish I could name them all. Lovely songs seem to follow one after the other. With his powerful voice and hip-swiveling gyrations, Mr. Barnes gives us fun-filled and over-the-top performances of “Honestly Sincerely,” and “One Last Kiss,” while his teen admirers squeal with delight. One of the finest voices in this cast is Mr. Miller as Albert. Performing tunes such as, “Put on a Happy Face,” and “Rosie,” his smooth, mellow vocals might call to mind the Hollywood likes of crooner, Dick Haymes.

Amy Barnes cuts loose as Rosie
PHOTO: Brad Meyer

And speaking of Rosie, Miss Barnes stands out in this cast for her exciting and seductive delivery of the athletic and acrobatic choreography of designer, Melody Johnson, during the dazzling and uproarious, “Shriner’s Ballet.” Like the show itself, it was great fun!

Up next at the Owen Theatre will be Ken Ludwig’s comedy, MOON OVER BUFFALO, playing from October 16^th through November 1^st. For tickets, show dates and information call 936-539-4090 or visit the website at www.owentheatre.com.

Last Saturday it was Opening Night for the 37^th season of the Montgomery County Performing Arts Society, and the five dazzling stars of the evening comprise the rhythm & blues singing group, THE SPINNERS, that continues to enjoy wide popularity more than half a century since first forming back in the 1950’s. Of course like many vocal groups with longstanding popularity, the membership of the group has continued to evolve through the years, but the current talented group includes original member Henry Fambrough, in addition to tenor/lead singer, Charlton Washington, high tenor, Marvin Taylor, tenor, Ronnie Moss (whose stunning talent for falsetto singing would totally amaze the audience), and Jessie Peck, whose rich, deep bass voice could have made him a star in broadcasting (while his gift for break-dancing might have landed him on Dancing With the Stars). No wonder this group has accumulated a legacy of six Grammy nominations, gained entry into the Vocal Group Hall of Fame (1999), and been awarded the Rhythm & Blues Foundation Award.

Right out of the gate this group was the best example of high-energy and joyful performing that I can ever recall. They are aptly named The Spinners because their whirling and perfectly synchronized choreography is non-stop throughout the show. Luckily, they have selected sensible and attractive white cotton pinstriped suits with half-sleeves and open jackets over black tee shirts that seemed to keep them cool in spite of the athletic workout of their intense performance.

The Spinners

With their powerhouse 5-piece band led by Keith Ferguson, it was not long before I found myself thinking of the old Fats Waller tune, “The Joint is Jumpin’.” Certainly the Crighton Theatre was jumpin’ as fans danced in the aisles and clapped along to countless Spinners hits that included, “It’s a Shame,” “Could It Be I’m Falling in Love,” “Mighty Love,” “Then Came You,” “Sadie,” “Working My Way Back to You,” “Cupid,” “Funny How Time Slips Away,” and “The Rubberband Man,” which featured some playful antics as the group did their stretching exercises with giant rubber bands that were finally tossed to the cheering crowd.

For all the evening’s delights, there was one notable drawback. I have long suspected that touring group audio engineers have already blown out their own eardrums and have no concern for those of the audience. This show was a classic example, and it was sad because these five gents have FABULOUS voices that were constantly being distorted by volume levels that could have forced confessions from the prisoners in Guantanamo Bay. In the eyes (and ears) of this critic, such excess is a disservice to the talented artists and the audience as well.

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A TRIBUTE TO FRANK SINATRA, starring Steve Lippia & a ten-piece orchestra, will be the next offering from The Montgomery County Performing Arts Society. The performance will be at Conroe’s Crighton Theatre on Saturday November 7^th at 7:30 PM. For tickets & information visit the website at www.MCPAS.org, or call 936-441-7469.

PIPPIN National Tour
PHOTO: Terry Shapiro

Until the current BROADWAY at the Hobby Center offering, I had somehow never managed to actually see a production of the longtime hit musical, PIPPIN. I recall once reading a lengthy plot summary of that show, and thinking at the time how could such a seemingly wacky and convoluted story succeed on the stage? Now I know the answer, and the musical’s continuing popularity is fully justified in the belated eyes of this critic. With its witty book by Roger O. Hirson and lively, pleasant music by Stephen Schwartz, there are eye-popping visual delights awaiting those lucky enough to capture a ticket during this limited run here in Houston.

Cast of PIPPIN
Photo by Shinobu Ikazaki

With splendid direction from Diane Paulus, the show’s unusual storyline surrounds a rambunctious traveling troupe of circus-like performers that present a play about the young medieval prince, Pippin (Brian Flores), son of the often warring French King, Charlemagne (John Rubenstein), stepson to the vain and flamboyant Fastrada (Sabrina Harper), and stepbrother to her not-to-bright son, Lewis (Erik Altemus). Overseeing the staging for this motley troupe is the important character of the Leading Player (Gabrielle McClinton), who serves as both director and narrator while the story progresses. For atmosphere, think of a somewhat tarnished Camelot or Knights of the Round Table, with lots of silly twists and turns reminding one of a children’s fairytale storybook. The few sensuous and playful seductions that take place are more like circus acts themselves, and would probably only offend the most sensitive parents of young children. There is not a lot of logic to everything that happens, but there is abundant fun and fascination around every corner. The King and his rowdy stepson, Lewis, are heading off to war and Pippin finally convinces his father to let him come along. But the battlefield does not fulfill Pippin’s search for meaning in life and he drifts off to the estate of his Grandma, Berthe (Adrienne Barbeau) where she gives him advice about getting some fun out of life. Barbeau, fondly remembered for her role in the TV series, “Maude,” is sensational here and may be the best looking and most acrobatically and vocally talented “grandma” on record. Her performance is a highlight with the emphasis on “high,” as she shows her skill as a singing trapeze artist.

Speaking of vocally talented brings me to the subject of this entire cast. What a collection of first class singers we have here, with young Mr. Flores (in his astonishing Broadway tour debut), and multi-talented Miss McClinton each displaying thrilling vocal power in the show’s many engaging songs. His warm and embracing, “Corner of the Sky,” and her eye-poppingly sassy, “Simple Joys,” and the seductive, “Glory” would be perfect examples.

PIPPIN cast members (L-R) Borris York, Gabrielle McClinton, Mathew deGuzman PHOTO: Joan Marcus

The latter number featured McClinton in a jazzy dance trio with the signature hats and canes that characterized some of Bob Fosse’s original choreography. (Choreographer for this current sparkling revival is Chet Walker). As for Flores and McClinton, they both light up the room throughout the performance, her with a commanding stage presence, and he with the handsome beaming smile and energy of youth, yet the polish of a Broadway veteran. This young actor appears destined for stardom. As the king, Mr. Rubinstein is another vocal powerhouse (“War is a Science”), and he brings us a lifetime of stage experience having originated the role of Pippin in the original 1972 Broadway production.

Brian Flores as PIPPIN
Photo: Joan Marcus

As Pippin continues his quest for meaning in life he comes to believe his father the king is exploiting the peasants and must be destroyed. The events that follow eventually bring Pippin to collapse in despair, but he is rescued by a new character in Act Two, the lovely widow, Catherine (silken-voiced, Bradley Benjamin). To say too much about all that would spoil some of the fun for future audiences. But it is worth mentioning that the youngest member of the cast, Jake Berman, does a terrific job as Catherine’s moody young son, Theo, who by the way, has the voice of an angel.

What, you might say, can make “fun” for the audience in a plot so full of twists and turns? In addition to the lovely music and uniformly wonderful voices already mentioned, the “magic and mystery” alluded to in my headline are present throughout the show. The mysterious acrobatic circus displays from the talented ensemble are dazzling, and the show’s numerous wonderful magic tricks and illusions are nothing short of amazing. I’m still puzzling over those. (Illusions by Paul Kiev, Circus Creation by Gypsy Sneider). The whole visual look of the production has an enchanting quality, with its color schemes changing beautifully from scene to scene. (Scenic design, Scott Pask, lighting design, Kenneth Posner). The funky and colorful medieval costumes (designer, Dominique Lemieux) add to the storybook glow. To enjoy all these wonders, theatergoers should hurry to the Hobby Center before the magic disappears following Sunday’s matinee.

PIPPIN continues at Houston’s Hobby Center through Sunday, October 25^th, with performances Thursday and Sunday at 7:30 PM, Friday and Saturday at 8:00 PM, and 2 PM matinees on both Saturday and Sunday. For tickets and information call 800-982-2787, or visit the website at BroadwayAtTheHobbyCenter.com.

The CYT Cast of MY SON PINOCCHIO Jr.

It was arguably the most dismal, rainy and dreary weekend in recent Montgomery County memory, but on the stage of the Crighton Theater in Conroe, Texas, the angelic voices and beaming faces of more than sixty young Houston area thespians were bringing more light into the world than sunshine could have ever provided. It was the latest production of Christian Youth Theater Houston as the talented youngsters performed Disney’s “MY SON PINOCCHIO JR.” to the delight of the large crowd in attendance. It would be a fun filled afternoon.

Skillfully directed by Joshua Marchant, this production features the Music and Lyrics Book of Stephen Schwartz & David Stern, along with music by Leigh Harline & lyrics by Ned Washington. A pre-recorded soundtrack accompanied the fine singing of the youthful cast (Musical Director, Christina Hayes and Sound Design by Randy Bachman).

Bryce Gilleylen in mid-air as PINOCCHIO

The story focuses on not only Pinocchio (an able and acrobatic performance from talented young, Bryce Gilleylen, who executes some terrific full flips), but also centers on the boy’s father, Geppetto, played sweetly here in a sensitive performance from George Schoeneberg. Geppetto is dissatisfied with his young son and wants to return him to the Blue Fairy (Hannah Yeates), who had once magically brought the puppet boy to life. Miss Yeates has a lovely voice and a great flair for comedy as she portrays this very conceited Blue Fairy who thinks she can do no wrong. She is aided by a very amusing quartet of singing and dancing assistant fairies named Rosa (Abby Crook), Viola (Emilly Schoen), Arancia (Sara Marie Wojta) and Sue (an uproarious and scene-stealing performance from comic “ham”, Julia Ballard). The fairies get things off to a pleasant start with the familiar song classic, “When You Wish Upon a Star,” and later move on to a series of very cute song-and-dance numbers titled, “Rise & Shine.” (Choreographer, Anna Fanning)

Next we are transported to the attractive workshop of old Geppetto (set designer, Ari Kogut, Lighting designer, Jordan Merritt) for the lovely song, “Toys.” Geppetto sings the sentimental, “Geppetto and Son,” as he longs for a son who would follow in his footsteps as a toymaker, rather than Pinocchio who wants to become a train engineer. The tension rises as we meet the conniving puppeteer, Stromboli (played to the hilt by sinister Maddie Reid), who wants Pinocchio to join her talented marionettes, (Sarah Yeates & Abigail Hudson) singing the classic, “I’ve Got No Strings,”in the cast of Stromboli’s puppet show. It is worth noting that Carol Neill deserves credit for the fine hair and makeup designs of characters like Stromboli, Pinocchio, Geppetto and others in the cast. At the same time, the colorful and creative costume designs of Rebecca Crook are an unmistakable highlight of the show throughout this production.

Act II began with what I consider to be this musical’s most infectious and delightful tune as Geppetto joins the fairies for the cheerful, “Just Because It’s Magic.” Then for added fun and hilarity, we meet the outlandish Professor Buonragazzo (Sean Ramsower) who sings “Satisfaction Guaranteed” as he makes his living manufacturing children for those who don’t find success in “doing it the old fashioned way.” I wish I could name every one of the talented kids and parent volunteers who made this show such a success.

Christopher Kimble as the Ringleader.

There were many fascinating ensemble numbers like the beautifully staged, “Pleasure Island,” with its dazzling shadow-play opener led by Christopher Kimble as the Ringleader of the bad boys that Pinocchio has fallen in with. Of course Geppetto and Pinocchio end up inside a whale for a time, but I guess I don’t need to tell you that all ended happily on that very rainy day as the full cast sang the touching closing tune, “Since I Gave My Heart Away.” I left feeling special gratitude to one member of the cast, Sara Marie Wojta. Sara had invited her Career Education teacher at Knox Junior High School, Ms. Ruthellen Hinton, to attend the performance. Ms. Hinton, a good friend of mine, invited me to join her. How lucky can a guy get?

CYT will present the holiday musical ELF the Musical Jr. on weekends from December 11^th through December 20^th at McCullough Junior High’s  LGI Theater. CYT will return to the Crighton Theatre in May for Aladdin Jr. For tickets and information visit the website at www.cythouston.org.

(l to r) Claudia Dyle, Crystal Rae, Rhianna Gallow, Maryann Williams, Katie Harrison, Amy Garner-Buchanan, Aggie B., and Regina McCormack in the Texas Repertory Theatre Co. production of A, MY NAME IS ALICE.
Photo by Troy Scheid

I always enjoy it when my trips to Texas coincide with scheduled productions of the Texas Repertory Theatre. The company’s current cheerful offering of Joan Micklin Silver & Julianne Boyd’s 1983 musical revue, A, MY NAME IS ALICE, while not without occasional flaws, has plenty of abundant delights as well. Ably directed here by Troy Scheid, the show boasts a bubbly cast of five talented and energetic gals that includes, Agnes “Aggie B” Balka, Amy Garner Buchanan, Katie Harrison, Crystal Rae and Maryann Williams. Those looking for a pleasant evening of light entertainment may want to give ALICE some consideration.

Structurally, the show brings us about two dozen separate songs and/or sketches from a variety of composers such as David Zippel, Lucy Simon and Winnie Holzman, along with comedy writers like the late Anne Meara. Our five stars rotate in and out of the various numbers, beginning with the cute ensemble opener, “All-Girl Band,” which quickly leads this merry quintet to a recitation of the witty “A, My Name is Alice Poems,” that give the show its title. From that point on, a variety of song selections are sprinkled with short vignettes, some better than others. Balka and Williams launch things nicely with the song, “At My Age,” pairing an older woman (Balka) and a teenage girl, both of whom are trying to start a new phase in life as they prepare for special dates. The full cast joins the fun as Miss Harrison follows with a fine comedic performance as a gal so steeped in the lurid world of trashy dime-store novels that her daily life becomes a hilarious fantasy world of her own imagination during the song, “Trash.” Next we are treated to the first of three very funny “For Women Only” sketches with Miss Harrison portraying a hilariously avant-garde poetess who very dramatically recites her own pseudointellectual poems with such exaggerated physicality that the laughs just keep on coming.

Ms. Rae offers a bit of tap dancing for a segment titled, “Good Thing I Learned to Dance.” That point may be debatable, as the bit (also featuring Williams) never seemed to catch fire. (Choreographer, Lauren Dolk). More successful was the hilarity of, “Welcome to Kindergarten,” as Miss Balka gives us a riotously domineering classroom teacher who treats a visiting parent (Miss Buchanan) as though she were a child. (“Raise your hand before you speak,” “Sit up straight,” “Stop fidgeting!”) Plenty of laughs there. For a gentle change of pace we then have Miss Williams’ tender and sweet rendition of “I Sure Like the Boys.” The naturalness and warmth of her lovely voice and bright countenance all combined to make that number a real winner. One of the show’s other highlights arrived with Balka’s hilarious performance as “Ms. Mae,” an elderly black woman treating herself to a new hairdo at the beauty parlor. It’s a one-woman show as she chatters non-stop to her invisible stylist, while we in the audience roared with laughter. This gal should head over to “Saturday Night Live” and show those folks what funny is really all about! Terrific!

The gals join forces for the rambunctious but less successful, “Detroit Persons/ Educated Feet,” a send-up of women’s basketball teams. Buchanan’s performance of “Portrait,” is a sentimental reflection on the loss of a mother, and then Williams, Rae and Harrison close out Act One with a somewhat frantic competition trio of, ”Bluer Than You,” from three women, each of whom believes she has the toughest lot in life.

The Act Two opener, “Watching the Pretty Young Men,” with its counterpoint trio and rapid lyrics (Balka, Harrison & Rae) was an example of how some of the songs occasionally wandered into the inaudible zone in the absence of microphones, thus sacrificing some of the show’s inherent wit while a group of girlfriends ogle the guys in a male strip club. Then we move on to the straight dramatic as Miss Buchanan portrays a scorned woman breaking up with her man in “Demigod.” (“It will be easier if we can just hate each other openly,” and “I loved you, but I never said I liked you!”) Miss Harrison was next singing “Chanteuse Rosé” for one of the play’s cleverest sketches: French Monologue/French Song. It’s a nonsense song, simply constructed to include every familiar French word and phrase that would be familiar to all. Executed with great comic flair and physicality, it was hilarious by any measure. There was a passionate love song from Miss Rae with, “Pay Them No Mind,” and then Harrison returns with Williams for the merriment of “Hot Lunch,” as a passing woman being disrespected by a rude and whistling construction worker suddenly turns the tables on him.

When Balka sings, “Sisters,” we have a warm and thoughtful recollection of life’s journey. In the segment titled “Honeypot,” Miss Rae portrays Honeypot Watkins, a woman being counseled by a psychiatrist (Buchanan) regarding her sexual hang-ups. The sketch is full of devilish double-entendres like, “My door’s wide open. Why don’t you come inside?” It may remind old-timers of Ethel Waters’ classic 1928 recording, “My Handyman.” Best of all, Honeypot’s jazzy flapper dress with its golden highlights is the first and only interesting costume in a collection that consistently had the cast in drab black that often looked like rehearsal clothing. Use of color could have lifted the show’s visual impact considerably. (Costume designer, La Clevenson).

The closing number, “Friends,” was actually quite poignant as Harrison and Williams play two good friends who chat and gossip on the phone through various phases of their lives, from their teens to old age. In just a few minutes it provided a melancholy, yet touching, journey to the end of life. With continuing Musical Direction from pianist, Claudia Dyle, aided by Regina McCormick on percussion, the finale reprise of, “All-Girl Band,” lifts all spirits at the close. Why not stop by and see for yourself?

A, MY NAME IS ALICE continues through November 8^th at Texas Repertory Theatre in the Northwoods Plaza, 14243 Stuebner Airline Rd., Houston, Texas. Performances Thursdays at 7:30 pm, Friday & Saturday at 8 pm, with Sunday matinees at 3 pm. For tickets and information on Senior and Student discounts, call 281-583-7573 or visit the website at www.TexasRepTheatre.org.

Tony DeSare
PHOTO BY Vincent Soyez

The Houston Symphony certainly started off this month of November with a sensational concert in Jones Hall. Titled, SINATRA’S CENTENNIAL, the program was a wonderful look back at the countless songs that have come to be closely identified with the late Frank Sinatra, whose 100^th birthday is being celebrated around the world this year. It is doubtful that any such celebration could exceed the excellence of what HSO offered on this past weekend as clocks were being turned back one hour to Standard Time. How ironic that on this very weekend the orchestra would turn the clocks back even further to recognize a golden age of American music, and the golden voice of this legendary singer. It would be a night to remember.

With animated, energetic and brilliant leadership from conductor, Steven Reineke, the concert was highlighted by guest appearances from critically acclaimed vocalist & pianist, Tony DeSare, and award-winning Broadway musical star, Montego Glover. The black tie attire of the musicians was right in step with the “class” so often associated with Mr. Sinatra, and the orchestra’s thrilling opening number, “New York, New York,” only served to enhance the swinging atmosphere of the party that was getting underway. An orchestral showcase followed during “The Lady is a Tramp,” with an arrangement featuring alternating moments in the spotlight for saxophones, flutes, French horns, strings, percussion and more.

“On loan” to the symphony, for the three days of this concert, was sensational Broadway performer, Miss Glover, starring now on the Great White Way performing the role of Fantine in the current revival of Les Miserables. I like to think I “discovered” Glover, when prior to its opening several years ago, I had the good fortune to attend a preview performance of MEMPHIS, the Broadway musical that first brought her to stardom.

MONTEGO GLOVER
Photo Credit: http://BrentDundore.com

Looking beautiful as she arrived here on the symphony stage in a sleekly elegant charcoal & white gown, Glover promptly opened with birdlike vocal purity and perfect pitch for a splendid, “Almost Like Being in Love.” The song was skillfully paired with an equally appealing, “This Can’t Be Love.” Her radiant smile was beaming with the confidence of a performer who knew that for these two hours, she was in exactly the right place in the universe that fate had intended. How lucky for those of us fortunate enough to be on hand as she continued with a warm and glowing, “The Best is Yet to Come,” full of seductive rhythms and sassy support from the wonderful orchestra.

Next, with his matinee idol good looks and dark eyes flashing, the handsome Mr. DeSare launched into a sexy and swinging rendition of Cole Porter’s, “Night and Day.” Then, with the rich warmth of his mellow baritone, he brought elegant understatement to the Rodgers & Hammerstein classic, “I Have Dreamed.” The subtlety and vocal craftsmanship of that number made it abundantly clear that DeSare was more than worthy to represent Old Blue Eyes in this memorable celebration, and that was even before the orchestra’s lush accompaniment to his infectious performance of, “I’ve Got You Under My Skin.”

The two gifted stars then joined forces in duet for a rapid-fire and tongue-twisting, “Something’s Gotta Give,” before the delightful sudden contrast of their lazy and sweetly romantic, “Two Sleepy People.” That number prompted my guest, Kelli Estes, (founder and artistic director of Houston’s evermore popular LONE STAR LYRIC Festival & Cabaret), to remark on the “interesting and unusual harmonies” that distinguished this pairing of two brilliant vocalists. A gifted pianist in his own right, DeSare then took to the eighty-eight accompanying himself for, “I Love a Piano.” Both playing and singing, he slowly draws us in until the increasing velocity and joyful bounce of the foot-tapping piece completely takes over the room. No doubt about it, — This guy’s got it all.

Conductor STEVEN REINEKE
Photo: Michael Tammaro

Following intermission the orchestra opened with a lilting and lovely Weill/Reineke arrangement of “Mack the Knife,” highlighted by a fine trumpet solo. Then Glover returned to the stage for two selections from the aforementioned Tony Award-winning musical, MEMPHIS. First came the lashing ferocity of, “Ain’t Nothin’ But a Kiss.” That was followed by the heartbreak, longing and exploding blues power of the song, “Colored Woman.” DeSare then returned with more of his dazzling artistry on the ivories as the two joined forces again for a playful duet of, “You Don’t Know Me.” Continuing to shine on the keyboard, DeSare showed consummate “cool” with his easy going, “Just in Time,” and then proved his skill as a storyteller when he shot into the saloon song stratosphere with his haunting delivery of the Harold Arlen/Johnny Mercer classic, “One for My Baby (and One More for the Road). I noted that he brought such unique delicacy to the lyric line, “… it soon might explode…,” that he may well have surpassed the master with that phrase. At the conclusion of that song the audience seemed in a mystical state of suspended animation as Glover returned to the stage. This time she would offer a fitting tribute to songstress, Billie Holiday, seeming at once to soar heavenward during her shimmering delivery of, “Come Rain or Come Shine.”

As the concert closed and the audience cheered, the duo would join the orchestra for a sensational encore medley featuring samplings of, “I’ve Got the World on a String,” “I’ve Got You Under My Skin,” “I Get a Kick Out of You,” “The Summer Wind,” “Witchcraft,” “Luck Be a Lady,” “All the Way,” and of course the requisite reprise of, “New York, New York.” But those farewell treats would have to wait until after Mr. DeSare offered a tribute of his own tackling Sinatra’s signature song, composer Paul Anka’s enduring classic, “My Way.” While Mr. DeSare is perhaps much too young for the long look back over a lifetime that the song implies, one feels certain that with his talent he will one day lay claim to the kind of rich history that was Sinatra’s heritage. Nevertheless, in the masterful hands of our brilliant Houston Symphony, DeSare’s thrilling voice has already arrived, and Miss Glover’s wonderful instrument needs no further validation from this humble critic. BRAVO and BRAVA!

The Houston Symphony will perform Prokofiev’s ROMEO and JULIET November 27, 28, & 29, 2015. For tickets and information call 713-224-7575 or visit the website at www.houstonsymphony.org.

The consistent excellence of musical performances from Class Act Productions are well known here in Montgomery County and The Woodlands, Texas. Over at the Nancy Bock Center for the Performing Arts that excellence was again on display as the group’s recent production of FIDDLER ON THE ROOF welcomed the first day of November; but that display was not without its unexpected problems. The events that followed would once again show that these talented youngsters know only too well that, “The show must go on!” Happily, it did, and it was very wonderful by almost any measure.

With a Book by Joseph Stein (based on the Sholem Aleichem stories), this Tony Award-winning Broadway musical had the wise and witty lyrics of Sheldon Harnick, the lush and memorable musical score of Jerry Bock, and the charming dance designs of legendary choreographer, Jerome Robbins. No wonder it became an instant classic after opening in New York in 1964. In this current edition, beautifully directed by Class Act founder/producer, Keith Brumfield, we had elegant choreography from designer, Tony Smith, and the fine Musical Direction of Rae Moses conducting the Fiddler on the Roof Orchestra.

With an appropriately clean and simple set (designer, Jonathan Shelledy), the story takes place in the poor Russian village of Anatevka and revolves largely around an endearing peasant named Tevye (William Hahn).

Mother Golde (Murphy Baker at left) and the daughters portrayed by Gabi Martinez, Abby Tozer and Payton Russell.
PHOTO: Len Bates

Tevye is a hard working milkman struggling to support his five daughters and his determined wife Golde (Murphy Baker) who is intent on good marriages for their eligible daughters. Golde enlists the aid of the local Matchmaker, Yente, and Cecilia Herrington brings comic flair and great fun to her amusing portrayal of that character. This tale’s enduring appeal derives from its powerful depiction of the universal conflicts and changes between older and younger generations, as seen here between Tevye, his wife and their three eldest daughters, Tzeitel (Gabi Martinez), Hodel (Abby Tozer), and Chava (Payton Russell). The girls each have romantic notions of love and marriage that come into conflict with the strong cultural traditions of this Jewish community. The theme easily becomes a parable for our own, or for any age, as is made profoundly clear in the exquisite opening number, “Tradition.” It is beautifully performed here by Tevye, Golde and the full cast skillfully delivering the haunting counterpoints of this beautiful score.

William Hahn as Tevye
PHOTO: Len Bates

There were charming and authentic peasant costumes (designer, Caroline Zirilli), delicate and whirling choreography (designer, Tony Smith), and right from the start, Mr. Hahn’s rich and powerful baritone voice was a highlight of the production. It would also be its salvation before the performance was over.

The show glistens with memorable melodies. The daughters light up the stage with the playful joy of “Matchmaker,” and with his rich voice an commanding stage presence, Hahn beautifully captures Tevye’s longing for a better life during the classic, “If I Were a Rich Man.” Some scenes are even aptly punctuated with short musical motifs during brief and shadowy appearances of a real Fiddler (musically talented, Amelie Hidajat). The spiritual warmth of the “Sabbath Prayer,” so wonderfully performed here by the cast, is probably as close to a religious experience as we could hope to have without visiting a house of worship.

Tevye soon meets up with wealthy local butcher, Lazar Wolf (a fine performance from Aidan Stock). During their encounter at the local tavern, Tevye learns the butcher want to marry his daughter, Tzeitel. The cast brings rowdy joy in song and dance to the beautifully staged “To Life,” that celebrates Tevye’s agreement to the marriage, but he soon learns that his daughter Tzeitel is determined to marry her childhood friend, the tailor Motel (Jason Leach). In “Tevye’s Monologue,” he talks with God about how to resolve this conflict, and finally consents to the marriage with Motel prompting the prospective groom’s cheerful, “Miracle of Miracles.”

Katie Stobbe as the ghost of Grandma Tzeitel
(Make-up by Amy Weaver)
PHOTO: Len Bates

Lazar feels betrayed and Golde is so furious the marriage to a prosperous butcher has been foregone that Tevye then fakes the ghostly nightmare of “The Dream,” a riotous scene in which the ghost of Grandma Tzeitel (a riotous performance from Katie Stobbe) returns from the grave to convince Golde a marriage to Lazar would mean disaster.

Speaking of disaster, Mr. Hahn would skillfully navigate a potential one during the Sunday matinee I attended when his body microphone failed for a significant part of Act One and ultimately had to be replaced. It was an awkward challenge, but both he and the fine cast carried on without a moment’s hesitation. Now that’s a CLASS ACT.

The Wedding Dance
PHOTO: Len Bates

Of course the continuing joys of the show included the dazzling “Wedding Dance,” (featuring the amazing Bottle Dancers), along with memorable songs like “Sunrise, Sunset,” the touching, “Far From the Home I Love,” and the poignant duet of Tevye and Golde for, “Do You Love Me.” All of these served to bring the show beautifully back on track. Of course Tevye has more hurdles to overcome as his daughter Hodel falls in love with a young revolutionary teacher named Perchik (Hayden Cox), while his daughter, Chava, gives her heart to a non-Jewish young Russian named Fyedka (Garrett Newlun). To compound matters, Russian troops ultimately force the Jews to leave this little village, but as Tevye and his family begin the long journey to freedom in America, there is a final note of hope and optimism in the poignant song, “Anatevka.” It reminds us all what it truly means to find liberty in our great nation.

STEVE LIPPIA
Courtesy Photo

I had a wonderful surprise last Saturday night at Conroe’s elegant Crighton Theatre. It had been just exactly one week since my reviewing a sensational Sinatra Centennial concert at Houston’s Jones Hall when the orchestra’s very special guest vocalists were Tony DeSare and Montego Glover. It would be a memorable celebration of the music of Old Blue Eyes (review available at www.ThePeoplesCritic.com), and as I headed to the Crighton I mistakenly thought that perhaps the smaller house and orchestra might seem to diminish the Montgomery County Performing Arts Tribute to FRANK SINATRA that I was about to attend. I couldn’t have been more wrong. The MCPAS event featured a magnificent 10-piece big band and starred powerhouse Las Vegas vocalist, Steve Lippia. No one could have better served to represent the wide-ranging talent of the late legendary crooner whose 100^th birthday is being widely celebrated this year.

STEVE LIPPIA
Courtesy Photo

The evening would be more than just a concert from a master vocalist, it would be a virtual seminar on the memorable career and music of Mr. Sinatra. Lippia opened with a jazzy, “I’ll Be Seeing You,” and then began describing Sinatra’s great influence on music with 1500 recordings. He took the audience back to 1939 while bringing crisp and elegant articulation to a soaring and smooth rendition of Frank’s first hit, “All, or Nothing at All.” I was immediately struck by the artist’s seemingly effortless control and phrasing, both hallmarks of the Sinatra style. There were stories of Frank’s boyhood Hoboken dreams of one day singing in the visible Big Apple across the Hudson. Those dreams would begin to come true when Harry James brought Sinatra on board with his band. The lush warmth of Lippia’s, “I’ll Never Smile Again,” was solid and seductive, while beautifully accented with a superb trombone solo from the band.

Next we moved on to the Tommy Dorsey era of Sinatra’s career with Lippia’s “Without a Song,” beautifully displaying the kind of breath control and phrasing that Dorsey had taught his star vocalist. That skill was especially notable in the delicacy of delivery for some of the rather long notes closing particular phrases in that lovely song. As Lippia launched into the beautiful, “Don’t Worry ‘bout Me,” I began to realize why this concert was working in a very different, yet very wonderful way, relative to what I had experienced the week before in Jones Hall. Here it was the intimacy of this beautiful old 1930 Crighton Theatre. It allowed the audience a special connection with the star and the orchestra that a huge auditorium simply could not provide. Lippia even displayed the kind of confident and commanding stage presence one could associate with Sinatra, adding elements of humor as well: “I’d like to thank Frank for making all of my songs such huge hits!” He even joked about the good old days “when adults wrote songs with amazing things like melodies and harmonies.”

STEVE LIPPIA
Courtesy Photo

Classy songs seemed to cascade one upon another, and with that much class, Lippia’s black suit over black tee-shirt should have rated the classic tuxedo Sinatra would have worn. My only other complaint would be the heavy focus given to the fine piano player while Lippia sang a wonderful rendition of the classic saloon song, “One For My Baby.” A faintly tinkling piano is required for that song, but it is not meant to be a costar in this tale of heartbreak. On the other hand, Lippia’s resounding, “Old Man River,” could bring a tear to the eye, and I have never heard the intro to that song done with such perfect clarity. There was a swinging, “I’ve Got You Under My Skin,” with more amazingly seamless phrasing, with another great trombone solo.

STEVE LIPPIA
Courtesy Photo

Then it was on to the 1950’s and Sinatra’s work with the great arranger, Nelson Riddle. A dreamy “Summer Wind,” was gently romantic and ended in a whisper. There was a soaring, “Strangers in the Night,” that could just about lift the audience heavenward right out of their seats. And speaking of soaring, “Come Fly With me,” was another winner as Lippia reflected on Sinatra’s years with the Rat Pack in Las Vegas, and then knocked out a sensational, “Fly Me to the Moon.” Billy Joel’s tender, “Just the Way You Are,” would follow, and a commanding “Luck Be a Lady,” was more about supreme talent than luck.

As the end drew near, the sheer elegance of Lippia’s performance of, “My Way,” erased any thought that no one could ever sing like Sinatra. Further proof came in encores of a hand-clapping, “New York, New York,” and the perfect nightcap of, “Put Your Dreams Away.” I found myself with a dream of my own. If Frank Sinatra could have been on the stage that night and somehow magically sung with the voice of Steve Lippia, no one would have thought that anything was wrong.

Next up for the Montgomery County Performing Arts Society will be the YOUNG TEXAS ARTISTS FINALISTS’ CONCERT and AWARDS on March 12, 2016 at 7:30 P.M. For tickets and information call 936-441-7469.

Natalie Holley as CINDERELLA and Jack Whitney as the Prince
COURTESY PHOTO

[ Click any photo to enlarge. ]

As much as I enjoy my work reviewing professional performing arts productions of all kinds, there is something refreshing about now and then getting back to basics and attending a fine school production full of eager youngsters trying their wings in the theatre. This weekend’s production of Rodgers and Hammerstein’s CINDERELLA at the John Cooper School is a perfect example. An affluent private school, with an affluent student population, John Cooper spares no expense in mounting comparatively lavish musicals. From the printed show programs and posters to the school’s exceptional theater complex, it is first class all the way at John Cooper.

The cast of John Cooper School’s CINDERELLA
*Courtesy Photo*

This CINDERELLA brings lots of colorful fun to the school’s state-of-the-art stage. And behind the scenes there is full complement of top-notch facilities that include scenic design shops, rehearsal areas, costume collection storage, make-up rooms, and of course a full orchestra pit where Music Director/Conductor, Rae Moses, presided over the 15-member orchestra that even included seven student musicians.

Cinderella’s Stepmother (Emily Moses) attempts to flatter Lionel, the Royal Steward (T. J. Gill) *COURTESY PHOTO*

Maddie Bergeron (left) and Payton Russell as Cinderella’s stepsisters.
*Courtesy Photo*

The large and talented cast includes Emily Moses as the wacky Stepmother, Maddie Bergeron and Payton Russell as her equally wacky daughters, earnest and handsome Jack Whitney as Prince Christopher, T.J. Gill as Lionel, the very pompous Steward to the Prince, Kylie Melodick as Queen Constantina and Salvador Recio as King Maximillian. Mallory Bechtel brings a pleasant singing voice to the role of the Fairy Godmother. A twenty-seven member ensemble cast brought great vocal support and splendid dancing (choreographer, Elizabeth DeMonico) to many of the R&H tunes that included “The Prince is Giving a Ball,” the, “Gavotte,” “Loneliness of Evening,” “Cinderella Waltz,” and the finale of “There’s Music in You,” led by Miss Bechtel.

Shining above all of this is a perfectly cast Cinderella in Natalie Holley. While many of these eager young performers have a way to go in learning to sing perfectly on key while avoiding over-acting and the rushing of lines that become difficult to hear, Miss Holley offers what appears to be a highly trained voice that clearly anchors this student production. A senior at John Cooper, she is President of the Tri Music Honor Society, and was last year’s winner in Houston of the prestigious Tommy Tune Award as Best Supporting Actress. In this production she glows in numbers like, “In My Own Little Corner,” and “A Lovely Night.” She joins Miss Bechtel for the optimistic, “It’s Possible,” and then pairs nicely with the Prince for “The Sweetest Sounds,” and, “Ten Minutes Ago.”

Gay period costumes for the villagers and lavish costumes for the Royal Ball were beautifully designed by Laura Targett. Scenic Designer, Chasen Whitson, provides a pleasant fairy tale world from village to ballroom. Sound and audio designs may need a bit of tweaking in conjunction with orchestral volumes to be sure that all dialogue is easily heard by the audience. There was one unexpected moment that I found amusing in the context of The John Cooper School’s prosperous population. There is a scene where Cinderella and her sisters are debating about where money comes from. When it was then declared that, “Money doesn’t grow on trees, —It’s inherited!” the audience roared with laughter.

[Click any photo to enlarge. All photos by Michael Pittman]

By DAVID DOW BENTLEY III

www.ThePeoplesCritic.com

Old timers will remember early television’s Ed Sullivan and his long-running variety program, “Toast of the Town,” which was eventually renamed after the legendary host himself. Certainly if Mr. Sullivan had been in the audience for last weekend’s opening of the Stage Right Players’ new production of THE PRODUCERS, he would likely have described it with his pet phrase, “A really big show!” Based on the Mel Brooks comedy film of the same name, this edition of the subsequent Broadway musical version (music and lyrics by Mr. Brooks, with a book by Mr. Brooks & Thomas Meehan) is directed here on a grand scale by Manny Cafeo. That grand scale was immediately apparent with the dazzling first number, “Opening Night,” which really did seem to explode across the stage as the glamorously dressed opening night audience (elegant costumes from designer, Katie Kelly) exit the Broadway theater where they have just attended the premier of Funny Boy. There’s excitement in the air as the vocally talented ensemble (musical director, Ana Guirola-Ladd, vocal coach, Layne Roberts) delivers this sensational opener with all the thrilling Theater District movement designed by choreographer, Dinah Mahlman. (Dancing group of “Usherettes” and chorus girls are notable for bringing pizazz to many numbers.) Adding to the splendid Broadway scene is Denise DeBold’s colorful set design, enhanced by the work of Master Carpenter, Dennis O’Connor and the scenic artistry of Deanie Harmon & Connie Bradon. But in an ironic twist, the buzzing excitement of this opening night crowd derives from the fact that the audience hated the show it had just seen. The critics felt the same, and I personally loved the line, “The reviews come out a lot faster when the critics leave at intermission.” It seems that Funny Boy is not destined to be the success that made Barbra Streisand a star in Funny Girl.

(L-R) Jeffrey L. Baldwin, Sara Preisler,Timothy Eggert
PHOTO: Michael Pittman

Enter the producer, one Max Bialystock, (a scene-commanding and very hard-working Jeffrey L. Baldwin). Max has put his theatrical reputation on the line with this critically savaged flop. Desperately in need of help as financial ruin looms, he enlists the aid of a timid young accountant named Leo Bloom (Timothy Eggert). Leo has an uproarious panic attack if anyone touches the little blue blanket he has clutched since childhood. Together they concoct a scheme to bilk the investors in Bialystock’s next Broadway show by over-selling shares in a production that they seek to make so deliberately awful that it will be certain to close on opening night, thus leaving them with a fortune.

“Springtime for Hitler”
PHOTO: Michael Pittman

They set about finding the worst play (Springtime for Hitler) by the worst playwright (Katt Gilcrease as Franz Liebkind), and choosing the most incompetent director (Clinton Jeter as Roger DeBris). If that sounds like a prescription for theatrical mayhem, you bet your life. Wait until you see the hilarious parade of little gray-haired old ladies Bialystock seduces individually to gain their financial investment in the show. It’s all in good fun, but be warned these raunchy old gals have nicknames that sound like they were plucked from porn films (I.E. “Lick-me Bite-me,” and “Kiss-me Feel-me). Adding to the hilarity is Jeter’s performance as the very-gay director, DeBris, not to mention the director’s ultra-flamboyant houseboy, Carmen Ghia (Ryan Rodriquez). Their song, “Keep it Gay,” suggests there hasn’t been this much prancing around since the Kentucky Derby.

G A I E T Y           G A L O R E

[Photos by Michael Pittman]

Punctuating all this nonsense is a collection of assorted songs, some better than others, and always enhanced when the fine cast ensemble joins in. Tunes like, “The King of Broadway,” “We Can Do It,” and “I Wanna Be a Producer,” keep Act One rolling along. There’s delicious nonsense when Gilcrease delivers the lively, ”Der Guten Tag Hop Clop,” and before the act is over we meet Bialystock’s newly chosen office secretary/receptionist, a slender, sexy and long-legged Swedish blonde bombshell named Ulla (Sara Preisler). When Miss Preisler sings, “When You Got It, Flaunt It,” she really does! She’s so hot, the audience needs the intermission to cool off.

Act Two has plenty more singing, and dancing, but as the production approaches close to three hours in length, one becomes aware that the piece is really much too long to sustain the nonsense at its core. Songs like, “That Face,” seem over-extended, much too loud, and really unnecessary. The volume issue relates to the use of a recorded soundtrack rather than a pit orchestra. Often the volume of that track, although very well synchronized with the cast, was just so loud that lyrics were sometimes lost in the mix. And speaking of loud, we are reminded that comedy is often considered the most difficult of the dramatic arts. It is worth remembering that LOUD does not necessarily equal FUNNY. There are moments in this production when the comic approach is too heavy handed, when more subtlety would bring greater focus to the wit of the script. All that being said, this is a joyful and hardworking cast of 30, with an equally dedicated Production Crew supporting them. To borrow a phrase from the contemporary banking world, this show is “too big to fail.”

THE PRODUCERS continues through February 28^th 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, Texas. For tickets ($15-$20) and information, call 936-441-7469 or visit the website at www.stage-right.org

[NOTE: Come early to enjoy the screening of numerous video clips from the many films of Mel Brooks.]

Jenny Gee as “The Little Mermaid”
PHOTO: Leonard Bates

[Click any photo to enlarge]

It is always a pleasure when a fine pit orchestra sets the tone for a delightful musical even before the curtain rises. Such is the case when gifted music director/conductor, Rae Moses, leads his musicians in the Overture for Class Act’s sparkling current production of the cheerful Disney musical, The Little Mermaid. Inspired by the popular Disney film of the same name, the charming show features music of Alan Menken, lyrics by Howard Ashman & Glenn Slater, and book by Doug Wright. In the capable hands of veteran director, Tina Kraft, this eye-popping and joyful production would seem an artistic impossibility were it in any other hands than those of the Class Act Productions team now renowned as one of the country’s leading youth theatre programs. After nearly two decades of reviewing the work of this brilliant organization, I won’t hesitate to say that this extravagantly beautiful and creative production is one for the record books.

Magnus Kroken as the Prince
PHOTO: Leonard Bates

The sweet fairytale is based on the original by Hans Christian Anderson. It tells the story of Ariel (Jenny Gee), a beautiful young mermaid who has the voice of an angel that is made very evident when Miss Gee delivers thrilling vocals like the stunning, “Part of Your World.” But Ariel is fond of slipping secretly on shore to see the world in spite of dire warnings from her protective father, King Triton (Jason Leach). During one such adventure she witnesses a shipwreck when a handsome young prince (Magnus Kroken as Prince Eric) is washed ashore.

Brad Brickhouse as Sebastian with the cast of The Little Mermaid
PHOTO: Leonard Bates

It is love at first sight for Ariel, but alas, as a mermaid she can never hope to walk in the prince’s world. The king assigns a large crab named Sebastian (a riotous performance from Brad Brickhouse) to protect Ariel and prevent her from again wandering ashore. Complicating matters is the king’s evil sister, Ursula (a sinister Brenna Leilich) who is jealous of Ariel’s lovely singing voice and eventually tricks the mermaid into surrendering her voice in order to be magically granted the human legs that would allow her to walk in the prince’s world.

The evil Ursula (Brenna Leilich) directs her minions
PHOTO: Leonard Bates

To say more would give away too much of a plot that is already familiar to youngsters around the world.

This truly spectacular production owes its deserved success to a number of factors. For openers, the very beautiful Miss Gee has an absolutely glorious voice that could have carried this role off on any stage, even Broadway. Her good-looking co-star, Mr. Kroken, is perfectly cast in the classic image of the eager young prince.

The seagulls surround Anderson McDaniel as Scuttle and Jenny Gee as the Mermaid
PHOTO: Leonard Bates

Spicing things up with lively comic fun is Anderson McDaniel in the role of Scuttle, the leader of a rowdy band of seagulls. Then there is the larger-than-life performance of Mr. Brickhouse (an imposing figure himself) as the bright red and very large crab assigned to protect Ariel.

The Mersisters surround The Flounder (Clementina Franceschi Montserrat)
PHOTO: Leonard Bates

He commands the stage hilariously on more than one occasion, and has a fine singing voice in numbers like the dazzling and calypso-flavored numbers, “Kiss the Girl” and “Under the Sea,” that have wonderful vocal ensemble backup from the cast that so typifies Class Act throughout this production and the many that have gone before. The show has countless other delights featuring Ariel’s six lovely Mersisters and the amusing Flounder (Clementina Franceschi Montserrat), a Lucille Ball-style zany performance from Toby Mustard as Chef Louis, and a group of lusty sailors accompanying the prince who arrive dramatically on stage in a gliding and beautifully crafted sailing ship.

It must be mentioned that the costumes (designers, Laurie Lewis & Kristi Tabor) sets (designer, Jonathan Shelledy), and hair and makeup (designer, Kristi Durant), were all so gloriously creative and beautiful that during the intermission I inquired about how the package loan of materials from Disney Corporation had been arranged.

Sebastian (Brad Brickhouse) hides from the Chef (Toby Mustard)
PHOTO: Leonard Bates

I was then absolutely stunned to learn that the entire production had been created from scratch by the Class Act team. The wonderful choreography of countless block-buster scenes was designed by Kathy Ruth Rogers and beautifully executed by this marvelous cast of over seventy youngsters that ranged from grade school to college age.

The Little Mermaid ensemble cast
PHOTO: Leonard Bates

The sound designs of David Mallory, lighting designs of Blake Minor, and scenic artistry of Katie Arceneaux & Madison Crisp all beautifully combine to add the finishing touches to the splendor. Director, Tina Kraft, should be given a Cecil B. DeMille Prize for so beautifully coordinating this colossal undertaking. I’m sure Class Act Founder/President, Keith Brumfield, would agree.

[CAUTION! While there were a few empty seats at last weekend’s well-attended opening, I suspect the word of mouth on this show will be cause for a much-deserved sellout at this weekend’s performances] THE LITTLE MERMAID continues at the Nancy Bock Center for the Performing Arts in The Woodlands, Texas, with three more performances this Saturday (2:30 pm & 7:30 pm) and on Sunday a final matinee at 2:30 pm. Tickets ($15-$30) can be purchased online at www.classactproductions.org, or by calling 281-292-6779.

Sara Webb as Princess Aurora & Jared Matthews as Prince Florimund in Houston Ballet’s “The SLEEPING BEAUTY”
Photo: Amitava Sarkar

[Click any photo to enlarge]

A glorious evening would begin on a briefly awkward note. Never in my two decades as a performing arts critic have I ever failed to arrive well in advance of curtain time. Nevertheless, last Thursday night a minor pre-show calamity had me arriving at Houston’s Wortham Center at 7:31 p.m. for a 7:30 curtain. The smoothly disciplined house operation of the Brown Theater had closed the orchestra level doors moments before, and I, (along with a considerable group of other unfortunately tardy souls) was quickly escorted by courteous house staff to the upper tier level, where happily, we were permitted to quietly slip into seats of the empty back rows of that uppermost level of the theater to enjoy the magnificent opening scene (the Prologue) of Houston Ballet’s astonishingly beautiful production of The Sleeping Beauty. Thus begins my tale of a night to remember.

While distant from the stage, the view and sound levels in that upper tier were actually quite good, with the added thrill of looking down directly to also see the orchestra in the pit (invisible to patrons in Orchestra seating) looking much like a scene in a Hollywood musical.

Artists of the Houston Ballet
PHOTO: Amitava Sarkar

The Prologue reveals a visually enchanting fairytale world in the court of King Florestan (James Gotesky), where the christening of the newborn princess Aurora is being celebrated. The regal attire of the royals (costume and scenic designer, Desmond Heeley) are just the beginning of the stunning parade of exquisite garments that would make every lushly beautiful scene to follow something wondrous to behold. It is as though we are in the finest museum reviewing a series of the art world’s most classic paintings. The dreamlike atmosphere is immediately enhanced by the superb Tchaikovsky score in the brilliant hands of conductor, Ermanno Florio and the Houston Ballet Orchestra. Childhood memories flashed before me on hearing the exquisite “Sleeping Beauty Waltz,” so familiar to those of us who grew up with the delightful Disney animated version that so sweetly converted that waltz to the memorable song, “Once Upon a Dream.” A dream indeed! That is what we have here.

Yuriko Kajiya and Artists of Houston Ballet
Photo: Amitava Sarkar

And if you don’t believe in fairies, you will after seeing the exquisite dancing of the Prologue’s magical dancing fairies (Nao Kusuzaki, Allison Miller, Jessica Collado, Emily Bowen, Soo Youn Cho) and their gallant cavaliers, splendidly led by Yuriko Kajiya as the Lilac Fairy, and the brilliant Linnar Looris as her cavalier.

Melody Mennite and Artists of Houston Ballet
Photo: Amitava Sarkar

Alas, enter the evil fairy, Carabosse (Melody Mennite), who places a curse on the child predicting her future death when she would one day prick her finger. Happily the Lilac Fairy softens that curse by promising Aurora will not die, but only sleep until awakened by the kiss of her true love.

The Prologue concluded, it was then possible during the intermission to return to our reserved orchestra seating for Act One.

Sara Webb as Princess Aurora
Photo: Amitava Sarkar

This first act brings us further enchantment at the sixteenth birthday party of the Princess Aurora (Sara Webb). With the stunning choreography of Ben Stevenson (His Sleeping Beauty first debuted here in 1990) joy abounds in every aspect of the celebration, and the glow of Duane Schuler’s original lighting is beautifully recreated here by Lisa J. Pinkham. The scene is notable for the “Rose Adagio” one of the most challenging ballerina solos in all of ballet. Miss Webb was brilliantly up to this tour de force task as Aurora dances with four princes who each present her with a rose and seek her hand in marriage. (Aaron Sharratt, Linnar Looris, Aaron Robison, and Charles-Louis Yoshiyama). In a series of handoffs she is passed from suitor to suitor as the dance challenges increase in difficulty from the early graceful leg extensions (developee) to the balancing arabesques and on to the supremely difficult en point arabesque when the ballerina is smoothly rotated full circle by each suitor in succession, a feat beautifully realized here by the extraordinary talent of Miss Webb. The sinister Carabosse returns to interrupt this joy by presenting Aurora with a bouquet that conceals the dreaded spindle on which she pricks her finger before falling fast asleep. The act concludes as the Lilac Fairy casts a spell to put the entire court to sleep.

Sara Webb and Jared Matthews
Photo: Amitava Sarkar

One hundred years have passed as Act Two gets underway in a lacey and rich green forest that creates the amazing illusion of multilayered depth. Handsome Prince Florimund (Jared Matthews) arrives with his hunting party. There are charming peasant dances, beautifully executed mirror image choreography from the ensemble Artists of the Houston Ballet, visually stunning tableaus, as well as memorably elegant and athletic pas de deux moments from Matthews and Miss Kajiya. Of course Prince Florimund finally discovers Aurora and awakens her with his magical kiss. That sets the stage for the dazzling wedding celebrations of Act Three with its brilliant Pas de Quatre from dancers Elise Elliott, Allison Miller, Ian Casady, and Connor Walsh.

Charles-Louis Yoshiyama as The Bluebird
Photo: Amitava Sarkar

Karina Gonzalez and Charles-Louis Yoshiyama
Photo: Amitava Sarkar

There are astonishing dance displays from Mr. Yoshiyama as the Bluebird and Karina Gonzalez as Princess Florine, delightful Russian dances from The Ivans (Derek Dunn, Christopher Gray & Hayden Stark), and a clear audience favorite in the playful comic gaiety of Natalie Varnum as the White Cat with Harper Watters as Puss-in-Boots. The brilliant full cast Mazurka finale was just icing on the cake of this very magical production.

SLEEPING BEAUTY continues in the Wortham Center’s Brown Theater, 501 Texas Avenue in downtown Houston. Remaining performances are at 7:30 pm March 4^th and 5^th, 1:30 pm on March 5^th, and a final performance at 2:00 pm on March 6^th. Tickets start at $23 and can be obtained via the website (www.houstonballet.org), at the Wortham box office, or by calling (713) 227 ARTS and 1-800-828-ARTS.

Randy Harrison as the Emcee and the 2016 National Touring cast of Roundabout Theatre Company’s CABARET.
Photo by Joan Marcus.

The Kit Kat Band

 All photos by Joan Marcus from the 2016 National Touring cast of Roundabout Theatre Company’s CABARET.

[Click any photo to enlarge]

It is the early 1930’s in Berlin and the powerful rise of the Nazi party is not far off. Before the curtain rises on this absolutely stunning revival of the 1998 Roundabout Theatre Company production of Broadway’s 1967 Tony Award-winning, CABARET, the arriving audience finds itself part of the clever illusion of being in the dimly lit backstage of the seedy Kit Kat Club. The performers slowly assemble on stage to warm up while tuning instruments and doing pre-performance stretches. Those will be the last quiet moments before this sensational edition of the classic John Kander & Fred Ebb musical takes off like a rocket at Houston’s Hobby Center with able direction from BT McNicholl.

Randy Harrison (center) as the
Emcee

Randy Harrison and the CABARET cast

Guiding the action at the nightclub in the role of the Emcee is Randy Harrison in an electrifying performance that could simply not be topped. He literally owns the stage from the moment he welcomes the audience with the memorable “Willkommen,” to the final shocking twist that comes at show’s end. That opening number, with its fine ensemble of Kit Kat Girls and Kit Kat Boys, immediately sets the standard for the visually and musically splendid night of theatre that will follow as the Emcee leads the merry madness of songs like, “Money,” “Two Ladies,” or the satirical attack on Nazism, “If You Could See Her?” The captivating score makes it easy to understand why, after 50 years, this musical can still pack the house. But the staging here, the perfect casting, the extraordinary dancing and the enormous onstage orchestra of some two-dozen fine musicians (director, Robert Cookman) all combine to approach theatrical perfection. It would be worth the price of admission just to hear this Kit Kat Band in concert. The sexy and raunchy original Rob Marshall choreography of the 1998 revival is skillfully recreated here by Associate Choreographer, Cynthia Onrubia, and her ensemble cast of incredible dancers. Meanwhile, the lighting designs of Peggy Eisenhauer and Mike Baldassari mysteriously illuminate the tacky desperation of this pre-war world, beautifully realized in the set designs of Robert Brill.

Andrea Goss as
Sally Bowles
and Lee Aaron Rosen as Clifford Bradshaw

Andrea Goss as Sally Bowles

Central to the story is the character of the nightclub’s struggling star, Sally Bowles, beautifully performed by lovely and velvet-voiced Andrea Goss, looking a bit like a cute cross between Clara Bow and Betty Boop. Her performances of the title song and the tender, “Maybe This Time,” are sensational. Sally soon finds romance with handsome American writer, Cliff Bradshaw (Lee Aaron Rosen), who has come to Berlin to work on his novel and is helped in finding an apartment by a suspicious Nazi sympathizer named Ernst Ludwig (Ned Noyes). Rosen has a deep, rich voice for both dialogue and song that is well-displayed in his fine duet of “Perfectly Marvelous” with Miss Goss.

Shannon Cochran as
Fräulein Schneider
and Mark Nelson as
Herr Schultz

Also marvelous is the sweet relationship that develops between Cliff’s cautious landlady, Fräulein Schneider (Shannon Cochran), and a local Jewish fruit merchant, Herr Schultz (an affectionate portrayal by Mark Nelson). In spite of numerous amusing interruptions from a woman of ill repute living in Schneider’s apartment building (Alison Ewing as the comical Fräulein Kost), Schneider and Schultz have an innocent and darling love affair that is beautifully captured in tender songs like, “It Couldn’t Please Me More,” and “Married.” Alas, the rising tide of Nazi anti-Semitism puts that relationship at risk as Miss Cochran sings the chilling, “What Would You Do?” Chilling as well, at the close of Act One, is the full company’s frenzied and anthem-like, “Tomorrow Belongs to Me,” led by Fräulein Kost and Ernst Ludwig.

Cliff sizes up this time in Berlin very well when he remarks, “It’s all tawdry and terrible, and everyone’s having a wonderful time.” But the audience knows this era in Germany does not end well, even as the Emcee declares, “Life is disappointing, but we have no troubles here!”

CABARET continues at Houston’s Hobby Center with final performances today at 2 pm & 7:30 pm. For tickets and information call 855-660-7034 or visit the website at hobby.center-tickets.net/‎ .

The Cast of OLIVER!

[All Photos by Christian Brown – Click any photo to enlarge]

Christopher Wolff as Oliver

There is a pivotal moment in the Charles Dickens classic tale, “Oliver Twist,” when the hungry and naïve young orphan, Oliver, finishes the humble bowl of gruel he has been given for breakfast, and then dares to ask, “Please sir, I want some more!” Thus begin the many adventures of this young rebel, which in 1960 were brilliantly converted into what would become the legendary musical, “Oliver!” With its music, lyrics and book all the creation of composer, Lionel Bart, the show would debut in London, and then move on to become a Tony Award-winner after arriving on Broadway in 1963.

Caleb Donahoe as The Artful Dodger with the cast of OLIVER!

With a fine orchestra and musical direction from conductor, Wayne Green, this current TUTS production serves the lovely music well as it draws its greatest strength from the considerable vocal talents of its well-chosen cast.

Frequent visitors to Houston’s Hobby Center may recall the fine performance of Christopher Wolff playing young Winthrop in last season’s TUTS production of The Music Man.

Christopher Wolff as OLIVER

Here, even as we sense the beginnings of the voice change that will bring him to young manhood, Wolff again brings his fine boyish soprano to the title role of Oliver with lovely renditions of the memorable, “Where is Love,” and fine solo moments during the show’s splashy number, “Who Will Buy?” Oliver is one of the many abused young orphans in a workhouse overseen by the pompous and cruel Mr. Bumble (a sinister performance from Brian Ray Norris).

Brian Ray Norris as Mr. Bumble and Barbara Marineau as the Widow Corney

Bumble is assisted by the equally sinister Widow Corney (Barbara Marineau), but at least the two find gleeful pleasure in each other’s company during the flirtatious fun of, “I Shall Scream.” Mr. Norris brings a deep rich voice to the ominous, “Boy For Sale,” when it is determined that troublesome young Oliver must be sold. Thus the boy faces still more cruelty when sold into the custody of the mean local undertaker, Mr. Sowerberry and his wife (Dylan Godwin & Gayton Scott).

When Oliver happily escapes their clutches he finds himself falling in with some unsavory young pickpockets led by an older boy named Dodger (Caleb Donahoe), who welcomes Oliver to the group as they all join in for the lively and cheerful, “Consider Yourself.”

Christopher Wolff as Oliver and James Leo Ryan as Fagin

A sly old man named Fagin (James Leo Ryan) houses the boys in his hideout and instructs them in the art of thievery during the amusingly devilish, “You’ve Got to Pick a Pocket or Two.” Mr. Ryan brings a captivating sense of mystery to this number, and more especially to his Act Two performance of the thought-provoking, “Reviewing the Situation,” which finds him analyzing whether he should reform or continue as a thief.

Caleb Donahoe as The Artful Dodger, Kathryn Porterfield as Nancy, James Leo Ryan as Fagin, and Nathaniel Hackmann as Bill Sykes.

An older girl named Nancy (Kathryn Porterfield) is part of Fagin’s suspicious family, and she has the misfortune to be married to the abusive Bill Sykes (an appropriately ominous performance from Nathaniel Hackmann who could scare you to death singing the frightening, “My Name!”) Miss Porterfield, fresh off her recent success in the TUTS Underground production of “The Sweet Potato Queens,” brings a glorious voice to songs like, “It’s a Fine Life,” “I’d Do Anything,” and her thrilling pledge of devotion to her cruel husband during, “As Long as He Needs Me.”

Kathryn Porterfield as Nancy and the cast of OLIVER!

The latter, it could be noted, is not really politically correct in a modern world that scorns toleration of spousal abuse. But Porterfield and the full company joyfully open up the second act with the infectious and melodic charms of the lusty and lively beer hall song, “Oom-Pah-Pah.” It is an ensemble delight, much like both the show’s opening number, “Food, Glorious Food,” and the first act closer, “Be Back Soon.” The well-guided cast (Director, Bruce Lumpkin) features a great many youngsters from the Humphreys School of Musical Theatre at TUTS, and they have learned their lessons well. Choreographer, Dana Lewis, has both young and old members of the cast dancing beautifully, and the period costumes of designer, Colleen Graddy, nicely capture the atmosphere of this Dickensian world.

A rousing “Oom-Pah-Pah” from the Cast of OLIVER!

The scenic designs of Dennis Hassan are both effective and versatile, as minor set adjustments and the lighting designs from Charlie Morrison create varied scenes within the same essential structure. While production problems were few, there were occasional moments when orchestra levels overwhelmed audibility of the dialogue and lyrics. The show does have some dark moments surrounding Bill’s cruelty toward Nancy, but overall it would not be a surprise if we heard some in the audience echo young Oliver as the final curtain comes down: “Please, sir, I want some more!”

OLIVER! Continues through April 17^th at Houston’s Hobby Center main stage with performances Wednesday & Thursday at 7:30 pm, Friday & Saturday evenings at 8pm, Saturday and Sunday matinees at 2pm, and a final performance next Sunday evening at 7:30 pm. For tickets visit the website at www.TUTS.com, or call (713) 558-8887 locally and (888) 558-3882 (outside of Houston).

Cast of RUMORS
Back (L-R) David Herman, Joey Hancock, Jonathan Rozas, Robert Faber, Allen Dorris, Stella Leland
Front (L-R) Sherry Rozas, Melody Montez, Amy Sowers, Jen Watson

[Photos by David Clements-DWC Photography]

Followers of the comic genius of playwright, Neil Simon, have another chance to sample his oft-times hilarious repertoire with the current Stage Right production of the zany comedy, “Rumors,” now playing at Conroe’s historic Crighton Theatre. Those expecting to attend should plan on arriving early for an additional sampling of the work and wit of Mr. Simon. As has become the pleasant custom at Crighton, there is a cleverly assembled pre-show screening (during the half hour before curtain) of various videos, photos and sound bites related to the theatre’s current offering. In this case, there is a generous dose of movie trailers from Simon films such as “The Sunshine Boys,” and “Murder By Death,” along with hilarious outtakes from the TV series, “The Odd Couple,” and numerous interesting interview clips from Mr. Simon himself. Then, following a brief introduction by director, Travis Bryant, it was on with the show.

The plot of this very nutty farce involves the arrival, one by one, of four elegant couples (formal attire from costume designer, Sydney Elias), who are invited to the tenth wedding anniversary celebration of Charlie Brock and his wife Myra. The gathering is to be held at the Brock’s fashionable townhouse in New York City where Charlie serves as Deputy Mayor. The first couple to arrive, Chris & Ken Gorman (Jen Watson and Robert Faber), find the home apparently empty, but soon discover the host is upstairs recovering from an unexplained gunshot wound through his own earlobe, while his wife and the household servants are missing altogether. When Claire and Lenny Ganz are the next guests to arrive (Amy Sowers & Allen Doris), the Gormans try not to reveal what has happened for fear of a government scandal in the Mayor’s office. Attempts at secrecy get continually more complicated with the arrival of Ernie & Cookie Cusak (Joey Hancock and Melody Montez), and the final guests, Glenn and Cassie Cooper (portrayed by real life husband and wife, Jonathan & Sherry Rozas).

Deanie Harmon & Dennis O’Connor

The ensuing hilarity involves everything from car accidents to marital spats, not to mention dinner guests having to figure out how to prepare their own dinner. With each silly twist and turn of the convoluted plot, everything is punctuated by a seemingly endless parade of comic entrances and exits, while the players come and go in rapid succession through the numerous doors of this attractive townhouse set that is a star in its own right. A collaborative effort from designer, Deanie Harmon, and Master Carpenter, Dennis O’Connor, the bi-level set is both attractively designed and functional for the action of the piece.

Dennis O’Connor proudly displays the attractive set.

Now by way of way of full disclosure, as a matter of personal taste I sometimes find farce to be tedious. I most often react this way when actors seem intent on telegraphing (perhaps with rolling eyes or exaggerated body language and movement) what they think they must put across as funny. This can be a problem when a clever author like Neil Simon has already built “funny” into the script. It all works best when the characters seem almost unaware of the humor in the comical things they say and do, but we, the audience, can then have the pleasure of discovering what is ridiculous without having to be hit over the head with it. While we sometimes see these dangers played out in this production, it must be said that there was plenty of roaring laughter from the audience throughout the play, and much of it was my own. Happily the hilarity reached its most delicious levels as Act Two moved toward its hilarious conclusion. Special credit for that must go to the strong comic performance of David Herman as Police Officer Welch (with nice assistance from Stella Leland as Officer Pudney). Above all, the closing scene has a memorable and uproarious performance from Mr. Dorris who provides the play’s comic crescendo when he perfectly delivers one of the funniest (and longest) monologues in the comedy repertoire as his character, Lenny, tries to explain the nutty events of the evening to the police. Talk about “Leave ‘em laughing!” Bring along your laugh muscles for that one!

RUMORS continues through May 1^st, 2016 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, Texas. For tickets ($15-$20) and information, call 936-441-7469 or visit the website at www.stage-right.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.

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

Yes, John Denver’s old country classic, “Country Roads,” is still buzzing around in my brain after last weekend’s pleasant opportunity to reacquaint myself with the popular Houston venue of the Music Box Theater. Now fast approaching recognition in the city’s “Top 25” favorite destinations at the popular Trip Advisor website, the increasingly popular nightclub is currently ranked #26 as it prepares to celebrate the club’s continuing success with a “Five Year Anniversary Show,” scheduled to begin next month from May 13-June 18. But no need to wait until then during the current run of the delightful show, “Travelsty,” a fun-filled romp chock full of popular songs selected to salute the upcoming summer travel season as the troupe reprises their 2012 show with the same theme. It was fun then and it’s fun now, with the added bonus that these four talented performers (Rebekah Dahl, Brad Scarborough, Kristina Sullivan and Luke Wrobel) seem even more polished, in both comedy and song, each time I see them. All four of the performers honed their sensational vocal skills during years as members of the memorable Masquerade Theatre at the Hobby Center.

The audience is told early on that the show will describe, “…the places we’ve been and the paths we took to get here.” As the cast delivers a rowdy and solid version of Bruce Springsteen’s, “Born to Run,” the show takes off like a rocket with great support from music director, Glenn Sharp, and his fine band. With the aid of two chairs and two stools, the gang creates the illusion of a crowded car for this amusing, musical cross-country trip. Rebekah laments the high cost of petrol saying, “Gas prices are higher than I was in the mid-nineties,” but they arrive safely at the first stop in Georgia where we hear the delights of, “Midnight Train to Georgia,” and the obligatory, “Georgia on My Mind.” As we move on to The Big Apple there is gentle fun depicting some loud-mouthed New Yorkers. But all is forgiven when Kristina launches into a beautiful, “New York State of Mind,” while under smoky red lighting, Rebekah weaves a sensational counterpoint with “Empire State of Mind.” Soon we find ourselves in Las Vegas as Luke provides a big, bold, Elvis-style, “Viva Las Vegas,” while his cast mates don feather boas to make a shabbily amusing chorus line. (“Downton Abbey” fans may be interested to know that Mr. Wrobel just completed several years as the droll butler, Mr. Rodgers, on the popular weekly PBS follow-up talk show, “Manor of Speaking.”)

Next, there’s a visit to Tennessee as Kristina carves out a lovely, “Walking in Memphis,” with a wistful conclusion. Summer beach lovers will enjoy a visit to the Coney Island Boardwalk as the group delivers a smoothly acapella, “Under the Boardwalk,” with gentle percussion accents from drummer, John Gremmion. Mr. Scarborough again displays his wide vocal range with his falsetto opening for the group’s mystical rendition of the mysterious Eagles hit, “Hotel California,” punctuated with some spooky slow motion strobe lighting. Kristina returns to guide the group for a sweetly mellow quartet of John Denver’s “Rocky Mountain High,” and a joyful version of the aforementioned, “Country Roads.”

Courtesy Photo:
(L-R) Sullivan, Wrobel, Dahl & Scarborough

Wrobel opens Part Two of the program singing a, “Where the Streets Have No Name,” that is full of desperation. Then the devilishly good-looking Scarborough brings smooth naturalness and sassy country flavor to the tune, “Take it Easy,” before Kristina accompanies herself on harpsichord for a pleasant, “Leaving on a Jet Plane,” featuring fine banjo work from Long Le in the band. As the action moves to New Orleans, Rebekah brings some snappy sparkle to, “Hey, Lord!” and her husband, Brad, follows with dazzling vocal transitions during, “House of the Rising Sun.” Kristina winds up that segment with a wonderful, “Basin Street Blues,” as Luke adds a bit of Satchmo-style scat singing. Then it’s off to San Francisco, Detroit and of course a final return to Houston. If you’re in town, why not come see for yourself?

TRAVELSTY continues at the Music Box Theater, 2623 Colquitt-Houston, Texas through May 7^th with performances Fridays and Saturdays at 7:30 pm. Reserved seating is $37 and General Admission is $27. For tickets and information call (713) 522-7722 or visit the website at www.themusicboxtheater.com.

(L-R) Kristen Beth Williams as Sibella, Kevin Massey as Monty and Adrienne Eller as Phoebe.
PHOTO: Joan Marcus.

[Click any photo to enlarge]

My recent trip to Houston’s Hobby Center to view the current national tour production of the Tony Award-winning Broadway musical, “A Gentleman’s Guide to Love & Murder,” somehow reminded me of the advertising slogan from years ago, “It’s not your father’s Oldsmobile.” I think in this case we might paraphrase a bit to say, “This is not your father’s Broadway musical.” The show is, in a word, unusual. With Book & Lyrics by Robert L. Freedman, Music & Lyrics by Steven Lutvak, and crisp direction from Darko Tresnjak, it is based on a 1907 novel by Roy Horniman, and its black-humored plot begins in England in that very year. With the tongue-in-cheek mischief of its opening number, we see a spooky group of mourners who look as though they just popped out of some ancient black & white photograph as they sing the playfully ominous, “A Warning to the Audience.” It cautions all present that there may be trouble ahead.

Kevin Massey as Monty Navarro and Mary VanArsdel as Miss Shingle
PHOTO: Joan Marcus.

And trouble there will be as we learn the tale of a poor young man named Monty Navarro (Kevin Massey), whose widowed mother has just passed away. His sadness is pleasantly interrupted when an ancient washerwoman named Miss Shingle (Mary VanArsdel) arrives to pay her respects. In her cheerful and tongue-twisting song, “You’re a D’Ysquith,” she reveals that Monty’s mother was actually highborn of the aristocratic House of D’Ysquith, although the family had long ago disowned and disinherited her for her scandalous elopement with the mere Spanish musician who would be her late husband. Armed with this knowledge, Monty realizes he is ninth in the line of succession to inherit the earldom of Highhurst. His quest to move up that ladder and become the earl is the mischievous device that propels the following merriment and mayhem alluded to in my title. Numerous elements make this journey a pleasant one, beginning with the eye appeal of the unique staging that plays out in a kind of sub-proscenium arch with Greco-Roman accents. Surrounded with its crimson velvet curtain and appropriately blood-red lighting, it embraces the action in a smaller, center-stage space than the usual full staging. Thus, it focuses each colorful scene to look a bit like an antique postcard of the period. (Scenic Design by Alexander Dodge, Lighting Design by Philip S. Rosenberg). Adding to the attractive look of the piece are the colorful period costumes of designer, Linda Cho, especially the elegant dresses and gowns for the ladies.

In addition to the smooth-voiced Mr. Massey, the vocally talented cast has two marvelous and very beautiful sopranos as Monty’s competing love interests, Sibella (Kristen Beth Williams) and Phoebe D’Ysquith (Adrienne Eller). That trio brings abundant slapstick hilarity to the Act Two number, “I’ve Decided to Marry You,” and I agree with audience member, Rick Wessells, who remarked after the show that scenes like that were reminiscent of the zany and frenetic comedies of the silent film era.

John Rapson as Lord Adalbert D’Ysquith
PHOTO: Joan Marcus.

But we cannot speak of hilarity without turning our full attention to the uproarious and wide-ranging performance of John Rapson, who anchors all this charming nonsense by alternately portraying each and every D’Ysquith family heir (of both genders) throughout the amusingly murderous efforts of Monty to rub them all out and claim the earldom for himself.

(L-R) Lesley McKinnell as Miss Barley, Kevin Massey as Monty
Navarro and John Rapson as Asquith D’Ysquith, Jr.
PHOTO: Joan Marcus

Whether heirs “accidentally” fall to their death from a bell tower or slip through the ice while skating on a pond, the laughs keep coming, with the exception perhaps of a dining room scene near play’s end that seemed disorganized with its lack of focus. Meanwhile, the music is pleasant enough with a cast and ensemble that at times seem almost operatic in their skill. (Music Director, Lawrence Goldberg). Phoebe’s song, “Inside Out,” is lovely from Miss Eller, and Massey delivers a richly romantic and resounding, “Sibella.” Other tunes remind one of the rapid-fire patter songs of Gilbert & Sullivan, but some lyrics do get lost amid the speed.

National Tour cast of “A Gentleman’s Guide to Love & Murder,” with John Rapson (center) as Lord Adalbert D’Ysquith
PHOTO: Joan Marcus.

When I say, “this is not your father’s Broadway musical,” it is because we are not talking the infectious melodies of Rodgers & Hammerstein here. Audiences are unlikely to go home humming any of these songs from memory, but the tunes work very well to accompany the lighthearted action, and occasional delightful choreography from designer, Peggy Hickey. If folks don’t go home humming, they may at least go home happy.

A GENTLEMAN’S GUIDE TO LOVE & MURDER continues through May 15^th at Houston’s Hobby Center main stage with performances Tuesday, Wednesday, Thursday, & Sunday at 7:30 pm, Friday & Saturday evenings at 8pm, and 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).

Victor Vasquez performing with the Lone Star College-Montgomery JAZZ ENSEMBLE at Crighton Theatre
PHOTO: Brad Meyer

On a pleasant Conroe Saturday night last weekend a parade of young area talent was spotlighted at the Crighton Theatre in a show aptly titled, “Come Fly with Me.” Hosting the program was popular local singer/actor, Victor Suarez, who had worked since last December on assembling and developing this one-night-only showcase of area performers. Anchoring the enjoyable night of music was the impressive 17-piece onstage orchestra of the Lone Star College-Montgomery Jazz Ensemble, directed by Christina Mendoza, Director of Bands at the college.

With a cast made up largely of young people in the early stages of their performing careers, there may have been some backstage jitters that delayed the opening curtain by fifteen minutes. But Crighton Theatre regular, Carolyn Corsano Wong, was at the ready to warm up the crowd with a bit of fun as she humorously reprised her role as gossip columnist, Dora Bailey, from last year’s Crighton production of “Singin’ in the Rain.” Then it was curtain up and things got off to a sensational start with the four experienced pros making up the wonderful barber shop quartet known as Double Infinity. Dressed in handsome formal attire they would bring deliciously smooth, mellow harmonies and elegant tempo shifts to acapella renditions of the songs, “Cabaret,” “Nevertheless,” and “Yesterday.” The audience roared its approval.

The Jazz Ensemble was next to show its polished skill with a performance of “Infernal Jamnation” that was as glittering as the shimmering silver tinsel of the backdrop behind the orchestra. Fine solo moments from various members of the group during the evening would demonstrate the impressive musicianship produced at Lone Star.

Mr. Suarez was next as he offered “Beyond the Sea,” and a number of Sinatra standards that included, the requisite, “Come Fly With Me,” a “Fly Me to the Moon,” that had some great interludes from the orchestra, and a Spanish version of, “My Way,” (in the style of the Gypsy Kings), that featured fine flamenco flair from guitarists, Magdiel Zuniga and Morgan Van Rensselaer. Gregory Broughton would join Suarez on stage as the handsome gents offered an earnest and passionate rendition of the Sam Smith song, “Lay Me Down.” One additional song on the bill, “What Do I Need with Love?” from the show, Thoroughly Modern Millie, seemed like a number that could have been easily cut from the show.

As the ladies in the cast began to appear, Suarez was joined by Sara Preisler for a perky version of, “You’re the Top.” With talented Richard Kazindzhidi on the eighty-eight, the ensemble followed with a brassy rendition of the tune, “Shirley,” that had fine solo moments from guitar, bass and piano. It is worth noting that Mr. Suarez won 2^nd Prize in the recent Montgomery County’s Got Talent Contest. 1st Prize went to Miss Hillary Moore, so it was appropriate that here, the duo would pleasantly team up for the song, “Blue Skies.” A highlight of the evening followed as Lauren Salazar lent her lovely voice in duet with Suarez for the beautiful, “One Hand, One Heart,” from West Side Story.

Double Infinity returned to supply solid back-up as Suarez delivered a fine, “Runaround Sue,” and then the host for the evening had a special Mother’s Day Eve dedication that must have made his Mom & Dad very proud as he sang a, “You Raise Me Up,” that featured nice violin solo moments from Alexa Garza. It was nice to hear Mr. Suarez hopes to organize “Come Fly With Me” as an annual event, and it will be wonderful to see the growth of these young performers. If there were a few nervous moments of too-rapid tempos, fidgety movements or occasional drifting off-key, that just comes with the territory of growing as a young performer. I predict these talented youngsters will continue to grow in skill and self-confidence until one day they will own the stage like the polished old-timers of Double Infinity.