(L-R) Philippe Arroyo as Sonny, Anthony Lee Medina as Usnavi, Blaine Krauss as Benny & Isabel Santiago as Daniela.
PHOTO by Os Galindo

[Click any photo to enlarge]

In 2008 a musical called IN THE HEIGHTS exploded on Broadway to begin what would become a three-year run on the Great White Way that has been followed with countless tours of the production that continue now with the latest offering from Theatre Under the Stars right here in Houston. Directed by Nick DeGruccio, with Musical Direction from Darryl Archibald, the show features music and lyrics by creative young composer Lin-Manuel Miranda, who now rules Broadway again with the reportedly sensational, “Hamilton,” a rap-flavored show known for the highest priced tickets in Broadway history.

Some readers may have seen various recent reports about the upcoming grand opening of the Smithsonian National Museum of African History and Culture on the Washington Mall. The CBS This Morning program just featured a “Notes of Change” segment with extensive descriptions of the museum’s recognition of “Hip Hop” music’s impact on American culture as it has evolved from such earlier black musical forms as hymns, jazz, blues, soul and rock & roll, while dating the rap music evolution back to New York’s South Bronx neighborhoods of the late 1970’s. In one recent interview the famed rapper, Ice-T, declared: “We realized this beat was a vehicle for just straight street poetry.”

That concept is perfectly demonstrated here as Mr. Miranda’s In the Heights weaves its musical tale of three days in the world of the Dominican neighborhood of Washington Heights in New York City. The attractive and appealing set (scenic designer, Anna Louizos) imparts a warm and embracing golden glow to the brick apartment buildings that tower over the assorted local shops surrounding the street below.

Rayanne Gonzales as Abuela Claudia
PHOTO by Os Galindo

A bright blue sky and the east tower of the George Washington Bridge loom in the distance. The central character, Usnavi (Anthony Lee Medina) is our likable narrator throughout the story. He is a hard-working young man who owns a small bodega. He’s very much in love with beautiful Vanessa (Chelsea Zeno), and while his parents died years earlier, he has been much cared for since by the neighborhood’s honorary matriarch, the elderly and beloved, Abuela Claudia (Rayanne Gonzalez).

The Cast of In The Heights PHOTO by Os Galindo

The lively and sensational title song opens the show with the sparkling and free-wheeling dancing of the ensemble that will punctuate scene after scene. (Choreographer, Jose Luis Lopez).

Michelle Beth Herman as Nina
PHOTO by Os Galindo

We meet the lovely Nina Rosario (Michelle Beth Herman) a neighborhood hero because she has been a student at Stanford University. But her Mom and Dad (played by April Ortiz & Danny Bolero) are about to learn the college work load was too much for their daughter and she has dropped out.

April Ortiz as Camila Rosario and Danny Bolero as Kevin Rosario PHOTO by Os Galindo

Nina is in love with Benny (Blaine Krauss), a young man employed by her father in the family car and limousine service. But she is distraught at her scholastic failure, and soon her parents will clash dramatically over their daughter’s future, and her father will oppose her relationship with Benny. When Miss Herman sings songs like the pleasantly melodic, “Breathe,” and the Act Two duet with Mr. Krauss during the romantic warmth of “Sunrise,” we are in the presence of a wonderful voice. But there are so many fine voices in this cast. Mr. Bolero is sensational as Nina’s father sings, “Inutil,” describing his desperation at not being able to finance her education. Miss Ortiz brings explosive brilliance to the savage, “Enough,” as Nina’s mother demands an end to family squabbling about finances. Then there is perky fun at the neighborhood beauty salon as Vanessa joins shop owner, Daniela (Isabel Santiago) and their colleague, Carla (Alicia Taylor Tomasko), for the gossipy delights of “No Me Diga.” Then the full company delivers a dazzling “96,000,” as it is learned that Usnavi has sold someone a winning lottery ticket in that amount, but I refuse to disclose that winner here. Enter the feisty Abuela Claudia, and boy does Miss Gonzalez hit one out of the park with her impressive voice during the powerful, “Paciencia y Fey” (Patience and Faith).

The Cast of In The Heights PHOTO by Os Galindo

Act One closes with an eye-popping nightclub scene with the dancing beautifully illuminated by gorgeous pastel lighting (designer, Steven Young). There are pleasant supporting performances from Philippe Arroyo as Usnavi’s cousin, Sonny, and Jonathan Arana as the singing Piragua Guy who sells flavored ices on hot days. Miss Santiago leads one of Act Two’s many highlights with a sexy, sassy and fun-filled “Carnaval Del Barrio” that evolves into what looks like a joyous conga line with the full cast on stage. There’s a poignant bit of bad news in Act Two as well, but to quote the immortal bard, “All’s well that ends well.” Why not come see for yourself? But keep in mind, unless you are a rapper yourself, it is unlikely you will be able to catch every word of song and dialogue from the amazing rapid-fire delivery of Mr. Medina and other members of the cast.

IN THE HEIGHTS continues through September 25^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).

Cast of The Musical Comedy Murders of 1940 (L-R) Gabi Martinez, Will Prior, Vincent Szutenbach, Lauren Witt, Chance Bryant, Gabrielle Shuttee, Emily Hammer, Kat Meyer, Mike Candy, Anthony Shortt, Nolan Heermann
PHOTO: Mallory Holt.

There is a certain buzz of energy, excitement and enthusiasm before the curtain goes up on a high school theatrical production. I remember it well from my schooldays as a young actor in New York, and it was everywhere in evidence when I walked into the auditorium lobby last Saturday night for the closing performance of the Woodlands High School’s production of John Bishop’s amusing 1987 Broadway black comedy, “The Musical Comedy Murders of 1940.” And 1940 it would be, thanks to the attractive mansion interior set design of Rafa Monardez & Cammie Chauffe, along with the lovely period costume designs of Madeline Gernhard. The two-dozen young “tech heads” collaborating on the production for such elements as sound, props, lighting, hair design, makeup, carpentry, stage management and electrical work, all combined to effectively create this mysterious and often hilarious world of multiple murders at a country estate isolated by a major snowstorm. (Good special effects there every time the French doors opened.)

The talented cast of eager young actors included Gabi Lechtig-Martinez, Gabrielle Shuttee, Anthony Shortt, Mike Candy, Nolan Heermann, Lauren Witt, Chance Bryant, Katerina Meyer, Vincent Szutenbach, Emily Hammer, and Will Prior. The busy two acts that followed would find murder victims hanging in closets, collapsing in chairs and buried in snowbanks. Of course the phrase “Who dun it?” would loom large throughout with fun-filled performances from the cast.

But in an odd twist, not all the action commanding my attention was on the stage. My guest and I had arrived early enough to secure nice seats in the front of the auditorium’s rear section. A short time later, two heavyset and elderly ladies sauntered in carrying hefty tote or handbags as they proceeded to sit directly behind us. When the play began these two ladies began a loud and non-stop crinkling of cellophane that was incredibly distracting and unmistakably rude toward fellow members of the audience, not to mention the two poor souls sitting right in front of them. It crossed my mind that they might be part of the show attempting to precipitate yet another murder in the audience. What they were eating I am not certain of, but the noise continued even when my guest and I took turns looking back to glare of our dissatisfaction. These old gals could not have been more oblivious. Finally, since I did not wish to create a scene while “working” in a theater, we had no alternative but to get up and climb up to available seats in the next-to-last row at the top. That worked pretty well until Act Two when several students climbed up to sit in the row behind us and proceeded to audibly gab non-stop for the duration of the performance. The school may want to introduce a course in Theatre Etiquette. On a happier note, most of the largely student audience behaved appropriately and enjoyed the show.

Cast of THE MUSIC BOX
Front (L-R) Cay Taylor, Rebekah Dahl, Kristina Sullivan
Back (L-R) Brad Scarborough, Luke Wrobel

It was a night to showcase the singers & songwriters of the Lone Star State, and the stars of Houston’s Music Box Theater were certainly up to the challenge with their latest production, MADE IN TEXAS. Rebekah Dahl, the company’s co-founder (along with husband and fellow Masquerade Theatre veteran, Brad Scarborough) gave a Texas-sized welcome to the crowd, and then it was on to a sample of Willie Nelson’s “Whiskey River” that offered just a brief strident moment of excess volume concern until the talented cast members gave an eye-roll to the sound board operator who quickly had the audio back on track. Cast regular, Cay Taylor, followed with a gentle rendition of Buddy Holly’s “Every Day,” and opening performances from Brad and company member, Luke Wrobel made it clear that, like the gals, these boys just keep getting better. A rich, warm and inviting version of Waylon Jennings’ “Luckenbach, Texas” was a special treat. Then the fifth member of this gifted troupe, Kristina Sullivan, offered a tender, delicate and thoughtful rendition of another Willie Nelson hit, “Always on My Mind.” Miss Taylor accompanied herself on guitar for a whimsical version of Kelly Clarkson’s, “Heartbeat Song,” and handled the song’s exciting escalations well.

When it came to the seductive rhythms of the Brooks & Dunn tune, “Neon Moon,” the gifted Mr. Scarborough drove that infectious melody across the finish line like it was some expensive sports car. With his easy and appealing George Strait vocal style, this guy should be picked up for a few nights performing at the Houston Rodeo. (That would again be evident in Act Two when he nails Strait’s “You Look So Good in Love.”) Next, Luke maintained the high standards with the fun of Lyle Lovett’s, “If I had a Boat,” and then rolled right into an appropriately raspy-voiced turn for Kenny Rogers’ “Coward of the County,” that featured nice solos from the gang. Rebekah would close out the first set with a loud and lashing version of Beyoncé’s, “Daddy’s Lessons.”

Following Intermission things got underway with the introduction of gifted fiddler, Alisa Pederson, the talented new member of Music Director, Glenn Sharp’s fine house band. She warmed up the crowd with a medley of “Orange Blossom Special,” “You Are My Sunshine,” and “Deep in the Heart of Texas.” Next came some rowdy and silly fun as Luke roamed the audience during, Barry White’s “You’re the First, the Last, My Everything.” The “spontaneous” group choreography for the Meat Loaf tune, “’Paradise by the Dashboard Light,” reminds one of a beginner’s exercise class. Recognizing the talents of BJ Thomas, Brad delivers a lilting, layback and delightful, “Raindrops Keep Falling on My Head,” and Cay follows with an “Another Somebody Done Me Wrong Song,” featuring vocal clarity that could etch fine crystal. Kristina gives us a smooth and elegant, “Arthur’s Theme,” by Christopher Cross. Other Act Two treats include “Delta Dawn” (Cay), “He Stopped Loving Her Today” (Luke), “You’ve Got It”, (Kristina), and “Build Me Up From Bones” (Cay). And for those who may have missed the memorable 2011 Music Box production of Damaged Divas, Rebekah reprised her savagely brilliant interpretation of Janis Joplin’s “Me & Bobby McGee.”

BECKETT at The Music Box
(Courtesy Photo)

My headline hints at the “Family Affair,” of this quintet of players who all met as performers during the golden age of Houston’s famed Masquerade Theatre. Brad and Rebekah became man & wife as did Luke and Kristina. Cay gets teased that she should marry a member of the band. But one more member of the family made his stage debut the night I attended. It was handsome young Beckett Scarborough, and the toddler quickly won the audience over as he sang along with gusto for the group finale of Johnny Nash’s, “I Can See Clearly Now.” It was a night to remember.

MADE IN TEXAS continues at the Music Box Theater, 2623 Colquitt-Houston, Texas, with 7:30 pm performances on Fridays October 14^th & 21^st, and a final performance on Saturday October 22^nd. Their next production, THE 80’s MIXED TAPE DIARIES, opens on October 29^th. Reserved seating for all shows is $37 and General Admission is $27. For tickets and information call (713) 522-7722 or visit the website at www.themusicboxtheater.com.

Cast of Crighton Theatre’s Production of THE ADDAMS FAMILY

I think it can be safely said that in my many pleasant years of reviewing productions at the Crighton Theatre, I have never laughed harder than I did last Saturday night when doubled up in hysterics while enjoying Stage Right’s current offering of the Broadway musical hit, “THE ADDAMS FAMILY.” Let me first confess I was never among the many fans of the popular Addams Family newspaper cartoons of Charles Addams, upon which this musical comedy is based, or the later television show of the same name. With its book by Marshall Brickman & Rick Elice, and Music & Lyrics by Andrew Lippa, this delightful edition, produced by Carolyn & Steven Wong, is cleverly directed by Brenda Storseth. If it is true that comedy is the most difficult of the dramatic arts, that warning did not frighten Ms. Storseth or her talented cast, as they took the audience on an uproarious ride through the black humor of this very amusing show. That cast, by the way, includes one real Adam in the person of young Adam O’Connor, who plays the ancestral soldier, John Lee Addams.

The silly, but macabre plot, surrounds the very strange Addams family that lives in a spooky, 10,000 square foot mansion which is somehow mysteriously set on two acres of land in New York’s Central Park. (Nicely realized here in grand style by set designer/scenic artist, Denise Debold and Master Carpenter, Jonathan Van Eaton). Stage Right veteran, Katt Gilcrease, suavely portrays the family father, Gomez Addams, a romantic and swashbuckling character with Spanish flair, who tries valiantly to please his unsmiling and very dour wife, Morticia (Jennifer Marshall). The amusingly tall and awkward butler, Lurch, (Bill Schafer) is hilarious as he brings mumbling and stumbling to the level of high art. The whole strange family has a somber, Gothic atmosphere about it, but their teenage daughter, Wednesday (Sara Preisler) is about to cause confusion as she has fallen in love with a normal boy named Lucas (Austin Colburn). Wednesday’s little brother, Pugsley (Ara Hollyday) is especially concerned, fearing his sister will now be too busy to torture him in the family dungeon. Such a relationship with a “normal” person is unheard of as we learn more about this weird family in the opening ensemble number, “When You’re an Addams.”

Audience member and Woodlands resident, Paulie McDade, came spookily dressed for the occasion.

Theirs is a world that warmly embraces, “darkness, grief and unspeakable sorrow,” while knowing nothing of joy. The opening scene is a kind of weird gathering at the family cemetery where the ghostly ancestors come forth to join the living and frolic in the “intoxicating smell of the graveyard.” In a clever theatrical device, those ancestors become the talented singing and dancing ensemble that brings much of the fun to scene after scene. (Music Director, Layne Roberts, Choreographer & Make-up designer, Cricket Pepper). The spooky, varied and imaginative costumes (designer, Marieda Kilgore), and creative wigs from designer, Adam Isbell, all combine to bring a fun-filled atmosphere to the show in these weeks leading up to Halloween. But don’t be scared off! With skillful technical direction from Jim Bingham, ghostly aspects of the production (like eerie sounds and lighting) are all designed to amuse and not to frighten. And amuse they do, in this full-house theater that was often roaring with laughter. There were even a couple of timely jokes inserted to highlight this current Presidential election season.

In the role of Uncle Fester, James Colburn gives a larger than life performance lighting up the stage for “Fester’s Manifesto,” as he enlists the ancestors’ aid during Wednesday’s troubling flirtation with the dreaded normal boy. Her loving father, Gomez, is much conflicted as Mr. Gilcrease sings the poignant, “Wednesday’s Growing Up.” Miss Preisler delivers one winner as Wednesday sings of her own conflicts about being “Pulled” in new directions by her love for Lucas, and yet another when she dreams of having just, “One Normal Night.” There is a delightful and decidedly Latin flavor to the musical score as seen early on when Gomez and Morticia duet for the song, “Trapped.” The audience begins to sense a romantic tango is on the horizon, and they will get it during the “Tango De Amor” in Act Two. In between we meet Lucas’ straight-laced parents, his mom, Alice (Cristy Campobella) and his father, Mal (Todd Brady), along with the Addams family’s nutty Grandma (Marilyn Moore) who joins young Mr. Hollyday for the merry speculations of the song, “What If.” Act One ends with the show-stopping spectacle of the mysterious game, “Full Disclosure,” in a twin staircase number that looked like it was plucked from the Ziegfeld Follies. Pretty Ms. Campobella delivered fun with the racy “striptease” of the concluding song, “Waiting,” though not every word of that high speed lyric could be clearly heard.

Act Two delights include the black humor of Morticia’s reminder that death is “Just Around the Corner,” and a glittering, “The Moon and Me,” number that ends with a dazzling and not-to-be-missed laser show encompassing the entire auditorium. There is a tender “Happy Sad” duet from Gilcrease and Preisler, and still another when Miss Marshall joins Gilcrease for the sweetly romantic, “Live Before We Die.” That would be good advice for readers thinking of attending. Get your tickets now before they sell out!

THE ADDAMS FAMILY continues through November 6^th at the Crighton Theatre, 234 N. Main St. in Conroe, Texas, with performances Friday and Saturday nights at 8 p.m. and Sunday matinees at 2 p.m. For tickets and information call 936-441-7469, or visit the website at www.stage-right.org.

Chris Dwan as J Pierrepont Finch
PHOTO by Os Galindo

[Click any photo to enlarge. All photos by Os Galindo]

Ever since its opening on The Great White Way more than half a century ago in 1961, composer Frank Loesser’s witty musical satire on the corporate world of big business has been putting smiles on audience faces around the world. With a clever book by Abe Burrows, Jack Weinstock & Willie Gilbert, and the lengthy title of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING, the show succeeds in countless ways in this latest edition currently being presented by Theatre Under the Stars in the Sarofim Hall of Houston’s Hobby Center. I had the pleasure of attending with a friend who had worked many years for Chevron Corporation here in town. It amused me that she felt many of the delightfully silly characters and comically absurd situations that make this satirical show such fun, actually reminded her of real people and events from her experience with that noted firm.

The cast of HOW TO SUCCEED

Beautifully directed (and choreographed) by Dan Knechtges, there is a deliciously eye-popping overall look to the production, with its colorful and creative scenic design from Tom Sturge & David Sumner. The visual artistry seems to tip its hat to the Cubist art movement led by such painters as Pablo Picasso and Georges Braque in the early 2Ist century. The three-dimensionally layered proscenium is accented by the effective neon lighting designs of Steven Young, and vividly colorful costumes add to the glow (Designer, Rose Pederson). To top it off, musical director, Jeff Rizzo, smoothly guides the wonderful orchestra’s performance of the cheerful score. All of this serves to introduce us to The World Wide Wicket Company, where an ambitious young window washer named J. Pierpont Finch (Chris Dwan) is using every spare moment to read chapters in his little book titled (you guessed it), “How to Succeed in Business Without Really Trying.”

Stuart Marland as Biggley, Clifton Samuels as Ovington, Arnie Burton as Bert Bratt, and Chris Dwan as J. Pierrepont Finch

The boyishly handsome Mr. Dwan has a devilish charm as Finch connives his way to success through various adventures and misadventures while swiftly climbing toward the top of the corporate ladder. Along the way he successfully cozies up to such important company executives as the President, J.B. Biggley (Stuart Marland), the personnel manager, Mr. Bratt (Arnie Burton), and the head of the company mailroom, Mr. Twimble, comically portrayed by Kevin Loomis (who also doubles as company CEO, Wally Womper, during Act Two). Loomis brings great fun to the catchy song, “The Company Way,” as Twimble amusingly educates young Finch on how to have a long and successful career with the firm.

Joshua Morgan as Bud Frump

Complicating matters is Mr. Biggley’s lazy, good-for-nothing nephew, Bud Frump (Joshua Morgan), who schemes to prevent Finch from ever advancing in the company at his expense.

Ryann Redmond as Smitty, Joshua Morgan as Bud Frump and the Cast of How To Succeed

Talented Ryann Redmond plays Rosemary’s friend and fellow secretary, Smitty. During the lively singing and dancing of the “Coffee Break” number, she and Mr. Morgan explode with vocal excitement in the frenzied office panic surrounding an unexpectedly empty coffee urn.

Allyson Kaye Daniel as Miss Jones and Chris Dwan as J Pierrepont Finch

And speaking of explosions, Allyson Kaye Daniel lights up the stage as Executive Secretary, Miss Jones, during the full-cast showstopper, “Brotherhood of Man.” With her powerhouse voice, this talented gal must have anchored many a gospel choir in her time. Wow!

Ashley Blanchet as Rosemary Pilkington

The romantic elements of the show come nicely into focus when Finch meets a lovely company secretary named Rosemary (Ashley Blanchet), who dreams of marrying Finch and having a happy life in the suburbs. The very pretty Miss Blanchet has an elegantly silken voice for winning numbers like, “Happy to Keep His Dinner Warm,” and the tender, “I Believe in You.” In fact, it is worth mentioning that this entire cast demonstrates exceptional vocal talent, and that includes the very fine ensemble performances by the secretaries, executives and office staff in splashy numbers like, “A Secretary is Not a Toy,” “Paris Original,” and a Pirate Dance titled “The Yo Ho Ho,” performed as part of the hilarious and company-promoting game show that Finch brainstorms to endear himself to company executives. And speaking of the executives, don’t miss the cleverly staged washroom number, “I Believe in You,” complete with individual sinks and mirrors.

Felicia Finley as Hedy LaRue and the Cast of How To Succeed

Of course what would a Broadway show be without a bit of sassy sex? That is amply provided by attractive Felicia Finley, in the role of Hedy LaRue, Mr. Biggley’s full-figured and empty-headed secretary, and secret mistress. Don’t miss their cheerful duet, “Love From a Heart of Gold,” looking a bit like an exaggerated old silent movie scene. Hedy could be aptly declared a “bombshell,” and don’t think the boys in the office haven’t noticed. There’s plenty more to notice in this fun-filled production. Why not pick up a ticket and see for yourself?

HOW TO SUCCEED… continues through November 6^th at Houston’s Hobby Center main stage with performances 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).

CAST OF THE MUSIC BOX
L-R Cay Taylor, Brad Scarborough, Rebekah Dahl, Luke Wrobel & Kristina Sullivan
–Courtesy Photo

Music fans who enjoy science fiction may be reminded of H.G. Wells’ “The Time Machine” during their next visit to Houston’s popular Music Box Theatre. The company’s current production of “The 80’s Mix Tape Diaries,” delivers a generous musical look back at the popular music of that era. To propel this journey, the regular cast (Rebekah Dahl, Brad Scarborough, Kristina Sullivan, Cay Taylor & Luke Wrobel) has invented five imagined characters who were impacted in various ways by the eruption of Mt. St. Helens volcano in 1980. Sullivan portrays a TV news reporter blinded by the eruption, Wrobel is the station weatherman who falls for her, and Dahl is the ditzy “Sally from the valley” who brags she “will go down in the ‘anals’ of history.” Miss Taylor plays a policewoman, and Scarborough brings a polished cockney accent to portraying British pop star, Andrew John Ridgeley, who co-starred with George Michael to comprise the 80’s rock duo, Wham. Now don’t get me wrong. Music is still king at this popular venue, and this is not a play about these lightly sketched characters. They simply provide a device to link the action from song-to-song with brief silly soliloquies, some funnier than others. Miss Dahl humorously introduced the format describing it as “The Vagina Monologues without the vagina.”

But let us move on to the extensive musical catalogue of the period that is displayed here. By way of full disclosure at the outset, I make no pretensions of holding up rock as my favorite musical genre. That is probably why I first became aware of these talented performers when they starred in the many wonderful Broadway musicals presented year after year by Houston’s late, great Masquerade Theatre. Happily, the skills they honed there are most often central to the musical styles generally offered at The Music Box. In such cases, the really beautiful voices these players possess can be properly showcased without my concern as a critic that any vocal chords (or eardrums) might be damaged by harsh or strident delivery of overly loud numbers from performers who appear to be attacking their microphones. Of course there was plenty of that in the 1980’s, so here we are.

Pleasant highlights in this show include a duet of “Love Lifts Us Up,” from Luke and Kristina that has rich power, notwithstanding a bit too much desperation. There is a pleasantly soft focus from Taylor during an “Eternal Flame,” that has fine back-up from the gang. Luke offers a seductive, “I’m On Fire,” and that warm journey is nicely accompanied on banjo by lead guitarist, Mark McCain, just one of the talents in the house G-Sharp Band led by Music Director, Glenn Sharp. Kristina, walking stick for the blind in hand, stumbles amusingly around the dance floor with Luke during the irony of “Total Eclipse of the Heart.” Our bemused sympathy for her handicapped character grows when she shares that, “Each morning I stand before my mirror and ask my mother, ‘Mom, am I in front of the mirror?’” But the group soon cheers her while giving the band a rest during their delightful, “Don’t Worry, Be Happy.” It is superbly done in wonderful acapella style that shows off their fine voices while being reminiscent of the Mills Brothers. The 80’s classic, “We Are the World,” showcased more of the group’s talent as they took turns during that number singing short impressions of such artists as Cyndi Lauper, Lionel Richie, Bruce Springsteen, Michael Jackson, Stevie Wonder, Ray Charles, Diana Ross & Tina Turner.

There were more treats following intermission, including a smooth, mellow duet of “Wicked Games” from Brad and Luke, with the gals supplying the captivating refrain. Rebekah offers a breezy rendition of, “Faith,” with fine harmonies from her cast mates, while her husband, Brad, has a real winner amid mysterious shadowy lighting and subtle guitar while he delivers a “Roxanne” so full of haunting beauty and warmth that even the extraneous ribbon dance going on behind him could not diminish its power. And speaking of power, Kristina soars as well during her solo of “Power of Love.” There is so much more, but during the well-crafted finale pairing Whitney Houston’s, “One Moment in Time,” and the “Purple Rain,” of Prince, I found myself thinking what amazing skill for musical arranging Mr. Sharp must possess. “Sharp” is just the word I was looking for!

THE 80’s MIX TAPE DIARIES continues through November at the Music Box Theater, 2623 Colquitt, Houston, Texas, with 7:30 pm performances on Fridays & Saturdays, and a final performance at 2 pm Sunday November 27th. Reserved seating for all shows is $37 and General Admission is $27. For tickets and information call (713) 522-7722 or visit the website at www.themusicboxtheater.com.

Tony DeSare
PHOTO BY Vincent Soyez

They say “seeing is believing,” but for those lucky enough to attend Opening Night of this weekend’s Houston Symphony Pops concert, “I Love a Piano,” the astonishing performance of pop vocalist & pianist, Tony DeSare, seemed to somehow defy belief. I came somewhat prepared having had the privilege of reviewing the handsome young artist’s stellar performance during the orchestra’s “Sinatra Centennial” concert here just one year ago ( See SinatraCentennial ). Now he returns to literally explode across the keys in a mesmerizing celebration of the instrument he’s been passionately drawn to since early childhood.

In this, his final season leading the Houston Pops, conductor, Michael Krajewski, arrived onstage to much fanfare as the orchestra played the exciting opening strains from the classic theme of the motion picture, “ROCKY.” He then led his superb orchestra in Mr. DeSare’s arrangement of the “Evolution of Piano Pop Overture,” describing the comprehensive piece as, “a musical piano history from the 1730’s to the present in ten minutes.” It was all that and more, as its familiar musical tidbits ran the gamut from “Chopsticks” and Beethoven’s “Für Elise,” to DeSare’s rich piano sampling of countless musical moments from tunes like “The Entertainer,” “I Got Rhythm,” “As Time Goes By,” “Autumn Leaves,” Great Balls of Fire,” “Lady Madonna,” “Lean on Me,” and dozens more.

Tony DeSare
Courtesy Photo
http://www.TonyDeSare.com

Then DeSare stepped forward to cheerfully address the audience with the playful and easy confidence of the concert pro he has become. Tall and slender, his boyish good looks might remind one of the young Ricky Nelson. Quickly back at the piano, his mellow voice seemed one with the piano as he delivered a thrilling rendition of Ray Charles’ “Hallelujah, I Love Her So.” The focus then shifted to the orchestra for the serenity of its smoothly intoxicating performance of Debussy’s lovely, “Clair de lune.” DeSare returned to the stage to perform his original composition, “New Orleans Tango.” With its immediate rhythmic enchantment, the richly romantic piano piece had impressively echoing support from the orchestra. It was a highlight of the program.

DeSare travels with his own trio that includes Ed Decker on guitar, Steve Doyle on bass, and Michael Klopp on drums. With his 7-string electric guitar, Decker joined the star to accompany Billy Joel’s “She’s Always a Woman.” DeSare’s vocal was like a warm and intimate conversation, but the guitar settings seemed to compete unnecessarily here. Closing the first part of the program, DeSare brought solid keyboard attack, fierce focus, and more impressive skill to a smiling performance of the Elton John/Bernie Taupin composition, “Philadelphia Freedom.”

TONY DeSARE at work in his Peekskill, N.Y. recording studio.

Following the intermission there was a haunting and dreamlike, “Imagine,” with DeSare’s arrangement of that John Lennon classic. Then his playful performance of Irving Berlin’s, “I Love a Piano,” had all the requisite joy and lighthearted fun, in addition to a commanding and high-speed finale. DeSare then performed the quiet reflection of his original song, “How Will I Say I Love You?” With its lovely orchestrations, that number reportedly got favorable notice from none other than Sir Paul McCartney when he was in DeSare’s audience at the chic supper club of New York’s Carlyle hotel. Returning to the music of Billy Joel, DeSare’s piano arrangements for “Root Beer Rag,” brought out all the merriment and colorful hoedown-flavors of the work’s bouncing rhythms. I found myself wondering if the Houston Ballet couldn’t develop a pleasing cakewalk suite based on this piece.

The pièce de résistance for the evening would be DeSare’s dazzling performance of Gershwin’s pioneering classic, “Rhapsody in Blue.” He explained his boyhood fascination with that challenge from the time his father brought home a CD of the piece. Richly complemented by our magnificent Houston Symphony Pops Orchestra, this concert makes very clear that DeSare has mastered the endless complexities and varied moods of the work with his technical brilliance, focused energy, crisp attack, and the bounding, rapid-fire accuracy of his fluid runs up and down the keyboard. The star’s charming mother had come all the way from New York to see her son’s Houston triumph. I had the pleasure of chatting with her after the concert. I think she summed it up best: “Tony’s talent is a gift from God!”

The final Houston performance of I LOVE A PIANO will be Sunday, November 13, 2016 at 7:30 p.m. in Jones Hall. For tickets and information, please call (713) 224-7575 or visit www.houstonsymphony.org.

The Cast of JERSEY BOYS
PHOTO BY: Jeremy Daniel

[ All Photos by Jeremy Daniel. Click any photo to enlarge. ]

It has been more than a decade now since I had the pleasure of seeing the Tony Award-winning Broadway hit, JERSEY BOYS, in the Big Apple. The fun has continued ever since with productions and tours around the world, and happily the latest edition has landed this week in Houston’s Hobby Center. Of course it was not the show’s first trip to the Big “H,” and it will doubtless not be the last. At Tuesday night’s opening, it was immediately clear that just about everyone in the sell-out crowd was well-acquainted with the music of Bob Guadio & lyrics of Bob Crew that have made this time honored gem such a perennial classic. Loosely based on the true story, the well-crafted book by Marshall Brickman & Rick Elice gives us a plot that broadly outlines the evolution of the renowned pop group, Frankie Valli & the Four Seasons, during the 1950’s and beyond. It’s been nearly ten years since I reviewed that continuing tour for ThePeoplesCritic.com, and amazingly, as I write these lines, Frankie Valli and the Four Seasons are performing a live concert at the Milwaukee Theatre in Wisconsin.

(L-R) Keith Hines, Aaron de Jesus, Cory Jeacoma & Matthew Dailey
PHOTO: Jeremy Daniel

With sparkling direction from Des McAnuff, Jersey Boys centers on young Frankie Castelluccio, his early New Jersey ventures into the music business, and his various relationships with fellow musicians that ultimately result in formation of the legendary group that would share his new last name: Valli. Some of the fast-paced scenes in the early going are a bit frantic and hard to follow, but it really doesn’t matter because it is the treasured pop songs that anchor the piece, and give it the energy that continues to thrill audiences after all these years. The solid cast is beautifully led by Cory Jeacoma as Bob Guadio, Keith Hines as Nick Massi, Matthew Dailey as Tommy DeVito, and the sensational Aaron de Jesus as Valli. (Miguel Jarquin Moreland plays that role at the matinee performances, and the soaring falsetto work required for the part makes it easy to imagine why two performances in one day would be a stretch for these talented vocalists). Drew Serkes, in the role of Tommy’s brother, Nick DeVito, lends his fine voice to some of the early numbers like “Silhouettes,” and, “You’re the Apple of My Eye.” Then this musical rocket ship really begins to take off as De Jesus sings a splendid, “I Can’t Give You Anything But Love,” and Mr. Dailey powerfully leads the full cast in the popular, “Sunday Kind of Love.”

Jersey mob complications arise from some loan shark arrangements that endanger the group, and Thomas Fiscella is convincing as the crime boss, Gyp DeCarlo, who has an amusing sentimental breakdown when Valli sings the poignant, “My Mother’s Eyes.” Speaking of amusing, Johnny Wexler does a comic turn as the recording studio engineer, and there is a terrific cast of supporting players that excel in multiple roles. The action moves smoothly with the attractive gliding sets (scenic designer, Klara Zieglerova) and colorful lighting (designer Howell Binkley).

Kristen Paulicelli as Mary & Aaron de Jesus as Frankie.
PHOTO: Jeremy Daniel

Of course there is romance as Frankie finds love and marriage with a real gum chewing Jersey girl who could give lessons on how to talk out of the side of your mouth. (Kristen Paulicelli in the role of Mary Delgado). The Four Seasons sound that the fans had really come to hear came into full focus as the polished team takes off in scarlet red guy group jackets (Costume designer, Jess Goldstein) for sensational performances of familiar hits like “Sherry,” “Big Girls Don’t Cry,” “Dawn,” and a “Walk Like a Man,” that has the kind of crisp, marching band choreography that keeps things lively throughout the show (Choreographer, Sergio Trujillo).

The Angels sing “My Boyfriend’s Back”
PHOTO: Jeremy Daniel

Life on the road puts fatal strains on the Valli’s marriage and family life with sad implications for their daughter Francine (Leslie Rochette). Before the curtain falls on Act One, Paulicelli and De Jesus deliver a heart-wrenching, “My Eyes Adored You,” as the Valli marriage crumbles.

But not to worry as Act Two delights abound. Consider such ever-popular hits as, “Stay,” “Let’s Hang On (To What We’ve Got), “Bye Bye Baby,” “Can’t Take My Eyes Off You,” “Working My Way Back to You,” and “Rag Doll.”

Cast of “Jersey Boys”
PHOTO: Jeremy Daniel

If that’s not enough, stay around for the electrifying encore of “Oh, What a Night.” I couldn’t have said it better myself.

PHOTO BY Jeremy Daniel

JERSEY BOYS continues at Houston’s Hobby Center through Sunday, November 20, 2016 with performances Friday & Saturday at 8 p.m., Sunday at 7:30 p.m. and weekend matinees both Saturday and Sunday at 2 p.m. For tickets & Information visit www.hobby.centerhouston.net/ or call 844-854-1450.

Sara Preisler as Eliza
PHOTO: Michael Pittman

[ Click Any Photo to Enlarge ]

It’s literally “off to the races,” for another Stage Right blockbuster with the arrival of the current production of MY FAIR LADY at the Crighton Theatre. Director, Manny Cafeo, has done it again with another splashy Crighton success in the tradition of his earlier productions of “Lend Me a Tenor,” “The Producers,” and one of my own personal favorites, 2015’s, “Singin’ in the Rain.” That latter starred the gifted actress and talented songbird, Sara Preisler. How fortunate we are that Mr. Cafeo has chosen her for this portrayal of heroine, Eliza Doolittle, in the Frederick Loewe (Music) and Alan Jay Lerner (Book & Lyrics) musical version of George Bernard Shaw’s classic comedy “Pygmalion.” By way of full disclosure, I am proud to be a member of America’s oldest theatre club, The Lambs, and it was there in 1950’s New York that members Lerner & Loewe began development of this legendary musical that would break all existing box office records of the day.

Eliza with her father, Alfred Doolittle (Travis Bryant)
PHOTO: Dave Clements

The familiar plot is the Cinderella-like tale of a poor girl who makes her way in the world by selling flowers on the streets of London, but later moves on to a life of wealth and glamour. Her journey begins on a rainy evening as the upper classes are departing the opera house. (The London fog is beautifully captured by Lighting Designer, Steven Wong).

Michael R. Martin as Professor Higgins
PHOTO: Dave Clements

Just outside, there is a chance meeting on the street as Professor of Phonetics, Henry Higgins (Michael R. Martin), exits the building and overhears the distinctive Cockney dialect of Eliza (Miss Preisler) trying to sell her flowers to passersby.

Jim King as Col. Pickering
PHOTO: Dave Clements

Higgins, in fascination, begins making notes on her speech peculiarities, infuriating the indignant Eliza. Overhearing this, coincidentally, is Colonel Pickering (an aristocratic performance from Jim King), a fellow linguist who specializes in Indian dialects. The gents quickly become friends, and Pickering takes up residence in Higgins’ lovely townhouse (One of the many elegant, charming, and easy-to-move set designs from Deanie Harmon Boy.)

Eliza meets the Queen (Deanie Harmon Boy)
PHOTO: Dave Clements

With dreams of one day owning her own flower shop, Eliza soon comes calling in search of speech lessons in hopes of learning “proper” English. When Higgins boasts that he could teach this girl to speak so beautifully he could pass her off in society as a duchess, Pickering quickly challenges him with a wager, and so the fun begins.

But enough about plot details and on to the acting talent, comic skill, musical excellence, choreographic mastery and overall artistry demonstrated by cast & crew under Cafeo’s fine leadership.

The Cast of MY FAIR LADY
Photo: Dave Clements

Of course the familiar and beautiful songs sustain what could be an overlong theatre experience for a show ending just after 11 p.m. The very articulate Mr. Martin gave us a thoroughly believable professor of phonetics, and his vocal skill was best displayed in Act One with songs like “I’m an Ordinary Man,” and a “Why Can’t the English?” that was beautifully supported by the talented ensemble. (Music Director, Ana Guirola Ladd, Vocal Coach, Layne Roberts). With her wonderfully trained voice, the award-winning Miss Preisler was sensational with a dreamy, “Wouldn’t it be Loverly,” a fierce “Just You Wait,” and a triumphant, “I Could Have Danced All Night,” that had her performing with the grace of a swan and the voice of an angel.

Austin Colburn as Freddy
PHOTO: Dave Clements

Austin Colburn plays Eliza’s eager young suitor, Freddy, and brings a resounding voice to the song, “On the Street Where You Live.”

Travis Bryant as Doolittle
PHOTO: Dave Clements

Travis Bryant brings uproarious fun to the role of Eliza’s father, Alfred Doolittle, bringing the house down when he joins the ensemble chorus for the cheerful tunes, “With a Little Bit of Luck,” and “I’m Getting married in the Morning.” There was more comic fun from Carolyn Wong as Henry’s mother, Mrs. Higgins. Carolyn and Stage Right Co-Producer, Steven Wong, her husband, are to be commended for so successfully handling the synchronized sound designs for a production featuring recorded orchestrations that could have been problematic, but happily were not.

The Dancers
PHOTO: Michael Pittman

The Servants
PHOTO: Dave Clements

Adding to the glow of this absolute gem was the imaginative choreography from designer, Dinah Mahlman, so beautifully executed by the talented cast of dancers and household servants. But perhaps the ultimate touch comes from the exquisite costume designs of Debbie Preisler. They were nothing short of stunning. If you don’t believe me, just check out the delightful Act 1, Scene 5 at the Ascot Racetrack. Didn’t I promise you that we were, “off to the races?”

Cast of MY FAIR LADY
Photo: Dave Clements

“My Fair Lady,” continues weekends thru Feb. 26^th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Fridays & Saturdays, with Sunday matinees at 2pm. For tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

Cast members of Class Act’s JOSEPH & the AMAZING TECHNICOLOR DREAMCOAT
Photo: By Len Bates

[Click any photo to enlarge.]

It’s that time again. Now entering its 20^th season with this 60^th production, it seems that every six or seven years Class Act Productions mounts another brilliant staging of the Andrew Lloyd Webber (Music) & Tim Rice (Lyrics) classic musical, JOSEPH and the AMAZING TECHNICOLOR DREAMCOAT. The lead role has brought good fortune to stars of the earlier Class Act editions. Lance Kramer starred in 2003 and headed to Hollywood to pursue both theatre and the culinary arts. As a chef known for his Texas-style barbeque (@ChefLanceKramer), Lance paired with his wife to win Runner-Up Champions on television’s “Great Food Truck Race,” in 2014. Meanwhile, Aaron Boudreaux, star of the 2009 edition, went on to New York, gained his Actor’s Equity card, and is now performing in a South Korea production of “Phantom of the Opera.”

Peter McPoland (center) stars as Joseph
PHOTO: by Len Bates

With his warm and soothing voice and stage presence, it would not surprise me if the current production’s star, Peter McPoland, should find future adventures in professional theatre for himself. The handsome lad is every inch the All-American Boy, and in last weekend’s performance at the Nancy Bock Center for the Performing Arts, beams of light seemed to radiate from his joyful performance as the biblical Joseph, a young man greatly loved by his father, Jacob (Collin Rue), but envied by his jealous brothers who cart him off and sell him into slavery. Skillfully directed by Keith Brumfield, the delightful musical adventures that follow find Joseph ultimately becoming ruler of Egypt, second only to the Pharaoh himself.

With lovely voices, both Maddie Bergeron and Payton Russell beautifully guided the unfolding story. They headed what Hollywood used to call, “a cast of thousands,” or so it seemed, with well over a hundred young actors filling the stage in scene after opulent scene. (Set Designer, Jonathan Shelledy, Scenic Designers, Jamie Bautista, Heather Brown & Madison Crisp). A first taste of the pleasant melodies to follow was nicely captured by the “Joseph Orchestra,” beautifully conducted by Music Director, Rae Moses, from the bandstand cleverly mounted high atop the stunning Egyptian palace set.

The Children’s Choir
PHOTO: Len Bates

The opening “Prologue/Any Dream Will Do,” featured not only vocally talented Mr. Poland, but also a superb 22-voice children’s chorus (Director, Debra Moses), that was as thrilling as the exquisite period costumes of designer, Laurie Lewis, that would dazzle the audience throughout the show. Topping that costume list would be the magnificent and colorful coat Jacob gives his son, and proud Joseph eagerly flaunts it during the whirling and joyful song, “Joseph’s Coat.”

Cast of JOSEPH & the AMAZING TECHNICOLOR DREAMCOAT
Photo: By Len Bates

With the dancing and singing of the talented Ensemble, that number was so spectacular it could have been a grand finale. Next came the multi-talented cast of Joseph’s eleven rowdy and rebellious brothers during the fine dancing of both the “Joseph’s Dreams” number, and the “Poor, Poor Joseph” that again included the gifted Ensemble and Children’s Chorus. The dance fun then exploded with foot-stomping excitement when the brothers join their wives for the country-style hoedown of “One More Angel in Heaven.” (Choreographer, Mieka Phillips). With the jazzy song, “Potiphar,” the cast brings campy hilarity to celebrating the zoot-suit adorned arrival of Potiphar, the captain of the palace guard (Nidal Wadi). Taylor Parsley plays Potiphar’s wife, as the amusingly unsuccessful seductress of young Joseph, who then finds himself imprisoned during the haunting, “Close Every Door.” The stage is filled with wonder as Act One closes with the colorful splendor and go-go dancing of “Go, Go, Go Joseph,” featuring Joseph and his fellow prisoners, the Butler (Mercer Sadlier) and the Baker (Bill Nowlin).

Peter McPoland as Joseph & Garrett Newlun as Pharaoh.
PHOTO by Len Bates

In spite of a few body-mike audio failures, Act Two was delightful as well. Amid the mystical, ruby-colored lighting of the splendid royal palace and the authentic ancient Egyptian costume designs for the cast, we meet the Pharaoh, played by Garrett Newlun. He delivers a regal and hip-swiveling performance of “Song of the King,” that hilariously echoes the Las Vegas persona of another well-known king named Elvis, while causing Pharaoh’s pretty, dancing followers to faint in their enthusiasm. Joseph gains release from prison when his gift for discerning the meaning of dreams finds favor with the Pharaoh, who rewards him with appointment as second in command of the kingdom.

A Full Cast Rehearsal
PHOTO: Len Bates

Before all ends well with family unity, the brothers light up the stage with the infectious melodies of, “Those Canaan Days,” (led by Brandon Brown), and “Benjamin Calypso” (led by Brandon Brumfield). There was so much more from this enormous and talented cast, but what lingers is the finale reprise of “Any Dream Will Do.” For director Brumfield, however, only dreams of musical theatre excellence will suffice. That dream has clearly come true.

CLASS ACT’s next production will be THE WIZARD OF OZ on July 8, 9, 14, 15 & 16. For details visit the website at http://www.ClassActProductions.org.

Young Texas Artists Competition Finalists 2017
PHOTO: Dave Clements
DWC Photography

[Click Any Photo to Enlarge] 

Jim and Susie Pokorski, founder, and chair and executive director of Young Texas Artists Inc., respectively, with Grand Prize winner violinist Douglas Kwon, who took home Gold in the Strings Division.
PHOTO: Brad Meyer

There was an atmosphere of celebration last weekend here in Texas. As folks looked forward to the end of winter’s dark days and the arrival of Daylight Savings Time, students and families prepared to welcome the holiday respite of this week’s Spring Break. If an Overture for this happy time were required, we certainly had it in last Saturday night’s Concert of Finalists, the culmination of this year’s exciting 33^rd Annual YOUNG TEXAS ARTISTS Classical Music Competition. With the endlessly energetic Susie Pokorski once again serving as Chair for the event, there was great support from Co-Chairs, Geraldine & Emmett Kelly, and Mimi & Alan “Barb” Sadler.

Performing Arts columnist, Peggie Miller (second from right) joins fellow revelers at the Gala.
COURTESY PHOTO

The evening began once more with the popular Bach, Beethoven and Barbecue Dinner Dance Gala, held this year at Conroe’s beautiful Martin’s Hall, where beer, wine and champagne flowed freely, and guests enjoyed a traditional Texas-style barbecue dinner, along with the popular country sounds of Bill Mock & the Highway 105 Band.

Gala guest, Paulie McDade, joins David Dow Bentley to admire the Martin’s Hall mural of Musical Legends.
COURTESY PHOTO

Emmett Kelly served as Gala Emcee, and guests had the opportunity to bid on assorted gifts, vacation getaways and gourmet dinners, during a live auction conducted by Lady Lyn Howard. That success would raise over six-thousand dollars for YTA. After the formal music competition at the Crighton Theatre across the street, guests would return to the hall to mingle with the contestants while enjoying coffee, dessert, champagne and dancing.

The competition itself was impressive as always, with St. John Flynn serving beautifully as Master of Ceremonies, and Emelyne Bingham again serving as YTA Artistic Director. From around the nation, the esteemed panel of music world luminaries serving as judges included Elizabeth Buccheri, Miyoko Lotto, Maria Schleuning, William Florescu, and Cynthia Estill.

Always a crowd favorite, best-selling author and concert pianist, Jade Simmons, returned to the competition to interview the finalists on stage.
PHOTO: Brad Meyer

Another highlight of the evening would be the revealing on-stage interviews of the contestants by renowned concert pianist and motivational speaker, Jade Simmons. Performing first in the Voice division was soprano, Hanna Lee. Dressed in a soft and flowing charcoal gown topped in shimmering silver, she brought well-controlled and soaring vocal purity to Handel’s “Tornami a vagheggiar” from Alcina. That performance would win her the silver medal 2^nd Prize of $1,000. Taking the gold medal 1^st Prize of $3,000 in that same division would be mezzo soprano, Brennan Blankenship. Adorned in a rich, cranberry gown with lace shoulders, she connected well with the audience during an amusing and theatrical performance of the pleasantly melodic, “Noble seigneurs, salut!” from Giacomo Meyerbeer’s Les Huguenots. She skillfully demonstrated both her wide vocal range and her flair for comedy.

Saxophonist, Harrison Clarke, would win the silver medal 2^nd Prize of $1000 in the Winds category, for the jazzy elegance and crisp performance of Lars-Erik Larsson’s “Allegro molto moderato,” from the Concerto for Saxophone and String Orchestra. While navigating the many unexpected twists and turns of the perky and playful piece with smooth transitions, Clarke created moments of distinct intimacy and touched on some of the highest notes ever heard from that instrument. Also in the Winds category, flutist, Charles Gibb, beautifully performed Jacques Ibert’s “Pièce pour flute seule.” Opening with the enchantment of a Pied Piper, the calmly focused Gibb captured all the dreamily whimsical, and melodically wistful qualities of the haunting piece, demonstrating great technical skill during fluid runs across the instrument. That skill would win him the gold medal 1^st Prize of $3000 in that division.

Contestants in the Piano division would share some impressive honors. Cascading up and down the keys, Lizhen Wu dazzled the audience during the rapturous opening of the third movement (Allegro Scherzo) from Rachmaninoff’s Piano Concerto No. 2. The work may have sounded familiar to fans of the film, “The Seven Year Itch,” wherein Tom Ewell plays the Concerto while hilariously fantasizing about seducing Marilyn Monroe. With his crisp and fluid performance, Mr. Wu wove a delicate musical tapestry of romantic excitement that must have seduced his audience, for he would win not only the silver medal 2^nd Prize of $1000 in the Piano division, but also the additional $1000 Audience Choice Award. Not to be outdone, pianist, Kyle Orth, delivered a thunderous and thrilling performance of Franz Liszt’s “Totentanz for Piano and Orchestra,” which rippled with prancing excitement, raging passion and violent attack. It would deservedly win him the Piano division’s gold medal 1^st Prize of $3000.

In the Strings division, competition was fierce. Violinist, Likai He, brought seductive gypsy flair to Maurice Ravel’s, “Tzigane,” a warmly romantic work that slowly draws us in with increasing intensity. Mr. He’s fine performance captured thrilling frenzy one minute, and quiet delicacy the next, but perhaps it was the galloping passages displaying his mesmerizing skill that brought him the silver medal 2^nd Prize of $1000. Meanwhile violinist, Douglas Kwon, bravely tackled Bela Bartok’s “Allegro Molto” from the Violin Concerto No. 2. With savage skill that was immediately apparent, the artist displayed a visibly warm affection for the instrument he plays so well. He brought high-speed virtuosity to a piece that seemed to always turn in unexpected directions before landing Mr. Kwon both the gold medal 1^st Prize of $3000 and the evening’s Grand Prize of an additional $3000, capping yet another successful year for YTA.

Many years ago in New York I reviewed the opening night of a new musical titled, “The Devil of Delancey Street. I opened my report with these lines:

Richard Nixon famously remarked, “I am not a crook!” Let me paraphrase that and say, “I am not a crank!” I don’t go to the theatre looking for trouble, but like all critics, I do occasionally find it.

That sentiment is worth repeating here as I reflect on last Friday night’s Montgomery County Performing Arts Society offering of “Greater Tuna” at the Crighton Theatre. In the half hour before curtain, the arriving “full-house” audience had an excited buzz of eager anticipation that Dickens might have termed, “Great Expectations.” I shared that anticipation, because back in 1982 I had seen the hilarious original edition of this zany comedy by Jaston Williams, Joe Sears, & Ed Howard, when it had its Off-Broadway premier in New York. Part of the amusing magic of that production derived from the fact that Mr. Williams and Mr. Sears franticly portrayed all of the show’s near two-dozen odd ball characters of varying ages and genders. Set in the fictional redneck Texas town of Greater Tuna, each member of the town’s screwy population is nuttier than the next. The town slogan is, “Where the Lion’s Club is too liberal and Patsy Cline never dies.” Extreme southern accents and Texas twangs would abound. While I did not write a review at that time, in the years that followed I have enjoyed reviewing two of the three spin-off productions authored by those same three gentlemen. In 2003, right here in Montgomery County’s Nancy Bock Performing Arts Center, I joined an audience that roared with laughter as Sears and Williams performed “A Tuna Christmas,” with its cast of small town lunatics helping to make the season merry. Then in 2005 the boys were at it again, bringing as much fun as ever to the Crighton Theatre with “Red, White and Tuna.” I wonder how many members of last Friday’s audience had attended those earlier uproarious productions with the original stars, and therefore hoped, as I did, to re-experience the corny fun that has kept this show on the road for over thirty years?

Alas, recreating that fun was not to be. The bare bones staging, with just a few chairs and tables suggesting both a family home and a town radio station, served to keep the simplicity of the original Michael Krause scenic design. Likewise, the hayseed hilarity of Linda Fisher’s playfully outrageous costume designs was kept intact as well. Except for a few brief and pleasant interludes of Patsy Cline recordings during scene and costume changes, that would be about as far as this latest disappointing edition of “Greater Tuna” was prepared to go in preserving the delightfully innocent flavor of the original. The cause of this theatrical downfall was clear from the beginning: After more than three decades of touring in the various incarnations they created, Mr. Sears and Mr. Williams no longer star in the piece. With all due respect to the countless costume changes of this hardworking new cast including Ryan H. Bailey, Tim Leavon & Will Mercer, the magic was simply not there. The characters they portrayed here became more like cartoons than the hilarious and endearingly believable townsfolk of the original production. Gifted comic timing and the art of pantomime are among the most difficult dramatic arts to master, and both were sadly lacking here as cast members chased after imaginary dogs (endlessly), and tried to convince us they were mixing, or chopping, (or something) while moving around in the imaginary kitchen.

The addition of the third cast member in this version seemed to further diminish the very unique original concept. The town’s conservative values flourish with local suspicions being raised about Huckleberry Finn dressing in women’s clothing, while the winning essay in the local high school contest is titled, “Human Rights: Why Bother?” A budget-strapped local production of “My Fair Lady” is in the works, but will have to use the costumes from last year’s, “South Pacific.” Blacks and Mexicans are invited to audition for the chorus, but are advised they must bring identification. Meanwhile, one town committee is pressing for “less Spanish speaking on the airwaves.” At times it seemed as though we were watching an episode of the delightful long-running TV variety show, “Hee-Haw,” with all the music and witty humor removed. Now don’t get me wrong, I laughed a few times myself, and there were audience chuckles, some laughter and a few guffaws here and there. There was even one couple, seated not far from me, who got their money’s worth howling at the slightest provocation from this heavy-handed attempt at comedy. My greatest happiness was glancing around the theater from time to time to note the numbed expressions of fellow laugh-free audience members who looked as though they had o.d.’d on dental Novocain.

Well, there you have it: My own special version of Shakespeare’s, “Much Ado About Nothing.” Maybe I am a crank, — but I’m definitely not a crook.

FARCE OF NATURE Cast
PHOTO: Michael Pittman Images

[Click any photo to enlarge]

It’s ShowTime again for the cheerful band of Stage Right Players at Conroe’s Crighton Theatre as they present another of the numerous comedies from Jessie Jones, Nicholas Hope, & Jamie Wooten. This one declares its style up front with the title, “FARCE OF NATURE.” Directed by Melody Montez, it’s a breezy, lightweight bit of comedy fluff, which in its current form seems to alternate in producing both audience laughs, as well as uncomfortably long periods of audience silence during some of the less amusing antics presented in this zany romp.

Todd Brady as D. Gene and Amy Sowers as Wanelle
PHOTO: Michael Pittman Images

The action revolves around a rustic and struggling old fishing lodge in the Ozarks with the amusing name of the Reel ‘Em Inn. (Cozy set design by Ms. Montez & Johnny Barton). D. Gene Wilburn (Todd Brady) is the proprietor of this tired vacation spot, and his amorous wife, Wanelle (Amy Sowers), seems to think that when it comes to love making, her husband is just as tired as their ailing business. In fact, in desperation she has had him visit a hypnotist, where, unbeknownst to D. Gene, she has obtained a hypnotic suggestion to use on her husband when she is hoping for some long-denied intimacy. That running gag brings some of the best laughs of the evening. I will say no more, and simply add that everything is good clean fun.

Calvin Dabrowski as Ty and Jessica Bearden as Jenna
PHOTO: Michael Pittman Images

As the plot progresses we meet Wilburn’s young son, Ty (Calvin Dabrowski), and his pretty girlfriend, Jenna (Jessica Bearden). Jenna has been waiting impatiently for Ty’s return, but now that he’s back home nothing goes smoothly with the arrival of a high-strung and near hysterical guest in the witness protection program. His name is Carmine DeLuca (Robert Faber), and he is in constant fear of being found by the gangland figure, Sonny Barbosa (burly Johnny Barton), who is now out of jail after being fingered by DeLuca some time earlier.

Robert Faber as Carmine and Carolyn Wong as Maxie
PHOTO: Michael Pittman Images

Trying to bring some order to the chaos that follows, trusty Stage Right regular (and founder), Carolyn Wong, is back in another of the feisty comic roles with which she has become pleasantly identified. Here she plays D. Gene’s sister, Maxie Wilburn Suggs, a gun-toting, one-time police officer hoping to get back in the game, but never quite sure where she’s kept her bullets. With her southern drawl and swagger, she hopes to regain her place in law enforcement by successfully protecting the nervous and ever-fidgety DeLuca.

Bre Jatzlau as Lola and Johnny Barton as Sonny
PHOTO: Michael Pittman Images

Adding to the mayhem, Sonny’s sassy and sexy wife, Lola (Bre Jatzlau), has a crush on young Ty and has pursued him here to the inn. Before long Sonny himself arrives to intercede and discovers the added bonus that his nemesis, Carmine, is present as well. If all this sounds like a prescription for lunacy, you don’t know the half of it. Characters run on and off stage, doors slam, silly disguises appear and misunderstandings abound. Even a possible real estate buyer for the inn arrives to add to the confusion with the entrance of last-minute character, Roxanne Thorne (Stella Leland).

The time and effort put in by a cast of local players such as Stage Right must be appreciated by the community blessed with their productions year after year. On the downside, if this particular show has one notable flaw, it’s that this hard-working cast is often working too hard. Comedy is fun when comical characters are BELIEVABLE, and that is not always the case here. Fans of I Love Lucy know that Lucy and Ethel aren’t really working in a factory and shoving chocolate bonbons into their clothes, but we believe it because those gifted actors believe it. That wonderful magic is very hard to do. All of that said, it is worth noting that Mr. Brady’s low key and understated performance as D. Gene was a very convincing one. His was an easy going, confident, and endearing portrayal, and with his gentle sense of comedy and effortlessly resonant voice for the stage, he struck me as a potential character actor who might do very well in a running sitcom if just the right part came along.

FARCE OF NATURE continues weekends thru April 30th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Fridays & Saturdays, with Sunday matinees at 2pm. Members of law enforcement and the military presenting I.D. are offered a special $15.00 admission for themselves and guests by calling in advance. For general tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

My two-decade journalistic journey through the delights of countless varied performances I have enjoyed at the Cynthia Woods Mitchell Pavilion began when I reviewed the Houston Grand Opera production of Bizet’s CARMEN at the venue back in 1998. In all these many years since, it would be difficult to find a night of pavilion entertainment more satisfying than that provided by the Houston Symphony Orchestra on a weather-perfect night in Texas last Thursday evening. The program, titled BOND & BEYOND, was a stunning musical tribute to the exciting film scores of the two dozen thrilling James Bond films that have been captivating moviegoers since the still-continuing series debuted in 1962. Sean Connery would become the iconic agent 007 as the first of six actors destined to play the role.

DEBBIE GRAVITTE
Courtesy Photo

With good-humored pavilion favorite, Michael Krajewski conducting, there was an added glow for this memorable evening from special guest soloist, Debbie Gravitte. The very beautiful and Tony Award-winning actress and vocalist has a deep résumé that includes not only Broadway, but performances for television, film, nightclubs, symphonies and countless recordings. For this program, she displayed such vocal excellence, energy and vibrancy, she was the perfect pairing with Houston’s world class symphony orchestra.

With pulsing grandeur and explosive brass, the program began with the seductive, thrilling and very familiar, “James Bond Theme.” With its sweeping beauty, the theme of “From Russia With Love” beautifully displayed the rapturous skill of the orchestra’s string sections. The theme from, “You Only Live Twice,” was wonderfully exotic with its delicate Japanese folk elements. Then the night moved to an exciting new plane as Miss Gravitte, dressed in elegant black with glittering sequined trousers and gleaming bracelets to match, took to the stage with her beaming smile. With sparkling eyes and soaring voice, she radiated pure energy during a magnificent, “Diamonds Are Forever.” Next, under warm orange pavilion lighting, she delivered “Nobody Does It Better,” from The Spy Who Loved Me. Nobody could have done it better as she brought impressive joy and power to a performance that was alternately warm and embracing, then thrillingly savage. The audience roared its approval as she left the stage, and the orchestra then launched into the thunderous and galloping excitement of an arrangement of dual themes from “Casino Royale” & “Quantum of Solace,” that had no shortage of thrills from the French horns. Closing Part One of the concert was an exquisite orchestral performance of the rich variations and ever-rising crescendos for the theme from “Goldfinger.” It was the perfect time for Gravitte’s return as she brought fierce and seductive elegance to the song’s conclusion. It was clear she owned that stage, and she knew it as the audience cheered its way to Intermission.

While Part Two of the program continued this feast of action-packed film scores, it digressed for a time from the Bond focus as the orchestra opened with the rhythmic and pulsing excitement of the familiar theme from “Mission Impossible.” Next, with a gentle opening on harp, haunting French horns and delicate piano elements, there came a sampling of the music from the Austin Powers film series with the “Shagadelic Suite.” Miss Gravitte then returned dressed in a flowing gown of elegant floor-length charcoal chiffon, while sporting matching arm-length gloves. She delivered a sassy and sensual, “Sooner or Later,” from the film Dick Tracy, but it was compromised by audio imbalance that had her lovely vocal sometimes overwhelmed by the volume from the orchestra. Then the “Inspector Closeau Theme” from The Pink Panther Strikes Again, had an appropriately merry and bouncing quality inspired by the prancing lilt of the tubas. Better still was the playful fun of the original “Pink Panther Theme” that followed under soft pink pastel lighting, and featured a sensational (but uncredited) sax solo from the orchestra. Before the evening ended there would be yet another display of Gravitte’s vocal perfection and incredible range. She brought all her skill to a theatrical performance full of longing and wonder for the Adele hit of the title tune from “Skyfall.”

Michael Krajewski with the Houston Symphony
PHOTO: Ted Washington

Finally, in a perfect recap, every lush element of this superb orchestra was on full display for an arrangement titled, “The Best of Bond.” It would conclude a perfect evening that was only marred by the announcement that after his many years of conducting the Houston Symphony at the Cynthia Woods Mitchell Pavilion, this would be maestro Krajewski’s final performance in that venue. For many of us, fond memories of this much-loved conductor will linger long for years to come.

Cara Cavenaugh Woodward as Maria and Jordie Viscarri as Tony, in the Owen Theatre’s WEST SIDE STORY

All Photos by DigiSmiles Photography

[Click any photo to enlarge]

Something quite remarkable is happening at the Owen Theatre in Conroe, Texas. For those within the sound of my journalistic voice, I would recommend obtaining tickets to the Players Theatre Company’s splendid production of WEST SIDE STORY before the word-of-mouth results in an inevitable sellout for the entire run. It was already a full house on the recent night of my attendance, and I can readily understand why. With its exquisite music by Leonard Bernstein, lyrics by Stephen Sondheim, and solid book by Arthur Laurents, this classic American musical of course needs little introduction. But in this case it has become a polished gem in the skilled hands of director, Mary Yost, and choreographer, Melody Johnson. The pair was triumphant with The Players’ 2015 production of Bye Bye Birdie, and what they have achieved here, with this talented local cast and crew of nearly four dozen, is nothing short of miraculous.

The familiar, and ultimately tragic plot, surrounds the clashes between two 1950’s neighborhood teenage gangs in Manhattan, the Puerto Rican Sharks, and their white rivals, The Jets. The simple and very functional set design of Roger Ormiston suggests a ghetto neighborhood with no shortage of graffiti, and quickly converts to depict a street, backyard, gymnasium, bridal shop, bedroom or drugstore. The sometimes shadowy, sometimes electrifying lighting designs of Mr. Ormiston enhance each scene. Two theatrical elements stand out in making this a must-see production. First, the dancing of this energetic young cast is simply amazing. One can only wonder how many hours of rehearsal were required to achieve the brilliantly designed and synchronized numbers that have a professional polish one might not expect from a community theatre. That is apparent from the very first scene with the well-staged and acrobatic street fighting of the Sharks, led by Bernardo (Sean Ari DeLeon), and the Jets, led by Riff (Austin Colburn). Mr. Colburn leads “The Jet Song,” with a commanding high energy nicely echoed by the ensemble.

The second element that takes this production to levels of truly memorable excellence is the outstanding vocal talent of co-stars, Jordie Viscarri as Tony, and the very beautiful Cara Cavenaugh Woodward as Maria. Tony and Maria are the story’s star-crossed lovers, based on an idea of the show’s original choreographer, Jerome Robbins, and inspired by Shakespeare’s tale of Romeo and Juliet. We first hear Mr. Viscarri’s fine voice as he beautifully performs Tony’s song full of youthful and eager anticipation, “Something’s Coming.” The fine staging has that scene quickly dissolve into the whirling choreography of the colorful, “Dance in the Gym,” highlighted by lovely costumes for the ladies designed by director, Yost. The intricately woven patterns of the Mambo dancing are amazing to behold. It gently evolves into a sweet first-encounter ballet between Tony and Maria that is playfully elegant. But racial hatreds begin causing trouble when Maria’s brother, Bernardo, lashes out at Jet member, Tony, for dancing with his sister. When smooth-voiced Mr. Viscarri sings a warm and mellow, “Maria,” it is clear how he was selected for this leading role. The fire escape love duet that follows for Tony and Maria is clearly tipping its hat to Romeo and Juliet, and we find ourselves falling in love with this couple. Meanwhile, in one musical number after another, vocal director, Robert Lewis, has also drawn vocal excellence from his large ensemble cast, making this show a joy to the ear as well as the eye. That excellence is readily apparent as Bernardo’s girlfriend, Anita (Caylin Keliehor) and her friend, Rosalia (Kathleen Baker) lead the Shark Girls in the sensual rhythms and lively antics of the amusing song, “America.” The guys soon have their turn as Riff leads them in the slick and complex dance moves of, “Cool.”

There are more delights from this huge cast that include a guest performance of the song, “Somewhere,” by Christina Haynes, and supporting roles for Gabriel De la Fuente as Chino, Marc Wilson as drugstore owner, Doc, David Herman as the suspicious Lt. Schrank, Steve Murphree as the bumbling Officer Krupke, and Jason Ohn as Glad Hand. But before Act One is over the audience is transported heavenward by Tony and Maria’s imagined wedding scene during the beautiful, “One Hand, One Heart.” If that is not enough bliss, the couple follows with the exquisite counterpoints of a superb, “Tonight,” before a dramatically staged gang rumble hints of the troubles that lay ahead in Act Two. For those details you will need to buy a ticket, and I suggest you do it soon. They are going fast!

Carolyn Corsano Wong stars in HELLO DOLLY at Crighton Theatre
PHOTO: Michael Pittman

After a historically sad and troubling week for Americans aware of the tragic events in Florida, the abundant joy that is now being offered by the Stage Right Players production of HELLO DOLLY at Conroe’s gorgeous Crighton Theatre, could not have come at a better time. It was a half-century ago when I first saw the show’s hit 1967 Broadway revival with its all-black cast, memorably headlined by Pearl Bailey and Cab Calloway. Now, all these years later, the show is once again lighting up the stage in the capable hands of director, Manny Cafeo and his exuberant cast, led by company co-founder and gifted comedienne, Carolyn Corsano Wong, in the lead role of Dolly Gallagher Levi, the devilish and conniving matchmaker inspired by Thornton Wilder’s 1955 play, The Matchmaker.

With its wittily amusing book by Michael Stewart, and the endlessly charming Music & Lyrics of Jerry Herman, this musical is a winner right out of the gate, as the lushly costumed cast (designer, Debbie Preisler) emerges onstage, even accompanied by a clever, horse-drawn carriage, though the horse amusingly appeared to have four human legs.

The cast of Crighton Theatre’s production of HELLO DOLLY
PHOTO: Michael Pittman

Capping that opening scene is the gorgeously dressed widow, Dolly, in her floor-length dress with alternating vertical panels of wine-red satin and velvet, topped by a deliciously outlandish feathered chapeau.

Carolyn Corsano Wong in Crighton’s HELLO DOLLY
PHOTO: Michael Pittman

Ms. Wong’s comedic genius is quickly apparent with every eye-roll and facial twitch, as Dolly briskly advises everyone that she can not only find marriage partners for those in need, but she can provide individual business cards for her countless other services, such as piercing ears and removing varicose veins. With a smooth, robust voice, Wong takes immediate command of the stage with her opening number, “I Put My Hand In,” as Dolly explains how she loves to “meddle” in other people’s business.

We are quickly transported to the folksy set (designer, Deanie Harmon Boy), depicting the Country Feed Store of wealthy Yonkers “half-millionaire,” Horace Vandergelder (talented Michael Martin, who at times reminds one of actor, James Cagney). While Horace plans to retain Dolly to find him a bride, Mr. Martin delivers a breezy and pleasant, “It Takes a Woman,” with great back-up dancing from both the ensemble, and Vandergelder’s two bumbling clerks, Cornelius (Carlos Gonzalez) and Barnaby (Ryan Rodriquez). Horace has his eye on pretty Manhattan hat shop owner, Irene Molloy (Sara Priesler), but Dolly secretly hopes to become his wife herself. That goal adds much to the fun that follows, especially when Wong’s hilarious comic timing is on full display while glibly chatting with Horace, and ignoring or misinterpreting everything he says. (Think Rosalind Russell in Auntie Mame.)

(L-R) DOLLY cast members Michael Martin, Elissa Lynch, and Cain Hamilton.
PHOTO: Michael Pittman

There is additional silliness from the endless whining and shrieks of desperation from Vandergelder’s niece, Ermengard (Elissa Lynch), as she very loudly protests the fact that Uncle Horace feels her struggling young artist beau, Ambrose (Cain Hamilton), is unsuitable as her future husband. With the exception of Cornelius and Barnaby, who must stay behind to mind the store, everyone prepares for a trip to New York City during the cheerful and beautifully staged show-stopper, “Put on your Sunday Clothes.”

The action then turns to the charming Hat Shop of Miss Molloy and her flighty and ever-giggling assistant, Minnie Fay (Hillary Moore), dressed in an amusing frock resembling a wedding cake. Meanwhile Barnaby and Cornelius have closed the Feed Store, deciding that they too, need a day of adventure in New York. When they turn up at the hat shop just before Vandergelder’s arrival, the stage is set for some uproarious slapstick. That is pleasantly accented by Miss Priesler’s elegant and soaring performance of, “Ribbons down My Back.” The “Motherhood March,” “Dancing,” and sensational “Before the Parade Passes By,” numbers that concluded Act One were large ensemble displays of both the polished dancing designed by choreographer, Dinah Mahlman, and the cast vocal skills perfected by Music Director, Ana Guirola-Ladd. And oh, what a talented cast of nearly four dozen actors too numerous to name here.

Speaking of dancing, Act Two has plenty of delights of its own as the action turns to the upscale Manhattan restaurant, Harmonia Gardens, where Barnaby and Cornelius, pretending to be wealthy gents, are unsure how they will afford dinner for their newfound dates, Minnie and Irene.

(L-R) DOLLY cast members Hillary Moore, Ryan Rodriquez, Sara Priesler, and Carlos Gonzalez.
PHOTO: Michael Pittman

The foursome dance and sing the delightful, “Elegance,” with Priesler at times displaying her operatic skill, as the tall, slender and handsome Mr. Gonzalez beamed while showing hints of the Tommy Tune dance styles. Then come the dazzling dance acrobatics of “The Waiters’ Gallop,” that seemed to leave the audience as breathless as the talented dancers. Of course the title tune remains a highlight when the assembled waiters sing, “Hello Dolly” to greet our star as she splendidly descends the central staircase radiantly bedecked in feather-trimmed gown and plumed headdress. But there is so much more, including a turkey dinner too hilarious to describe, a spirited ensemble polka, and a restaurant brawl that lands everyone in court, where Mr. Gonzalez steals the show pleading the case before the Judge (Will Radcliffe) as he joins Miss Priesler for an “It Only Takes a Moment,” full of youthful longing, love and passion. I won’t be a spoiler to describe the joyful finale, but let me say it was a night when there was plenty of love bouncing across the footlights…in both directions!

HELLO DOLLY continues through Sunday February 25^th at the historic Crighton Theatre, 234 N. Main St., Conroe, Texas. Performances are Friday and Saturday at 8 pm, with Sunday’s matinee at 2 pm. For Tickets & information call 936-441-SHOW or visit www.Stage-Right.org.

Class Act Productions Cast of HUNCHBACK OF NOTRE DAME

PHOTOS: Courtesy of Class Act [Click any photo to enlarge]

For over two decades Class Act Productions has astonished audiences in The Woodlands, Texas with the quality of its performances while becoming one of the most widely recognized and honored youth theatre programs in the nation.

Jake Teall as Quasimodo, The Hunchback of Notre Dame

Skillfully directed by company founder/producer, Keith Brumfield, last weekend’s stunning performances of THE HUNCHBACK OF NOTRE DAME at The Nancy Bock Performing Arts Center, made it clear those accolades are well-deserved. With the music of Alan Menken, lyrics of Stephen Schwartz & book by Peter Parnell, the show is subtitled, “A NEW MUSICAL Based on the Victor Hugo Novel and Songs from the Disney Film.” This is an undertaking of enormous theatrical gravitas and musical complexity. It is amazing, but not surprising, that the incredible Class Act organization would dare to take on this challenge, and then succeed on such a grand scale. That scale is immediately impressive as the opening scene begins with the huge candlelit procession embracing the audience with the production’s extraordinary 38-member choir singing the beautiful Latin, “Olim” as it passes. Music Director, Rae Moses, presides over an equally extraordinary 12-piece orchestra for the rich opening number, “The Bells of Notre Dame,” all enhanced by the dependable Sound Designs of David Mallory.

With a youthful cast numbering well over a hundred, the action plays out amid gorgeous candlelit interiors and colorful stained glass windows (Sets by Jonathan Shelledy, & Lighting by Blake Minor). The plot surrounds events in late 15^th and early 16^th century Paris where two orphans are given sanctuary by priests at the Cathedral of Notre Dame. One boy, Frollo (Brandon Brumfield) a pious and serious young man becomes a leading clergyman in the City of Light. Meanwhile his libertine brother, Jehan (Caleb Gurule) is cast out of the cathedral for his free-wheeling lifestyle and association with gypsies.

(L-R) Brandon Brumfield as Frollo & Jake Teall as Quasimodo

Many years pass before Frollo, now a great leader in the church, is called to Jehan’s deathbed and learns his brother’s death will leave his deformed gypsy infant an orphan. When his brother dies, Frollo feels it is God’s will that he raise the baby. He names the child Quasimodo, meaning “half-formed,” but the hideous boy is kept hidden in the bell tower of the cathedral where it becomes his task to ring the bells. As a young man, Quasimodo (Jake Teall) longs to see the world and his desperation turns to song with the beautiful, “Out There.” He escapes into the city for the approaching, “Feast of Fools,” when even thieves, beggars and gypsies are allowed to roam the streets for a day.

Peter McPoland as Clopin with the cast of “The Hunchback of Notre Dame”

This brings us to the joyous gypsy song, “Topsy Turvy,” one of the show’s most opulent and delightful numbers with its bright music, colorful gypsy costumes (designers, Kristi Tabor & Laurie Lewis), and whirling and splendid dancing from the cast (Choreographer, Sinclair Sledge). Anchoring that number is the explosive talent of young Peter McPoland in the role of the Gypsy leader, Clopin. He lights up the stage with his radiant energy.

Sara Marie Wojta as Esmeralda and the cast of “The Hunchback of Notre Dame”

Then we meet the brash and handsome young soldier, Phoebus (Seamus Doyle), now returned from the battlefield and proudly singing of, “Rest & Recreation,” while hoping to become Captain of the Cathedral Guard. Meanwhile the gypsy revelry continues as the beautiful Esmerelda (lovely Sara Marie Wojta), enchants the crowd with her sassy and seductive dancing during, “Rhythm of the Tambourine.” Miss Wojta’s voice would soon enchant us further with songs like her dreamy, “Top of the World” (with Quasimodo and the wonderful cast of Statues and Gargoyles), as well as the whirling and mood-lightening joy of “The Tavern Song” (with Frollo & the gypsies). Mr. Teall hits a vocal homerun with the tender and romantic, “Heaven’s Light,” which deserved loud applause, but the audience was afraid to break the spell. Then, under blood-red lighting, Brandon Brumfield brought dramatic and vocal ferocity to the powerful, “Hellfire,” as Frollo warns all of the dangers of temptation. Both he and Phoebus are tempted by the seductive beauty of Esmerelda, who turns her kind attention to poor Quasimodo when he is mocked and abused by the crowd. The rousing, full-company chorale of the song, “Esmerelda,” was a thrilling conclusion for Act One.

Semus Doyle as Phoebus & Sara Marie Wojta as Esmeralda

Act Two, while dark at times, and without a typical “happy ending,” had delights of its own with Mr. McPoland ruling the stage once again as Clopin joins the gypsies for the explosive, “Court of Miracles.” The rich ensemble harmonies of, “In a Place of Miracles,” and the lush and romantic, “Someday,” duet from Esmerelda and Phoebus set a standard of excellence that would soon be capped by the marvelous full company, “Finale Ultimo,” sending everyone home on a cloud of memorable music. BRAVO!

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 ThePeoplesCritic3@gmail.com .

2018 Finalists in the Young Texas Artists Competition

[Click any photo to enlarge. All Photos courtesy of Young Texas Artists and Susan Love Fitts Communications.]

The title of Thomas Wolfe’s well-known novel declares, “You Can’t Go Home Again,” but perhaps you really can. I can’t recall just how many years I have had the honor of reviewing the YOUNG TEXAS ARTISTS Music Competition’s Annual Finalist’s Concert & Awards program at Conroe’s elegant Crighton Theatre. The event is an official State of Texas Music Contest, and when I inserted “Young Texas Artists” into the little search box at my own website (www.ThePeoplesCritic.com) it pulled up a report titled, “Audience the Real Winner at E.Y.T.A. Final Competition,” that I had written fifteen years ago in March of 2003. I’m happy to report that the audience at this month’s competition was a winner once again, having been present for performances by eight of our state’s most accomplished young classical musicians.

Spearheading the event once again is the driving force of Conroe’s treasured, Susie Pokorski, in her role as President and CEO of The YTA Committee. Prestigious judges for the competition included longtime Julliard faculty member, Daniel Cataneo, piano soloist and master class clinician; John Ellis, Associate Dean of the University of Michigan; Music educator and renowned double bass player, Larry Hutchinson, who recently retired from the Detroit Symphony Orchestra; Popular flute soloist and recording artist, Brian Luce, Professor of Flute at the University of Arizona; and Roger Pines, who serves as dramaturg-literary adviser for Lyric Opera of Chicago. Emcee for the evening’s program was Houston-based writer, Eric Skelly, who also co-hosts (with St. John Flynn), “The Opera Cheat Sheet” podcast. Now a familiar face for this annual event, and serving once again this year as YTA Artistic Director, is accomplished music educator, lecturer and conductor, Emelyne Bingham, who has led such orchestras as Nashville Symphony, Toledo Symphony, and Buffalo Philharmonic, in addition to conducting for recordings of the orchestras for New York City Ballet and the Metropolitan Opera.

But with $20,000.00 in prize money in the offing, let us move on to the real stars of the evening: the contestants in each of the four categories, Strings, Voice, Piano, and the fourth category comprising Winds, Brass & Percussion.

Grand Prize Winner, Justin Douté, and his marimba.

The first performer, Justin Douté, competed in that latter category playing an enormous marimba that seemed to take up half the stage. Talk about “a tough act to follow,” this was it! Unlike its metallic cousin, the xylophone, the marimba bars are made of wood, and when struck by the musician’s mallets produce more resonant and lower-pitched tones. It is a unique and fascinating sound, especially in the extraordinarily talented hands Mr. Douté, sometimes holding 3 mallets in each hand. His performance of the very beautiful, and varied complexities of Keiko Abe’s 1937 composition, “Prism Rhapsody for Marimba & Orchestra,” was essentially an athletic event, and truly astonishing to witness. It would ultimately win him not only the Gold Medal and $3,000 First Prize in that category, but the evening’s $3,000 Grand Prize as well.

Silver Medal Winner, saxophonist, Jae-Hyun Ryoo.

Winning the Silver Medal and $1,000 Second Prize in that category was saxophonist, Jae-Hyun Ryoo, for his performance of Florent Schmitt’s rambling composition, “Légende, Op. 66,” which, while it was a fine demonstration of Mr. Ryoo’s technical fluency on the instrument, certainly did not give the audience a tune to hum on the way home.

First up in the STRINGS category was lovely Jaqueline Audas, performing the “Presto in moto perpetuo” from Samuel Barber’s “Violin Concerto, Op. 14.” Dressed in a strapless, crimson gown with glittering neckline, her slender and graceful arms brought lashing immediacy to the work’s brisk opening passages. Her racing dexterity and virtuosity would win her $1,000 as the Silver Medalist in that category. Then, wearing an elegant black gown topped with rhinestone highlights, and winning the $3,000 Gold Medal, would be Yena Lee for her relentless attack, precision fingering, fierce intensity and non-stop power in performing the “Burlesque: Allegro con brio” from the Shostakovich “Violin Concerto No. 1 in A minor, Op. 77.”

In the PIANO category, Hyunsuk Kim captured the Silver Medalist’s $1000 prize with a performance of the “Moderato” from Rachmaninoff’s “Piano Concerto No. 2 in C minor, Op. 18.” It moved smoothly from the ominous and pounding power of the opening passages, through the lush warmth of those that followed, in what seemed to be a well-planned journey toward a majestic musical destination during the intoxicating beauty of a rapturous performance. Not to be outdone, Dongni Xie would bring haunting beauty to her performance of George Gershwin’s “Allegro” from the “Piano Concerto in F.” Wearing gold and glistening high-heeled shoes, and yet another lovely crimson gown, her skillful rendition of the romantic, playful and prancing moments of a work full of unexpected twists and turns would reward her with the $3,000 Prize and Gold Medal.

In a strapless black gown of layered satin, soprano Sydney Anderson performed two selections in the VOICE category, offering first the desperate longing of Ned Rorem’s “Take Me Back,” from Our Town. She followed showing coloratura skill with the merry and much more pleasing “Je veux vivre” from Gounod’s “Roméo et Juliette,” and then winning the Gold Medalist’s $3000 Prize.

AUDIENCE CHOICE AWARD WINNER, Catherine Goode

Also performing two selections in the Voice category would be lovely soprano, Catherine Goode, dressed in a floor length gown of marble-like swirling black and dark teal. Opening with a selection from Mozart’s, “Le nozze di Figaro,” she concluded with a passionate performance of Leonard Bernstein’s, “Glitter and Be Gay,” from Candide. With her fine voice, graceful gestures and authoritative stage presence, it was theatrical, dramatic, and appropriately glittering and gay. She would not only win the $1,000 Silver Medal, but also the special Audience Choice Award of an additional $1,000. Clearly, she had helped to make this YTA audience a big winner like those that have gone before it. BRAVO!

[For more information about Young Texas Artists ( youngtexasartists.org ), and for sponsorship or volunteer opportunities contact Susie Pokorski at susiepokorski@gmail.com or 936-756-7017.]

The columns of David Dow Bentley III may be viewed online at the website: www.ThePeoplesCritic.com. Email may be directed to ThePeoplesCritic3@gmail.com .

BRIGHT STAR Band
L-R: George Guthrie, Wayne Fugate, Martha McDonnell, Skip Ward, Anthony De Angelis and Eric Davis. PHOTO by Craig Schwartz.

With claims of being “inspired by real events,” and with fine direction from Walter Bobbie, the current Theatre Under the Stars production of the Broadway musical, BRIGHT STAR, has no shortage of charms.

Edie Brickell and Steve Martin (photo by Danny Clinch)

A delightful collaboration of music and story by Steve Martin & Edie Brickell, the show has a compelling book by Mr. Martin and pleasant lyrics from songwriter, Brickell. While neither Brickell nor Martin performs in the show, he is well known for his skill on the banjo, so it is no surprise that the musical score for this sometimes dramatic piece of theatre has a sweet, bluegrass flavor, supported by a wonderful onstage band with musical direction from P. Jason Yarcho. The sometimes tricky plot has unexpected twists and turns that are occasionally disturbing, but take heart. As Shakespeare reminded us, “All’s well that ends well.”

We first find ourselves in North Carolina’s Blue Ridge Mountains during the post-war period of the mid 1940’s. Alice (Audrey Cardwell) works as an editor of other people’s stories, but in the opening number she alerts the audience that she has a story of her own to tell. Cardwell brings a lovely and lilting voice to “If You Knew My Story,” and the fine cast ensemble joins in for the building excitement of the song’s crescendo. That very talented ensemble takes on, in my opinion, a really starring role in this production. Those players drift gently in, out and around virtually every scene. They sing, dance, move set pieces for scene changes, and are an ever-present and ever-changing force that is never intrusive on the central action of the play. (Choreographer, Josh Rhodes).

One feature of this tale requiring careful audience attention is the use of flashbacks in time as Alice’s tale unfolds.

Carmen Cusack and Paul Alexander Nolan in Original Broadway Company of BRIGHT STAR (Photo by Joan Marcus)

We meet a handsome young returning soldier (and aspiring writer) named Billy, appealingly played by Henry Gottfried. When Billy arrives back at his family’s mountain cabin, he sadly learns from his Daddy (David Atkinson) that his mother has died while he was at war. The two sing a poignant and wailing duet of the touching, “She’s Gone.”

As things proceed from scene to scene, the set pieces glide and whirl across the stage, sometimes with the graceful aid of the aforementioned ensemble, thus revealing each new setting (Scenic Designer, Eugene Lee, shadowy lighting by Japhy Weidman, and pleasant country costumes by Jane Greenwood). Our young veteran reunites with his childhood friend, the lovely Margot (Liana Hunt), and while singing the show’s optimistic title song, he delights her with the news he is planning to seek publication of one of his original stories in the area newspaper. Soon after, he visits the office of the Asheville Southern Journal where he first meets the amusing office workers, Lucy (Kaitlyn Davidson) and zany Daryl (Jeff Blumenkrantz of the original Broadway cast). While Daryl and Lucy are dismissive of Billy’s stories, he finally meets Alice, the straight-laced and aloof editor who is intrigued by his bravado and bluster in putting himself forward as associated with some famous literary figures. She reminisces about her carefree youth and boyfriend, Jimmy Ray (Patrick Cummings) with the whimsical song, “Back in the Day,” As the ensemble players float about decorating the scene like barely visible phantoms, we suddenly see Alice transformed from stuffy and serious to young and gay. As the flashback time machine of the show goes into effect we find ourselves back in the 1923 of Alice’s younger self, where Jimmy Ray courts her with the lusty and toe-tapping tune, “Whoa, Mama.”

Jeff Blumenkrantz , AJ Shively , Emily Padgett, and the cast of BRIGHT STAR in the Original Broadway Company_(Photo by Joan Marcus)

The pair’s parents reject this romance, especially Jimmy Ray’s pompous father, Josiah, the town Mayor (Jeff Austin), but a one night stand by the riverbank results in an out-of-wedlock pregnancy and leaves the perception of tragedy in the air at the end of Act One.

I hesitate to give details of the second act, because for me, the unexpected plot twists that ultimately turn things around to bring us a very satisfying conclusion are an important part of this surprising story. But through all of the story’s ups and downs, this exceptional 10-piece, onstage band not only performed the appealing score beautifully, but happily had a special place in the spotlight for the “Entr’ Act” music that begins Act Two. Bravo to all!

BRIGHT STAR continues through March 25^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 http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

The columns of David Dow Bentley III may be viewed online at the website: www.ThePeoplesCritic.com. Email may be directed to ThePeoplesCritic3@gmail.com .

Cast of THE MUSIC BOX THEATRE (L-R) Kristina Sullivan, Luke Wrobel, Cay Taylor, Brad Scarborough & Rebekah Dahl.

Yes, it’s happily that time again. Spring is here, and Houston’s evermore popular MUSIC BOX cabaret is presenting its 2018 edition of “Broadway at the Box.” This little troupe of five very talented players, and their equally talented 5-piece G-SHARP BAND led by Music Director, Glenn Sharp, has become such a favorite local club during these past seven years that it is no wonder the spot now tops the city’s listings at Trip Advisor. Part of the appeal is the family atmosphere surrounding these gifted performers (Rebekah Dahl, Brad Scarborough, Kristina Sullivan, Cay Taylor and Luke Wrobel) who began their association years ago as members of the long-running Masquerade Theatre at Houston’s Hobby Center. Their several shows each year are built around original themes, light sketch comedy, playful banter, and above all, exceptional vocal skill, with terrific support from the fine band rounding out the great music. The cozy club also offers beer, wine and light snacks.

The current show is the club’s popular annual salute to Broadway, and this year’s edition began with a powerful performance of “Tradition” by Mr. Wrobel, from the musical classic, Fiddler on the Roof. Following in those powerful footsteps, Scarborough regally delivered a proud and princely tribute to Camelot, and offered deliciously cocky arrogance as Sir Lancelot during his rendition of the amusing, “C’est Moi.” A beaming Kristina brought warm, thoughtful and ever-rising joy to the thrilling escalations of “I Am What I Am,” from La Cage Aux Folles. Miss Taylor brought a dreamy quality to the Pal Joey hit, “Bewitched Bothered and Bewildered.” She was beautifully accompanied by the gentle and rich tones of a solo from band guitarist, Mark McCain, which appeared to bewitch the grateful audience. Fearlessly working his way through that audience, Wrobel returned with a gruff, snappy and snarling, “(Ya Got) Trouble,” from The Music Man. It was so engaging I found myself wishing I could see him do the full production. Dahl and Taylor captured all the heartbreak, longing and rich counterpoints as they joined forces for an exquisite duet of the tender “I Still Believe,” from Miss Saigon. And now, — I kid you not — in an astonishing moment echoing the Broadway original, a helicopter really descends from the ceiling! In such an intimate house it has to be seen to be believed! Dressed in a glittering outfit of black and sequins, Dahl brought a sparkle of her own to Andrew Lloyd Webber’s, “Tell Me on a Sunday,” from the show Song & Dance. Her poignant performance of this song about the end of a relationship brought another real touch of theatre to the proceedings. Act One closed with another Music Box tradition, the annual 7-Minute Musical. This year’s choice, Beauty & the Beast, while not the most musically satisfying seven minutes in the show, was certainly frantic fun with zany costumes and frenzied short bits of each song from the original, while an onscreen clock ticks off the remaining time like some Olympic event.

Act Two was full of fun as well, beginning with the three gals performing a sassy, sexy and seductive, “Cell Block Tango,” from Chicago that had a sensational ferocity. Departing briefly from the usual well-known song selections, Wrobel and Scarborough offered an amusing tribute to good-ole-boy buddies with a song celebrating their, “Man Crush.” Taylor followed with tongue-twisting skill for the sometimes strident tune, “Everybody Says Don’t,” from Anyone Can Whistle. The cast provides an uproarious medley of songs that each of them “could never be cast for.” It includes bits from Jesus Christ Superstar, Dreamgirls, Singin’ in the Rain, and Oklahoma. And oh, don’t miss Brad’s falsetto for, “I Feel Pretty!” His flair for comedy surfaces again when performing the amusing, “You’ll Be Back” as King George III in the musical, Hamilton. My guess is that once you sample a show at The Music Box, you’ll be back as well.

BROADWAY AT THE BOX 2018 continues through April 21st at the Music Box Theater, 2623 Colquitt, Houston, Texas, with 7:30 p.m. performances on Fridays & Saturdays. There will be 2 p.m. matinee on Sunday, April 8th. Reserved seating for all shows is $39 + tax, and General Admission is $29 + tax. For tickets and information call 713-522-7722 or visit the website at www.themusicboxtheater.com, where you can also find information about the upcoming show, Shake, Rattle and Roll (Songs of the 1950’s) beginning on April 28, 2018.

The columns of David Dow Bentley III may be viewed online at the website: www.ThePeoplesCritic.com E-mail may be directed to www.ThePeoplesCritic3@gmail.com