The Courier Columns – The People's Critic

(L-R) Brian Heaton as Treves with Caleb Glass as Merrick and Patrice Kentimenos as Mrs. Kendal
PHOTO by Denton Florian

Fans of the historic Crighton Theatre in Conroe, Texas, are well-acquainted with the high quality work of its resident company, STAGE RIGHT PRODUCTIONS, all under the guidance of producers, Carolyn & Steven Wong. As a general rule, the company often produces crowd-pleasing comedies and musicals, but that is not always the case. Consider the present exception to that rule with the current run of Bernard Pomerance’s, THE ELEPHANT MAN. Winner of the 1979 Tony Award for Best Play, this dark and very serious play is about as far from musical comedy as dramatic theatre can take us. But that fact did not dissuade the show’s courageous director, Craig Campobella, from taking on the task with his simply stated goal of creating a work of art that is, “…hopefully, worthwhile for our community.”

The disturbing plot is based on the sad but true story of Joseph Merrick. In this play he is named John Merrick (Caleb Glass), a man who lived during England’s Victorian period, and was cursed with a gruesomely disfigured body.

Michael Raabe as Ross, the promoter of The Elephant Man.
PHOTO by Denton Florian

As the play opens we find him being treated like some bizarre exhibit, and cruelly exploited as “The Elephant Man,” by his avaricious manager, Ross (Michael Raabe), who happily charges admission to curious onlookers who wish to view the pitiful soul trapped in such a wretched body. Raabe, by the way, gives an explosive, sometimes terrifying performance with the booming voice of some frightening Dickensian carnival barker.

Meanwhile, in a separate setting, we meet two medical professionals at London Hospital, a newly appointed young surgeon named Frederick Treves (Brian Heaton), and his new supervisor there, the hospital administrator, Carr-Gomm (Reid Self). Treves, learning of Merrick’s disturbing condition, brings him to the hospital for further investigation. While Merrick’s physical deformities are largely obscured by a shroud-like costume, only the hideously distorted face is visible to the audience. But conversations of the doctors reveal the horrifying details of an emotionless face, skin the texture of brown cauliflower, repulsive sacs of flesh hanging from the front and back of the body, and a head so enormous that Merrick must sleep sitting up. Nurse Sandwich (Marilyn Moore) is hired to attend to Merrick, but one look at his deformities sends her fleeing. Even in the hospital Merrick is put on display during lectures to other physicians, but a letter to The Times arouses both public sympathy and charity sufficient to create a fund for Merrick to be housed at the hospital for the remainder of his lifetime. He is given further comfort by the frequent visits of pious clergyman, Bishop How (Joshua Merillat), who endeavors to give Merrick spiritual guidance. Then Merrick is visited by Mrs. Kendal (Patrice Kentimenos), a kindly actress who stuns him by being the first woman to ever extend her hand in greeting. He shocks her by hoping that she might extend him more, but details of that encounter might give too much away. Nevertheless, Kendal brings some of her sympathetic and aristocratic friends to meet him. They are often surprised by his warmth and knowledge, and in one poignant scene the various visitors step forward singly to utter moments of self-examination, as they try to look at their own lives in relation to Merrick’s troubled circumstances. Clearly, the author is asking us to do the same.

It should be mentioned that Mr. Heaton, Mr. Self and Mr. Glass all displayed enviable skill as actors when passionately delivering several very lengthy monologues. Without going into too much detail on a production that serious local theatergoers may want to experience for themselves, it is important to note this is a very dark theater piece, and that darkness extends to storyline, sets (designer, Deanie Harmon Boy), lighting (Jim Murph), Victorian costumes (Denise Debold), hair designs by Adam Isbell, and mood (somber musical interludes). Gloomy blackness is everywhere, but there is an amusing break in the tension with the unusual freak show performance of the three singing Pinheads (Cameron Collins, Emili Stowe, Hannah Gilchriest). Their uniquely bizarre costumes and the make-up designs of Mr. Raabe, nicely accent their weird song, “We Are the Queens of the Congo.”

A number of minor supporting players add to the play’s success, and the cast summaries listed in the program had a notable comment from the talented 18 year-old Mr. Glass, who had so bravely accepted the title role in this complex piece of theatre. He expressed his gratitude to both director and cast for their support as he took on the, “…fantastic challenge that is THE ELEPHANT MAN.” Job well done by all concerned!

“The Elephant Man,” continues thru April 29th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Friday & Saturday, with a Sunday matinee at 2pm. For tickets and information call (936) 441-7469 or visit the website at http://www.stage-right.org/.

The Cast of Theatre Under the Stars production of OKLAHOMA!

[ All Photos by MELISSA TAYLOR. Click any photo to enlarge ]

There is bittersweet irony in the fact that the supremely joyful current OKLAHOMA! production from Theatre Under the Stars began its run at Houston’s Hobby Center on this past week’s September 11^th anniversary of one of the most tragic events in American history. Skillfully directed here by Kevin Moriarty, what better way to lift the spirits on such a somber occasion than to present this magnificent edition of the classic Rodgers & Hammerstein musical, now celebrating its own 75^th anniversary? And what better way to celebrate the beginning of the TUTS 50^th Anniversary Season?

Laurey in the OUT OF MY DREAMS ballet sequence.

TUTS Artistic Director, Dan Knechtges, is to be specially commended for initiating, in the wake of Hurricane Harvey’s tremendous destruction to the Houston Ballet’s home at the Wortham Center, a new collaboration with that company and its renowned Artistic Director/Choreographer, Stanton Welch. That new partnership now culminates in this glorious production, featuring more than twenty of the company’s brilliant dancers (that at various performances will include such established stars as Jessica Collado, Melody Mennite, Ian Casady, Charles-Louis Yoshiyama, Christopher Coomer, and Brian Waldrep), during the exquisite, “Out of My Dreams,” ballet sequence featuring the original choreography of the legendary Agnes de Mille.

Olivia Hernandez as Laurey and Sam Simahk as Curly

Set in the farm and cattle country of early 19^th century Oklahoma, the story centers on the flirtations and budding romance between handsome cowboy, Curly (Sam Simahk), and a sweet farm girl named Laurey (Olivia Hernandez).

Sam Simahk as Curly and Priscilla Lopez as Aunt Eller

She lives with her Aunt Eller (Priscilla Lopez), in a rustic farmhouse, and Laurey coyly enjoys resisting Curly’s advances, though he is not easily dissuaded.

Eric Ulloa as Jud and Hassan Nazari-Robati as Ali Hakim

Meanwhile, the sinister farmhand, Judd (Eric Ulloa) creates plenty of tension as he has eyes for Laurey as well.

Hassan Nazari-Robati as Ali Hakim, Olivia Hernandez as Laurey and Madeline Hamlet as Ado Annie

On the lighter side is the flighty and amusing romance between young Ado Annie (Madeline Hamlet) and her presumed fiancée, Will (Christopher Campbell), with her additional suitor, the traveling peddler, Ali Hakim (Hassan Nazari-Robati) adding to the fun. Of course, as with all R&H musicals, the marvelous music is king. With some twenty fine musicians in the pit, Musical Director, Kimberly Grigsby, was more than up to the task as he first took baton in hand to conduct the sublime opening “Overture.” Countless other delights would follow showcasing the gifted actors, dancers, singers and ballet stars assembled for this memorable production.

Right from the crimson morning sky of Curly’s sensational opening number, “Oh, What a Beautiful Morning,” the warm lighting from designer, Jason Lyons, and authentic country costumes of designer Karen Perry, would beautifully illuminate the scenes.

Cast of TUTS “Oklahoma”

Mr. Simahk’s solid and beautiful voice, combined with his rugged good looks, made me quickly think of the young Howard Keel. He would bring that same brilliance to numbers like the cheerful, “Surrey With the Fringe on Top,” and the magnificent love duet of “People Will Say We’re in Love,” with the vocally gifted Ms. Hernandez. Her bright and perky characterization of young Laurey peaks in the lovely, “Many a New Day,” when she is sweetly joined by the girls in the ensemble.

Cast of TUTS “Oklahoma”

There are knockout numbers like “Kansas City,” led by the energetic talent of Mr. Campbell, and the Act Two opener of, “The Farmer and the Cowman,” highlighting the feisty talents of Ms. Lopez. Both songs feature the dazzling singing and dancing of the full company, and the brilliant stars of Houston Ballet.

Along with the overall joy of the piece, as often typifies R&H musicals, there is an underlying touch of serious drama as we see here in the storyline surrounding the ominous character of Judd. Mr. Ulloa brings such passion to that role that I found myself wishing Judd would have a better outcome than the one I knew was coming. Nevertheless, there is abundant witty fun when Curly sings the hilarious funeral spoof, “Pore Jud is Daid.” And speaking of wit, there is plenty of that throughout the book of this very amusing show that will leave you with a special glow when the full cast of more than sixty artists comes on stage for the finale of the title song.

OKLAHOMA continues through September 23rd 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. The September 23^rd matinee will be the final performance. 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 SAVANNAH SIPPING SOCIETY
(L-R Carolyn Corsano Wong, Martha Davis, Lisa Schofield, & Cheryl Campbell)
PHOTO: All photos by David Clements & DWC Photography.
[Click any photo to enlarge]

By DAVID DOW BENTLEY III

www.ThePeoplesCritic.com

It’s hard to believe that STAGE RIGHT PRODUCTIONS has just completed its first decade as the resident company in Montgomery County’s crown jewel, the historic and beautiful Crighton Theatre. But if the current production opening the 11^th season is any indication, the next ten years look to be a rollicking good time. The play in question is the uproarious comedy, “The Savannah Sipping Society”, by Jessie Jones, Nicholas Hope, & Jamie Wooten.

DIRECTOR Dinah Mahlman

I confess to a bit of suspicion when Director, Dinah Mahlman, stepped on stage before the curtain with a few words of introduction that promised “a laugh a minute.” Let me tell you, she was not kidding. This show is both adorable and HILARIOUS right out of the gate! I was originally scheduled to review it on its opening weekend, but my flight from New York made that impossible, so I attended last Saturday night. Since this gentle comedy for just four players was not one of Stage Right’s blockbuster musicals with a cast of thousands, I anticipated a moderate-sized audience. WRONG! The house was packed from wall to wall, and without benefit of the kind words I will share with you here. After seeing the show, I realized the crowd must have resulted from not only local media coverage, but perhaps moreover, from an explosive word-of-mouth campaign from delighted audience members who laughed themselves silly the week before. I don’t ever remember laughing that hard for that long at the Crighton, and on the way home in the car afterward, my guest was calling all her girlfriends to urge their future attendance.

What makes all this fun possible? To begin with, we have a cute plot revolving around three mid-life crisis gals who happen to meet at a yoga class that will have you howling. Each has personal issues she is trying to work through, but don’t be frightened off guys. The men in the audience were laughing just as hard as the ladies.

Role Playing to combat stress

First we have Randa (a beaming Carolyn Corsano Wong, who brightens any stage). Company downsizing has found Randa abruptly fired from a job she loved in the business world, and replaced by a “3o year-old twit who wears bow ties!” Then there’s Dot (Martha Davis), who’s still struggling to come to grips with the death of the husband she had been planning a happy retirement with. She takes some consolation in the fact that, “He has now reached his ideal weight. 4 pounds including the urn!” She goes a step further cautioning the other girls that, “The shivering feeling you get when falling in love is just common sense leaving your body.” Finally we have the bitter, sassy and rowdy, Marlafaye (Lisa Shofield), who’s in a vengeful mood since her husband ran off with a twenty-something dental assistant. Marlafaye’s been suspicious ever since her husband began flossing between meals, and she contemptibly refers to her challenger as, “Little Miss Rinse and Spit.” Tying these characters all together is the arrival of a feisty new gal in town named Jinx (Cheryl Campbell). The real fun gets going when Randa has them all over to her home for cocktails on her lovely patio. (Set Designer, Melissa Cummins, — and if you like the wicker porch furniture you may have the chance to win it by buying a raffle ticket at Intermission). Jinx seems to sense the personal struggles revealed by the others as the wine flows and the very witty script gets rolling. She offers her services as a Life Coach to help her new friends move forward with life. Of course Jinx has had some issues of her own and shares that, “One guy I dated said I never listened to him. At least I think that’s what he said.”

Mojitos after Salsa Dancing

In addition to the abundant crackling wit, the show sports an eclectic and pleasing costume collection ranging from flamenco dresses to hilarious medieval Renaissance Festival garb. (Designer, Debbie LaRue). There is also use of an effective theatrical device supplying more laughs, when during each scene break, one of the characters steps forward into the spotlight and addresses the audience directly.

The Fun-filled Renaissance Adventure

Summing up, these four actresses give remarkable performances that speak very well of the crisp direction from Ms. Mahlman. If there’s one minor problem worth mentioning, the audience laughter is sometimes so uproarious it may drown out the next joke. But in addition to the wit, the play offers occasional bits of wisdom. A couple I recall: “The older you are, the harder it is to jump start a new life,” and how about this one? “It’s been said that the more you complain, the longer you live.” I’m reasonably certain no one will be complaining after attending this show.

THE SAVANNAH SIPPING SOCIETY continues thru September 23rd at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Friday & Saturday, with a Sunday matinee at 2pm. For tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

By David Dow Bentley III http://www.ThePeoplesCritic.com

With a one-night performance in Houston Symphony’s Jones Hall, it was more than a concert. It was truly a blockbuster event when the k. d. lang INGÉNUE Redux Tour honored Houston this week, as the final stop on the group’s 2018 North American Fall Tour that had included such cities as Ft. Lauderdale, Orlando, Jacksonville, Birmingham, Nashville, Austin, San Antonio, and Dallas. One suspects they had saved the best for last, and the seven talented musicians and back-up singers who accompanied Lang seemed to be in a particularly festive and playful closing-night mood that made the night more fun than ever.

Mak Grgić
PHOTO: http://www.makgrgic.com

But even before the curtain would go up on the main event, there was an astounding warm-up performer who deserved as much as anyone to be on the stage of our symphony hall. Classical guitarist, Mak Grgić, stepped forward to sit before the curtain and proceeded to absolutely dazzle the audience with his astonishing skill and virtuosity as he performed a variety of traditional pieces from the Balkan Peninsula area of his native land (the former Yugoslavia). The remarkable speed, dexterity, rapid-fire fingering and emotional passion this master musician brought to the musical selections, had the audience practicing its standing ovations even before Ms. Lang arrived on stage following intermission.

Then it was on to the main event as the full-house audience rose to its feet in frenzied greeting at the first appearance of the diminutive diva. That ovation would last several minutes before a single note was sung. I knew we were in for a night of fine music as I had already had the pleasure of reviewing Lang’s talent just one month before the calamities of 9/11 when she shared the Houston spotlight with Tony Bennett in a 2001 concert at The Woodlands Pavilion:

https://thepeoplescritic.com/2001/08/09/bennett-celebrates-birthday-at-pavilion/

Lang fan, Debbie Little, of The Woodlands, Texas, eagerly arrives for the concert.

As this latest show’s title would suggest, the concert was largely structured as a Celebration of the 25^th anniversary of her GRAMMY®-award winning, platinum album, “Ingénue,” and the recent release of its re-mastered Anniversary Edition, released by Nonesuch last year. Thus, this concert was essentially a full performance of that popular recording, and the groupies and fans who knew it well were out in force. There was no shortage of proud and animated gays in the audience, and the sense of collective adoration that shot across the footlights was reminiscent of the electrifying love that used to join Judy Garland with her devoted concert fans. Lang playfully tipped her hat to that group for attending, as she quipped, “Thanks for coming out. And if you did ‘come out,’ congratulations!” Like Garland before her, the power and passion in Lang’s voice was at once mysterious and captivating. But even more hypnotic here was the effect of the gorgeous and ever-changing lighting that embraced the stage with one of the most beautiful lighting designs I have ever enjoyed. The proscenium was softly draped with lush curtains, as hanging light globes above the stage and gleaming lantern lights at the rear completed a vision with the same warmth as the star’s voice. Rich, soft colors of crimson, gold, emerald, silver, sapphire and more would gently overtake the scene in a subtle rotation that visually enhanced every number. Those numbers would of course include the star’s classic, “Constant Craving,” and there were also selections from Lang’s 2016 recording, “case/lang/veirs,” produced in collaboration with Neko Case and Laura Veirs. And throughout the concert Lang would feature her talented cast in exceptional solo instrumental moments. It was very much a team effort, and in every way it was a winning team.

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 .

RAJATON a cappella ensemble

By DAVID DOW BENTLEY III www.ThePeoplesCritic.com

It was a night of music that I dare say will not be soon forgotten by those of us blessed to be in the Jones Hall audience for the Houston Symphony’s celebration of what was simply titled, THE MUSIC OF ABBA. Of course, thanks to the world-wide popularity of the Broadway musical, MAMA MIA, much of the program would be familiar to last weekend’s sellout crowds with such tunes as “Dancing Queen,” “Chiquitita,” “Money, Money, Money,” “One of Us,” “Voulez Vous,” “Does Your Mother Know?” “Head Over Heels,” “Mama Mia,” “Gimme! Gimme! Gimme!” “The Winner Takes It All,” “Thank You For The Music,” “Fernando,” and “Waterloo.” The varied selections would all combine to create an atmosphere of utter and complete joy in the house before the night was over, and it was that latter tune, the group’s first big hit, that launched them into the stratosphere of pop music in 1974.

Steven Reineke, conductor

Presiding over this splendid concert was the youthful, slim, and endlessly animated conductor, Steven Reineke, looking equally splendid in a meticulously tailored charcoal suit, with gleaming patent leather dress shoes of black and glittering silver. He displayed the grace of a ballet dancer as he guided his gifted musicians through the lush “ABBA MEDLEY” overture that opened the program, while touching beautifully on many of the tunes mentioned above. But that was just the beginning.

The featured guest performers would be the six talented members of the extraordinary RAJATON a cappella vocal ensemble from Finland. They strutted proudly on stage, beaming with joy that would quickly spread to an appreciative audience. While their Finnish names (Jussi Chydenius, Essi Wuorela, Soila Sariola-Lehtinen, Hannu Sepola, Ahti Paunu, & Aili Toivonen) might be difficult for us to spell or pronounce, their musical magic spoke a universal language that needed no translation. Whether performing with the orchestra, or in the strictly a cappella style for which they are best known, the handsome group of three men and three women, would blissfully captivate Jones Hall throughout the performance. That would be true right from their opening trifecta medley with a gentle and gliding, “Dancing Queen,” a fun-filled, “Money, Money, Money,” that featured a terrific, pulsing beat, and then the story-telling beauty and gorgeous vocal blending of, “One of Us.” Below the overhead spin of a sparkling disco ball at the ceiling, there was pleasing light choreography silhouetted against a hot-pink backdrop during the a cappella wonders and clever counterpoints of “Head Over Heels,” with its rhythmic and intoxicating blend of mouth-popping and microphone-tapping sound effects.

RAJATON a cappella ensemble

With the orchestra accompanying once again, the ensemble delivered an “S.O.S.” that nicely reflected on the “emergency” desperation that sometimes accompanies love. But the bright mood quickly returned with the perky and upbeat, “Take a Chance on Me,” as the hand-clapping audience joined in. Enhancing the staging, the bubbly singers, dressed in eclectic yet elegant attire, would have fit in well at any wedding, and were always in motion, changing positions or dancing lightly. All of that was evident as the singers beautifully concluded Act One with the twin delights of the tongue-twisting, “Chiquitita,” and the ever-popular, “Mama Mia.”

Following the intermission, the orchestra againtook center stage performing, “People Need Love — An ABBA Symphonic Medley,” a choice collection of ABBA tunes of many moods, that was beautifully peppered with sparkling percussion and the richness of the strings, all under the baton of the merry and graceful conductor Reineke.

Steven Reineke conducting the Houston Symphony

When Rajaton returned to the stage there would be a soaring, “When All Is Said and Done,” resounding choral richness for, “Knowing Me, Knowing You,” and then the fully a cappella joys of the mystical and entrancing, “Fernando.” Amid some gently undulating choreography, the group essentially became its own orchestra in a way that might remind old-timers of the Mills Brothers. There was so much more before the audience would be literally dancing in the aisles to a reprise of, “Dancing Queen,” but it seems safe to say that the one song that best described the feelings of the appreciative audience would have to be, “Thank You for the Music.”

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 .

Portia Durant and the Cast of Class Act Productions’ THOROUGHLY MODERN MILLIE

By DAVID DOW BENTLEY III www.ThePeoplesCritic.com

[All photos by Tracy Robinson/spryART. Click any photo to enlarge.]

It would be another terrific musical offering from Montgomery County’s treasured youth theatre group, Class Act Productions. Last weekend in the Nancy Bock Performing Arts Center of The Woodlands, Texas, the show was the lively Broadway musical, Thoroughly Modern Millie, with book by Richard Morris & Dick Scanlan, new music by Jeanine Tesori and new lyrics by Dick Scanlan.

Keith Brumfield

Taking the helm as director for this latest effort was the troupe’s renowned Founder and Artistic Director, Keith Brumfield. He had wonderful support from Music Director, Rae Moses, and his fine orchestra, and the snappy Overture quickly captured the excitement and fast-paced mood of NYC. With all due respect to those two talented gentlemen, I can’t conclude this first paragraph without declaring that Choreographer, Lindsay English, and her astonishingly gifted young cast of dancers, have collectively put their best foot forward in more ways than one. Dance would rule the day for this knock-out production!

The arriving audience was greeted by the attractive set design of Jonathan Shelledy depicting a dark Manhattan skyline silhouetted against an inky blue night sky. (Scenic artists, Heather Brown & Becky Steele).

Seamus Doyle as Jimmy Smith

The time is the early 1920’s, and an eager and starry-eyed young woman from Kansas, named Millie Dillmount (pretty Portia Durant), has just arrived on the early morning streets of the Big Apple. With innocent appeal and suitcase in hand, she plans to take the town by storm in her quest for a good job and a rich husband. However, a sudden mugging leaves her without money or options. Ignoring the suggestion that she head back to Kansas from a young man she encounters (Seamus Doyle in the role of Jimmy), she summons up her true grit and soon finds herself in the suspicious Hotel Priscilla.

(L-R) Sarah Yeates as Dorothy, Portia Durant as Millie, and Daniela Garrett as Mrs. Meers

It is there that young ladies suffering hard times sometimes disappeared at the hands of the conniving owner (Daniela Garrett as the zany Mrs. Meers).

Beau Snortland as Ching Ho, and Luke Tabor as Bun Foo

With the help of the two hapless Chinese immigrant brothers in her employ (Beau Snortland as Ching Ho, and Luke Tabor as Bun Foo), Meers happily kidnaps unsuspecting girls who are shipped off to the white slavery trade in Hong Kong. Tabor and Snortland provide plenty of laughs chattering away in Chinese that is hilariously translated for the audience via captions projected above the proscenium. Miss Garrett’s devilish performance as Meers was capped by her sinister number, “They Don’t Know.” Meanwhile, Sarah Yeates explodes on stage giving a scene-stealing and comic performance as Millie’s newfound friend at the hotel, Miss Dorothy Brown, a wealthy and glamorous femme fatale. She is slumming a bit in the shoddy hotel in order to learn, “How the Other Half Lives,” as the gals deliver that prancing and adorable duet.

Evan Carlson as Graydon and Portia Durant as Millie

Millie finally lands a job as stenographer to the boss of the Sincere Trust Insurance Co., Mr. Trevor Graydon III (Evan Carlson). Millie takes Grayson’s shorthand examination under the watchful eye of the cranky secretarial pool supervisor, Miss Flannery (Skylar Doescher, in a comical performance that suggests she would be well-cast as Miss Hannigan in a future production of ANNIE). The tongue-twisting rapidity of the Millie/Grayson duet of “The Speed Test,” is a number remarkably well done by Durant and Carlson, while sensationally accompanied by the tap dancing of the colorfully costumed ensemble of office secretaries.

Miss Flannery (Skylar Doescher) leads her tap-dancing office workers.

Of course Millie has hopes of capturing Graydon as a husband, but Dorothy suddenly shows up to seduce him herself. That would be just one of the show’s many on-again, off-again romantic relationships that add to the fun.

In addition to the aforementioned Durant, Garrett, Yeates, Doescher, and Carlson, the show’s many pleasant song numbers also feature fine vocals from Doyle as Millie’s ultimate love interest, Jimmy, and Megha Sengupta as the wealthy singer/socialite, Muzzy Van Hossmere.

MILLIE and her “flappers’ dance the Charleston.

Yet another mesmerizing tap-dance sequence from the ensemble that had to be seen to be believed, was the dazzling Speakeasy scene for the cleverly titled, “Nutty Cracker Suite.” That Charleston-style number displayed more breathtaking tap dancing and colorful period costumes (designer, Kim Freeman), all beautifully showcased by the fine lighting designs of Blake Minor. If the dancing was the star of this show, I would have to say the costumes were the co-star. It would all pass for professional on Broadway, and don’t be surprised if one day some of these talented youngsters end up there.

CLASS ACT will perform the Christmastime favorite, It’s A Wonderful Life, on December 14, 15, & 16. For tickets and information visit http://www.classactproductions.org/ .

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com E-mail may be directed to ThePeoplesCritic3@gmail.com .

The Cast of INTO THE WOODS
All Photos by Dave Clements / DWC Photography. Click any photo to enlarge.

The music of Broadway composer, Stephen Sondheim, is unusually complex and sophisticated, but sometimes considerably dark as well. It would never be confused with the cheerful Rodgers & Hammerstein tunes that you might hum on the way home from a theater. So it is, that I tend to approach Sondheim with a bit of caution. Such was the case when I attended last week’s opening weekend of Stage Right’s very wonderful production of Sondheim’s INTO THE WOODS, with its unique musical peek into the world of childhood fairy tales. (Music & Lyrics by Sondheim, Book by James Lapine). It happens that I had never seen either a staged production or the subsequent film of the show, and my brief research about it left me wary about how the complicated plot described could possibly be carried off. Stage Right has answered all my concerns with a delightful production.

The Narrator

Little Red Riding Hood

The Baker & Wife

The key elements of that success are several. First and foremost, gifted director, Tina Cafeo, has assembled an outstanding cast with the exceptional vocal talent required to take on this very difficult musical score. Complementing those efforts was the very fine orchestral recording that accompanied the singers while pairing perfect synchronization with their voices. (Musical Director, Ana Guirola Ladd). The skill, timing and memorization involved for these actors to carry this all off so successfully were simply remarkable. Dressed in sensational storybook costumes (designer, Denise Schmidt DeBold), the wonderful performers include Mandy Hall as the frightening Witch. Gavin McKinnon plays the distressed Baker, who along with his equally troubled wife (Sarah Walker Wilkins) is seeking relief from the Witch’s curse on their home. Velvet-voiced Hillary Moore is an enchanting Cinderella, and Cain Hamilton is her dashing Prince full of bluster. Cossette Czarnopis is a multi-faceted Little Red Riding Hood, who provides plenty of fun, even when up against the mean old Wolf (Douglas Holcomb). For Beanstalk fans, the part of young Jack is beautifully performed by Hayden Olds. Jack’s mother is played with appropriate desperation by Diana Egley, when Jack infuriates his mom by accepting a handful of beans in payment for selling the cherished family cow, Milky White. (Amusingly played, in a very unique costume, by Becky Kinch, who also doubles as Red Riding Hood’s Granny). Imprisoned high in the tower with her long golden tresses, the flaxen-haired Rapunzel (Meredith Fisk), is pursued by her own handsome Prince (Nicholas Gant), who could probably win a Best Dashing Leap contest for his hilarious jumps off stage. For still more hilarity we have the comically costumed (and wigged) Cinderella’s Stepmother (Jo Champion), and the outlandish stepsisters, Florinda (Nadia Urrea Wall) and Lucinda (Alyssa O’Brien).

The Princes

Jack and his Mother

Cinderella

The clever interaction of all these characters is nicely punctuated from time to time as the Narrator (Jim King) steps forward to elegantly address the audience with bits of guidance on the evolving plot. Similarly, an odd character called The Old Man (John Kaiser) occasionally pops briefly into scenes with unexpected and amusing comments. Also adding variety to the piece is a troupe of graceful dancing fairies (Grace Nichols, Katie Kowalik, Katie Selthofer, Elizabeth Mair, and London McDaniel), who sometimes assist scene changes and sometimes dance gaily up the audience aisles. (Choreographer, Dinah Mahlman). Additional fine supporting players include Phil Clarke, Scarlett Czarnopis, Baron Daniel Jackson, and Madison Lyons.

The Old Man

The Wolf

Stepmother and Daughters

Rapunzel & the Witch

It is worth mentioning that the show is structured in two distinct parts: Act One with its very happy ending that reportedly caused some opening night audience members to go home at intermission believing the show was over. Act Two might be a bit too complex and convoluted for some, as it undertakes to tell us what happens to the characters several years later. There were some happily giggling children in the audience, but parents of the very young might consider slipping home after Act One of this fairly long production. In any event, pleasant images will linger long in memory because beautifully framing all of this action is the irresistibly delicious fairytale set and scenic design of Kara Kowalik. From prison towers and thatched roofed houses, to emerald green forests and palace ballrooms, it is charming all the way.

INTO THE WOODS continues thru November 4th at Conroe’s Crighton Theatre, 234 N. Main. Performances are 8pm Friday & Saturday, with Sunday matinees at 2pm. For tickets and information call (936) 441-7469 or visit the website at www.stage-right.org/.

The Cast of THE WIZ
[All Photos by Melissa Taylor. Click any photo to enlarge]

By DAVID DOW BENTLEY III www.ThePeoplesCritic.com

It was just before curtain time when Dan Knechtges, the very enthusiastic Artistic Director of Houston’s Theatre Under the Stars, stepped on stage to welcome the audience of the current run of the new TUTS production of the Charlie Smalls musical, THE WIZ. Mr. Knechtges promised the audience it was “in for a treat,” and I am sure many would agree when the final curtain came down. With its creative book by William F. Brown, this 1975 Broadway success was a pioneer in the use of an all-black cast. In this edition, the able direction of Robert O’Hara, cute and flashy choreography of designer Byron Easely, witty costumes of designer, Dede Ayite, and Darryl G. Ivey’s fine Musical Direction with full orchestra, all combine to deliver the “treat” that had been promised.

I’m sure no-one needs a recap of L. Frank Baum’s iconic American tale of The Wizard of Oz, with its legendary heroes, the Tin Man, the Lion, the Scarecrow, and their young teenaged farmgirl friend, Dorothy, all of whom passed into legend via the classic 1939 film starring Judy Garland. They all return to us here in this fun-filled and funky rendition of the story that has been making the rounds on stage and in film for nearly 4o years. Readers who may have longed for a chance to hear the kinds of powerhouse vocalists that headline world-renowned gospel choirs need look no farther. Delivering sensational solos that could reach the upper balconies without the aid of a microphone, we have the talents of Salome Smith (Dorothy), Marva Hicks (The Wiz and Uncle Henry), Simone Gundy (as Addaperle, The Good Witch of the North), Allyson Kaye Daniel (as the Lion), and Yvette Monique Clark (in a triple-role as Aunt Em, the Wicked Witch, Evillene, and as Glinda, the Good Witch of the South). Christopher Campbell as the Scarecrow, and Paris Nix as the Tin Man bring along vocal magic of their own.

Salome Smith (Left) as Dorothy & Simone Gundy as Addaperle

The action plays out on a generally bare stage that is enhanced by a unique central scenic design looking much like a five-pointed crystal surrounding a magic door. That crystal-like shape (set designer, Jason Sherwood) is ever-changing throughout the show via colorful lighting (designer Alex Jainchill), and imaginative projections (designer, Aaron Rhyne). Equally imaginative are the eye-popping costumes of designer, Dede Ayite. The costumes were often amusing as well, as in the case of Miss Gundy’s scene-stealing, Addaperle, with her hilarious headpiece, and of course the colorful balloon suits on the Munchkin-like youngsters in Oz, played merrily by six young members of the local Humphreys School of Musical Theatre.

While some relationships may seem a bit underdeveloped dramatically, (as was the case in the opening scene between sassy young Dorothy and her strict Aunt Em), the solid music and great vocals would quickly rush to the rescue, along with some terrific special effects as in the suddenly arriving tornado.

The Cast of THE WIZ

Further support would come from the fine choral ensemble and the several dazzling ensemble dance segments, capped by more delightfully flashy costumes like those in the infectious, “Ease on Down the Road.” That number was reminiscent of the glittering gold and top-hatted dancers from, “A Chorus Line.” Another infectious tune that would follow the audience home was Act Two’s, “Everybody Rejoice,” which is much better known by the title it should have had, “A Brand New Day.”

Salome Smith as DOROTHY

Among the vocal highlights was pint-sized Miss Smith’s surprisingly powerful, “Soon As I Get Home.” As the panhandling Scarecrow, Mr. Campbell fires off a high-energy, “Born on the Day Before Yesterday,” that smacked of some Michael Jackson-style dance moves. The Tin Man’s song, “Slide Some Oil to Me,” was not the catchiest tune, but Mr. Nix livens it up with some snazzy tap dancing.

(L-R) The Lion, The Tin Man, The Scarecrow & Dorothy.

Singing the “Mean Ole Lion” song, Miss Daniel, beautifully costumed in mangy and rust-colored layered fur, filled the stage with ferocity as the Lion’s long tail whirled about behind her.

Marva Hicks as THE WIZ

Another eye-popping costume comes with the arrival of our mincing and prancing Wiz, with Miss Hicks adorned in glittering emerald green pants and shimmering matching cloak. And all of that fun comes before the Intermission. Why not ease on down the road and check out the full production for yourself, especially if you have any youngsters in need of a first experience of attending live theatre?

THE WIZ continues through November 4th at Houston’s Hobby Center main stage with performances Wednesday & Thursday at 7:30 pm, Friday & Saturday at 8pm, and 2pm matinee performances on both Saturday and Sunday. For tickets visit the website at http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

A member of The American Theatre Critics Association (ATCA), 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 .

The Cast of BROADWAY LIGHTS
(L-R) Alan Simmons, Joseph Li, Kelli Estes, Carol Daubert

By David Dow Bentley III www.ThePeoplesCritic.com [Click any photo to enlarge]

Kelli Estes

And speaking of a “match,” the wonderful “BROADWAY LIGHTS” production Miss Estes’ Lone Star Lyric troupe just provided Houstonians was performed at the local MATCH Theatre Complex (https://matchouston.org/) located at 3400 Main Street in Houston. The event was a follow-up to the recent roadshow performances that took place during the group’s cabaret tour across North and West Texas under the auspices of both the Texas Hill Country Opera & Arts, and the Sweetwater Municipal Auditorium Applause Series. Here in Houston, the cozy Matchbox Theatre 1 venue was an intimate space with comfortable seating, and the audience surrounding the performers on three sides of a small stage that was backed by soft curtains, glowing in ever-changing pastel lighting from designer, Jim Elliot.

Joseph Li

The group’s wonderful trio includes Joseph Li on piano, Alan Simmons on bass, and Carol Daubert on drums, — each a brilliant musician of the first class, and all a joy to the ear thanks to fine balanced sound from designer, Kevin Romero. Perfectly capping that collaboration would be a night of sublime vocals from frequent Lone Star Lyric performer, Stephonne Smith, and of course from the group’s gifted soprano and founder, Miss Estes, now in her 13^th year of bringing eclectic and sophisticated musical joys to Houstonians who know outstanding music when they hear it.

The first delicious taste of the band came with its upbeat Overture from the classic musical, Gypsy. That was a perfect lead-in to Estes’ first number from that same show, a shimmering rendition of, “Some People,” that was as much a touching drama as it was a vocal triumph.

Stephonne Smith

Wearing a chic plaid suit and elegant black turtle neck, it was then Mr. Smith’s turn to immediately captivate the audience with his rich, resonant, and commanding bass voice, delivering the song, “Razzle Dazzle” from the musical Chicago. It was seasoned with playful nonsense that included wide-eyed facial expressions, gentle movement, and even a seated soft-shoe dance that added to the fun. Displaying bird-like vocal purity, Estes followed with a lilting and lovely medley of tunes from The Sound of Music that had the audience singing along for “Do-Re-Me,” and then ending with an “Edelweiss” as clean as alpine snow. The pair then combined forces for an equally satisfying medley of Lerner & Lowe show tunes. “The Rain in Spain” was a merry duet with great percussion elements from Miss Daubert. Smith hit homeruns with, “On the Street Where You Live,” and a dreamy, rich, “If Ever I would Leave You,” that would have had a standing ovation from the late Robert Goulet. Kelli’s perky, “I Could Have Danced All Night,” was a winner as well, before the pair delivered another darling bit of theatre with their touching, “I Remember It Well,” from Gigi.

Stephonne Smith

It is worth noting that in addition to his many national and international Broadway and concert successes, the talented Mr. Smith toured for six years playing the title role of Mufasa in the Broadway musical, The Lion King. His stunning performance here of, “Can You Feel the Love Tonight,” was ample proof of why he was chosen. Before night’s end, his additional conquests would include a soaring, “Luck Be a Lady,” a sensational Man of La Mancha medley, a zesty, “Take the ‘A’ Train,” a “One For My Baby” that would have brought Sinatra to his feet, and a thrillingly breath-taking, “Old Man River,” the very song that launched Smith’s career when he was still in high school. Meanwhile, Estes had a parade of triumphs of her own that included a poignant “Somebody, Somewhere,” from The Most Happy Fella, a lashing performance of “Cabaret,”, a magical, “Bewitched,” a radiant, “Over the Rainbow,” (with lighting to match), and a breezy “Summertime,” with great solo moments from the band (which also offered a fine Gershwin medley, brilliantly headlined by maestro Li on the eighty-eight for a delicate, tender performance of, “I Love You, Porgy”).

CURTAIN CALL for Lone Star Lyric

Of course there were additional beautiful pairings with our stars joining forces for a very wonderful, “Wunderbar,” and a splendid medley of countless wonderful tunes from the vast Rodgers & Hammerstein songbook that seemed a tour of Broadway all on its own. The closing, “Tonight, Tonight,” from West Side Story was the perfect musical symbol of a night to remember.

No wonder Lone Star Lyric fans can hardly wait for the next offering, a holiday show aptly titled, “All That Glitters,” running November 30^th thru December 2^nd. For tickets and information visit the MATCH website mentioned above (phone 731-521-4533), or contact www.LoneStarLyric.org, and LoneStarLyric@gmail.com (phone 917-414-9577).

A member of both The Lambs Club and The American Theatre Critics Association (ATCA), 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 .

THE MUSIC BOX CAST (L-R)
Kristina Sullivan, Rebekah Dahl, Luke Wrobel, Cay Taylor, Brad Scarborough

By DAVID DOW BENTLEY III

Regular customers of The Music Box Theatre (and there are plenty of them filling the house at each performance), are very familiar with the way each month-long production has a creative new theme. The current offering, BACK TO THE 80’S, may sound familiar to those who attended their similar production titled, The 80’s Mix Tape Diaries just two years ago. At that time the plot thread was built around a fictional tale of characters involved in the 1980 eruption of Mt. St. Helens. This time around we have a unique approach as a fictional parody of the famed TV soap opera, Dallas, unfolds to loosely (at times very loosely) link together assorted songs of the period.

(L-R) Sullivan, Dahl, Scarborough, Wrobel, Taylor

We meet the dull-witted fading champion wrestler, Johnny Texas ‘T’ Riggs, (played by Luke Wrobel, and humorously known as “J.R.”), and also J.R.’s not-so-devoted wife, Eileen (Rebecca Dahl), who loves his sprawling Texas ranch, but loves their handsome pool boy, Marco Pollo, even more (Brad Scarborough). Johnny Texas ‘T’ is murdered early on, and the resulting who-done-it raises suspicions of Johnny’s gambling floozy daughter, Geraldine (Cay Taylor), and his seductive German psychoanalyst, Sybil (Kristina Sullivan.) That is probably enough to say about the sometimes tedious and sophomoric plot that was aptly described from the stage as both “historical fiction like cable news,” and “complex and spider web-like.” It can be alternately amusing and exhausting, but as usually happens at this fun-filled venue, the music saves the day under the watchful eye of music director, Glenn Sharp, with his fine G-Sharp Band.

Right out of the gate the cast proves the music rules with a lively performance of the Queen/David Bowie hit, “Under Pressure.” The rhythmic, pulsing and calypso-flavored number was full of kooky fun that was highlighted by the playful mischief and frenzied falsetto high notes from Mr. Scarborough. The second selection paired the Queen/INXS numbers, “Another One Bites the Dust,” (featuring lashing percussion from drummer, James Metcalfe, and another fine vocal from Brad), followed by Miss Dahl joining in with a sexy counterpoint for the fiery rhythms of, “Need You Tonight.” Wrobel and Taylor duet for a romantic rendition of the Kenny Rogers/Kim Carnes number, “Don’t Fall in Love with a Dreamer.” Sullivan continues the dream theme with the Crowded House tune, “Don’t Dream It’s Over.” Wrobel brings plenty of intensity to Gregory Abbott’s, “Shake You Down,” while the quartet offers gentle backup while bouncing around behind the onstage bar. The five join together for the Roxette song, ‘It Must have Been Love,” and then Dahl shows the acting skills she honed during years with the Masquerade Theatre, as she delivers a fierce performance of Cindy Lauper’s hit, “Girls Just Want to Have Fun.” There was more falsetto magic when Brad launched into the A-Ha hit, “Take On Me.” (I overheard one woman near me saying, “That song was my favorite music video ever!”) Miss Dahl led the ladies into vocal outer space as the guys joined in for band Journey’s 1980’s hit, “Don’t Stop Believing.” It was just the end of Act One of this jam-packed show, but it was more than enough to convince fans to keep believing in the musical magic at THE MUSIC BOX. Stop by soon while Act Two is included at no extra charge, and visit the wine & cheese bar where tasty Mimosas are also available. The cast proudly promises, “We are better when you’re drinking!”

BACK TO THE 80’s continues through December 1st at the Music Box Theater, 2623 Colquitt, Houston, Texas, with 7:30 p.m. performances on Fridays & Saturdays. There will be a 2 p.m. matinee on Sunday, November 25th. 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, A Beatles Holiday Cabaret, playing December 7^th-29^th.

A member of The American Theatre Critics Association (ATCA), 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

By DAVID DOW BENTLEY III www.ThePeoplesCritic.com

For weeks Americans across this land have been virtually paralyzed with a sense of desperation and hopeless despair as they watch reports of the unprecedented California forest fires destroying entire towns while leaving thousands of our fellow citizens displaced and homeless with nothing but the clothes on their backs. The heart wrenching scenes seem apocalyptic in scope. In some strange way, they seem to parallel the equally heart wrenching scenes in this month’s powerful production of Larry Kramer’s explosive and heartbreaking play, THE NORMAL HEART, as bravely performed by the talented young cast courageously directed by Emmy Frank at Lone Star College – Montgomery, in The Woodlands, Texas. Would that this were a work of theatrical fiction, rather than this tragic and fact-based 1980’s story of the early years of the AIDS crisis in New York City. Making the saga even more poignant has been the author’s revelation that his play contains many autobiographical elements from his own life experience during that horrifying era.

Except for occasional tables, chairs, beds or hospital gurneys, the appropriately minimal set (designer Ross Brighten) presents us with a largely bare stage. That stage is dramatically crisscrossed, on both floors and walls, by angular, blood-red lightning bolts that seem to aptly depict the violent storm that is engulfing the city. The troubling plot revolves around a group of gay young men in Manhattan who have been watching countless gay friends die of a mysterious terminal illness. HIV-AIDS had not yet been identified or defined by the baffled medical community struggling to cope with the growing epidemic. A group of gay activists begins to coalesce around an effort to bring public attention to a crisis being largely ignored by politicians, press and the public. Leading the charge is the loudly outspoken, Ned Weeks (a powerful performance by Dylan Tobin). Ned meets resistance as he tries to secure financial assistance for the group’s efforts from his wealthy lawyer brother, Ben (Devin Ballou). When the brothers clash, Ned rages about how this crisis for gays echoes the way the Jewish “problem” was so widely ignored in World War II. The performances of Tobin and Ballou here provide plenty of fireworks. But they are not alone in offering high drama in this explosive play. Trip Gauntt portrays Bruce Niles, a closeted bank vice-president and less confrontational member of the group that would become known as Gay Men’s Health Crisis (GMHC). Fearing the unpredictable fury that Ned might bring to the public face of GMHC, the group instead selects Bruce as its president. Plenty of ensuing sparks will fly from other group members, including fiery performances from Angel Portillo as Mickey, and Devin “Judy” Norwood, who seems to literally take flight in giving us the stereotypically effete character of Tommy. (Interestingly, in the 2014 TV film version, that role was played by the more familiar Jim Parsons of Big Bang Theory fame). The excellent supporting cast included fine work from Jackson Hicks as Craig and Brian Vinson as David.

Standout performances came from lovely Anna Strickland as the compassionate Dr. Emma Brookner, and handsome David Martinez as Ned’s lover, the New York Times fashion/style columnist, Felix Turner. Strickland brings wonderful warmth to the story as a caring and concerned medical doctor and researcher desperate to find both a cure for the dreaded disease and an awakening of public and political awareness. For his part, Mr. Martinez gives an astonishing performance as a promising young career professional who has found success and love that are ultimately undone with his discovery that he, too, is infected by the unforgiving disease. His riveting death scene will linger long in memory, and one can only wonder how the actor could give both afternoon and evening performances of such power on matinee days. Bravo!

For Further Information about Theatre at LONE STAR COLLEGE – MONTGOMERY, visit the website at: www.LoneStar.edu/Theatre-Montgomery.

A member of both The Lambs Club and The American Theatre Critics Association (ATCA), 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 .

Sara Preisler plays rising star, Peggy Sawyer, in Stage Right’s “42nd STREET” at Crighton Theatre.

[All Photos by David W. Clements / DWC Photography. Click any photo to enlarge]

(L-R) Cain Hamilton, Sara Preisler, and Michael Martin lead the cast in “Lullaby of Broadway.”

Even if you have not yet been a lucky audience member for Stage Right’s new production of the legendary Broadway musical, 42^nd STREET, perhaps you have heard the cheers and tap shoes now blowing the roof off the Crighton Theatre in downtown Conroe. Better hurry if you want to get tickets for this one.

Manny Cafeo

Director, Manny Cafeo, has spared nothing in creating this sensational musical blockbuster, and choreographer, Dinah Mahlman,

Adam Isbell (left) and Ms. Preisler lead another showstopper.

must have magic powers of her own as evidenced by the stunning performance of her talented dancers. Even before the opening curtain rises, the arriving audience is made ready for tap dance glory via an onscreen projection of the “Tap Dance in America” video from renowned hoofer, Gregory Hines.

Michael Martin as director, Julian Marsh

Then it was time to enter the 1930’s world of this musical creation featuring music by Harry Warren, lyrics by Al Dubin, and book by Michael Stewart & Mark Bramble. Structured as a “play within a play,” the cheerful plot surrounds the backstage story of the rehearsals for a new musical titled, “Pretty Lady.” Michael Martin gives a convincing performance as that show’s authoritative and demanding director, Julian Marsh.

Layne Roberts as Dorothy Brock

Layne Roberts, with her powerful voice and flair for comedy, provides plenty of campy fun with her diva-like portrayal of the show’s temperamental and fading star, Dorothy Brock. Though she is past her prime, Marsh tolerates Miss Brock as star of the show in order to secure the financial backing of her wealthy boyfriend, Abner Dillon (J. David LaRue).

Carolyn Wong as Maggie and John Kaiser as Bert

Speaking of comic flair, it is no surprise that Carolyn Corsano Wong brings plenty of that to her role as Maggie, one of the show’s two writer/producers.

Cain Hamilton and Sara Preisler

Cain Hamilton plays the show’s handsome lead tenor, Billy Lawlor, and he is quickly smitten by the belated arrival of a pretty would-be chorus girl named Peggy Sawyer (Sara Preisler). The twosome duet beautifully for the cheerful, “Young & Healthy,” but when Peggy is abruptly dismissed by the choreographer, (Adam Isbell), for arriving late to the audition, she collides with the director while scurrying off stage. Thus, we have the makings of the “small town girl makes it big on Broadway” storyline that propels the plot.

The Cast of 42nd STREET

What follows is an absolutely splendid parade of great songs and dances, all decorated with the elegant and eye-popping costumes from designer, Debbie Preisler. They bring a seemingly endless and multi-colored world of shimmering glitz and glamour that keeps surprising us from scene to scene amid the pleasant scenic designs of Kara Kowalik. Sound Designer, Ms. Wong, and Musical Director, Ana Guirola-Ladd, have so skillfully incorporated and synchronized the show’s recorded musical soundtrack that one would almost swear there was a full orchestra in the pit. Meanwhile, with huge and hilarious feather boa sleeves on her over-the-top white gown, Miss Roberts (above) leads the talented ensemble for the well-staged “Shadow Waltz” ballet.

Maggie (Carolyn Wong) rides the on-screen train to
Shuffle Off to Buffalo.

The ever-perky Ms. Wong delightfully lights up the stage as she leads the whirling chorus girls in an unusual, seated tap number titled, “Go Into Your Dance.” Then Roberts returns, adorned in lush royal purple chiffon, to sing, “You’re Getting to be a Habit With Me.” It is not long before she is back in a glittering gray gown to offer a solid, “I Only Have Eyes for You.” As the cast heads off to-out-of-town tryouts, technical director, Jim Bingham, cleverly takes us all along on the train ride with skillfully added on-screen projections that would also enhance the “Shuffle off to Buffalo” number in Act Two.

Fashions galore during DAMES.

The soundtrack volume was a bit too loud as the appealing Mr. Hamilton (looking sharp in top hat, black tie and tails) nicely delivered the tune, “Dames,”

Dinah Mahlman hams it up nicely during DAMES

while the ladies strutted on stage in a virtual fashion show of stunning art-deco inspired gowns worthy of Hollywood.

Showgirls are soaring during “We’re in the Money.”

To top it off, Act One concludes as the full cast brings us the show stopping, one-two punch of a dazzling extravaganza that features not only a title song finale, but also a “We’re in the Money” number that features both sensational tap dancing and sparkling emerald green costumes that look to be from the Land of Oz. They should be auctioned off for St. Patrick’s Day!

Of course Act Two is full of more delights as Peggy finds herself suddenly drafted to replace the lead when the star, Miss Brock, is injured in a fall. An enormous and gifted cast too large to itemize here will send you happily home humming tunes like, “Lullaby of Broadway,” “About a Quarter to Nine,” and “There’s a Sunny Side to Every Situation.” In closing, allow me to make a suggestion while stealing a line from the lyric of the show’s title song:

“COME AND MEET THOSE DANCING FEET…” You won’t be sorry!

42nd Street runs thru February 24^th with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on Sunday. Tickets cost $24, $20, $15, according to age, with discounts for groups. Reservations are available at www.stage-right.org, or call 936-441-7469 weekdays between 3 and 6 p.m. The Crighton Theatre is at 234 N. Main in downtown Conroe, Texas.

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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.

By DAVID DOW BENTLEY III “The People’s Critic”

ELLA FITZGERALD
Photo; Courtesy of Library of Congress

I don’t remember the exact details of the performance, but sometime in the late 1970’s or early 80’s, I recall viewing one of the early PBS telecasts of Live from the Metropolitan Opera. The series featured full live productions direct from the stage of The Met, with interesting backstage interviews of key members of the company, also presented live during the intermissions. I cannot recall who was being thus interviewed, but I remember the moderator asking, “Have you ever encountered a singer with perfect pitch?” The respondent hesitated, at first replying, “Perfect pitch? No…but oh, yes… Ella Fitzgerald.” It is not surprising then, that this past weekend the Houston Symphony saw fit to present a splendid tribute concert titled “The Ella Fitzgerald Songbook,” honoring the late great legendary singer. On the surface such an undertaking might seem doomed to failure, for who could hope to find a singer that could successfully replicate the brilliant song styling of such a vocal genius? Leave it to the Houston Symphony to find not one, but three such blazing talents, and the result was a concert of such sheer magnificence that one could only hope Miss Fitzgerald was enjoying it from some heavenly balcony above.

Under the skillful and very animated baton of conductor, Steven Reineke, the orchestra got things off to a snazzy start with the rousing big band classic, “Take the A Train.” Then it was time for the first of the talented ladies to take center stage.

CAPATHIA JENKINS
Photo: Courtesy of Houston Symphony

With her wide smile, and dressed in a sparkling sea-green gown, a beaming Capathia Jenkins launched into a joyful, “Strike Up the Band.” She followed with the pleasing Gershwin/Nelson Riddle arrangement of “Clap Yo’ Hands,” but her microphone seemed briefly out of balance with the powerful orchestra for that number. Next up was the arrival of vocalist, N’Kenge, wearing an absolutely sensational gown of flowing red-orange chiffon, with gleaming rhinestone belt, and a dramatic full-split design. She offered a sassy, perky audience sing-a-long of a Cab Calloway nonsense song titled “Zah, Zuh, Zaz,” and brought it to a fierce and soaring conclusion. She then made a surprisingly mellow shift to the passion and desperation of her wrenching, “Stormy Weather.”

MONTEGO GLOVER
Photo: Courtesy of Houston Symphony

Continuing what at times seemed like an elegant fashion show, the third performer, Montego Glover, arrived on stage in a creamy, form-fitting gown that sparkled from top to bottom as she took off like a vocal rocket with a solid and authoritative, “You Go to My Head,” and then moving on with her smooth phrasing (and occasional scat singing) for a gentle and embracing, “I Can’t Give You Anything But Love (Baby).” Then, while the ladies took a breather, the orchestra delivered a sexy, “The Lady is a Tramp,” with terrific sax and trumpet solo moments, and a fine arrangement that seemed to have the various sections of the orchestra talking to one another. In the next segment Jenkins returned to the stage bringing whisper-like tenderness and delicacy to, “Our Love is Here to Stay,” and N’Kenge arrived in a soft, pink layered wedding cake gown for her sultry and seductive, “They Can’t Take That Away from Me.” Miss Glover then closed out the first half of the program bringing a sense of theatrical drama to a “Come Rain or Come Shine,” that had a thrilling conclusion.

Following the intermission, while conducting the orchestra in the musical excitement of “One O’Clock Jump,” the visibly enthusiastic maestro Reineke appeared to be doing some jumping of his own on the podium.

N’KENGE
Photo: Courtesy of Houston Symphony

Back now in a sleek and fascinating gown, N’Kenge performed a sensational, “Fascinating Rhythm.” Jenkins followed with a merry and explosive, “Something’s Gotta Give,” and Glover warned us of musical delights ahead with an enticing, “The Best Is Yet to Come.” A joyous and prancing, “Mack the Knife,” from the orchestra had a pulsing and thrilling finale. N’Kenge reappears in a smashing feathered gown and calms the room, as a tinkling piano leads her into the classic barroom tale of, “One For My Baby (And One More For the Road).” It captured the appropriate melancholy at the outset, but seemed to wander into excess showy vocal embellishments toward the end. Glover’s “God Bless the Child,” was a warm and touching rendition of the Billie Holiday hit, and Jenkins glows as she sings a haunting, “Summertime,” that lifts the audience heavenward even before she sings the line, “Spread your wings and take to the sky.” The three divas combined forces at the end bringing a silken blend to “Blues in the Night.” The cheering and appreciative audience leapt to its feet in ovation, and was rewarded with an encore of “C’mon Get Happy.” But it was too late. We were already there!

A member of both The Lambs Club Inc. and The American Theatre Critics Association (ATCA), 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

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

By DAVID DOW BENTLEY III “The People’s Critic”

The Texas-sized excitement of our city’s annual Houston Livestock Show & Rodeo was just minutes away, but over at the nearby Music Box Theatre, the chic cabaret’s popular cast of five is serving up annual excitement of its own with this year’s edition of The Best of Broadway. In the near-decade of this company’s success, that tight-knit and talented troupe of entertainers (Rebekah Dahl, Brad Scarborough, Luke Wrobel, Kristina Sullivan and Cay Taylor) have continued to keep the club’s popularity at the top of Houston-area entertainment listings with their numerous creative productions each year. This yearly Broadway celebration is a favorite among them.

In the current show, Music Director, Glenn Sharp, continues to preside over his talented G-Sharp Band. While many Music Box productions are scripted with varied themes to frame the music, in this case the audience is forewarned that there would be a more free-wheeling and spontaneous format for this salute to The Great White Way. Making a surprise entrance through the audience from the rear of the theater, Miss Dahl opened with a fierce and exciting “Downtown,” from Little Shop of Horrors, that was nicely decorated by the solid bass voice of Mr. Wrobel, while Scarborough joins in rounding out some terrific harmonies and counterpoints. In the next number, the rich resonance of Brad’s voice would be a vocal laser beam for the thrilling, “Corner of the Sky,” from Pippin. A trio from the gals followed with no shortage of energy during Funny Girl’s, “Don’t Rain on My Parade.” That number seemed a bit frantic at times, and might have benefited from a slightly slower and more thoughtful tempo. Luke then joked a bit about being, at age 14, the youngest cast member of his high school’s Guys & Dolls production, but it was easy to see how he was chosen. He led the wonderful “Luck Be A Lady,” number, backed by the smooth blending of a great quartet from his cast mates. Miss Taylor then stepped forward to tease the audience with, “Now we’re gonna have some fun miserably.” She then proved her worth as a vocal storyteller, bringing dreamlike and piercing focus to, “I Dreamed a Dream,” from Les Miserables, during a performance that was enhanced by elegant touches from Mark McCain on lead guitar. There would be a web of mystery for the explosive performance of the title song from Flashdance, before Luke and Brad followed with some silly fun as a couple of dudes in oversized cowboy hats, during their robust, “They Call the Wind Maria,” (aka Mariah) from Paint Your Wagon. Kristina then turned things a bit more serious with an agonizing look at life’s changes during her melancholy, “She Used to be Mine,” from Waitress. Rounding out Act One was the group’s traditional and challenging,”Seven Minute Musical,” actually performed under a ticking clock for exactly that long. This year’s winner, The Sound of Music, has lots of frenzied merriment that included some zany nuns for “How Do You Solve a Problem Like Maria?” some laughable and leaping choreography for, ”Sixteen Going on Seventeen,” with a perky and whirling, “The Lonely Goatherd.”

Act Two is no less fun, and begins with Brad leading his compatriots in the excitement of the title song from Hamilton, as they brilliantly conquer the amazing rapid-fire and tongue-twisting lyrics of that song. Cay then calms things a bit with her sultry and seductive, “Whatever Lola Wants,” from Damn Yankees. The ladies then combine forces for the thrilling, “As if We Never said Goodbye,” from Sunset Boulevard. From the show, Forever Plaid, Brad provides a lush, warm rendition of the old Johnny Ray hit, “Cry.” Rebekah followed that with a visual and embracing, “Memory,” from Cats, that was full of passionate desperation.

With a thrilling “Old Man River” from SHOWBOAT, Luke Wrobel won a standing ovation.

A cheerful change of pace then arrived as the guys offered “Nowadays,” and “Hot Honey Rag,” with their hilarious version of the Bob Fosse choreography from Chicago. As we say in Texas, “It was a hoot!” Miss Sullivan brought lashing power to the title song from, “Man of La Mancha,” and soon it was time for a major standing ovation as Luke applied his sensational bass voice to a song he must have been born to sing: “Old Man River,” from Showboat. The audience leapt to its feet. For a perfect finale, the joyful and gyrating cast offered a medley from Hair, with “Aquarius” & “Let the Sunshine In.” One suspects they could give Undulating Lessons on their days off. Come see for yourself.

BEST OF BROADWAY performances continue at the Music Box Theater, 2623 Colquitt, Houston, Texas, through April 20^th at 7:30p.m. Fridays & Saturdays, and there will be Sunday matinees at 2 pm on March 24^th and April 14^th. Reserved seating for all shows is $41, and General Admission is $31. 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, Songs of the SILVER SCREEN.

Steinway CEO, Ron Losby (center), with the 2019 Young Texas Artists competition finalists.
PHOTO: Brad Meyer

By David Dow Bentley III “The People’s Critic”

[Click any photo to enlarge]

In the book of Ecclesiastes 3:1 (KJV), scripture reminds us, “To every thing there is a season…” and what a joyful season of the year we have now as spring warmth replaces winter’s chill, clock changes bring us longer days, and better still, The Young Texas Artists Competition brings us the much anticipated Concert of Finalists. The event, now celebrating its 35^th year (with the continuing brilliant leadership of the organization’s President, Susie Pokorski, and Artistic director, Emelyne Bingham), is dedicated to recognizing the finest young classical musicians from the great state of Texas. The week-long competition (www.YoungTexasArtists.org), culminates with the annual Bach, Beethoven & Barbecue Dinner Dance & Auction, with its ultimate goal of raising scholarship funds for many of the talented young contestants. That Gala party, superbly co-chaired by Terry Husbands Giles and Allyson Ayton, was held last Saturday evening in a grand pavilion set up just around the corner from Conroe’s Crighton Theatre.

Gala diners enjoyed a performance by the Kilgore Rangerettes.
PHOTO: Courtesy of ThePeoplesCritic.com

It set a musical mood of its own as the guests enjoyed the wonderful country sounds of the Highway 105 Band, and a high-kicking performance by the famed Kilgore College Rangerettes, all while dining on the finest Texas barbecue imaginable. My guest and I had the added pleasure of dining with Annette Spikes, the very enthusiastic representative of the Greater Conroe Arts Alliance, (www.greaterConroeArtsAlliance.com) who provided the crowd with information about the group’s Rising Stars & Legends of Texas event schedule for this past week.

Mistress of Ceremonies, Jade Simmons speaks with finalist, Artem Kuznetsov, during the onstage interviews.
PHOTO: Brad Meyer

But soon we all found ourselves across the street in the elegant Crighton to enjoy the thrilling performances of the eight finalists in four categories, skillfully hosted by beautiful Jade Simmons, noted concert pianist, motivational speaker, and charming broadcast personality with American Public Media, and NYC’s leading classical radio station, WQXR. Competing in the first category of WINDS, BRASS, PERCUSSION, HARP & GUITAR, would be Won Lee, with his performance of Mozart’s “Allegro aperto,” from the Concerto for Flute and Orchestra in D Major. He brought brisk perfection and a bird-like fluency full of gaiety to the piece, proving himself a joyous Pied Piper of the first order. The effort would win him the gold medal and $3000 First Prize in that category, but his competitor, Zhi-Yuan Luo, was dazzling as well, with his performance of Luigi Bassi’s, Rigoletto Fantasia for Clarinet and Piano. The handsome young man with shining black hair, had equally shining skill on clarinet, casting a hypnotic spell as he ably navigated the dramatic variations of the complex and challenging work. The fluid and delicate movements of his physicality seemed to reflect the every twist and turn of this long, but very delightful piece. The audience was not unaware of this, so in addition to his Silver Medal and $1000 Second Prize, he would also win the vote for the additional $1000 Audience Choice Award.

In the STRINGS category two gifted gentlemen would compete on violoncello. First up was John Belk performing two movements from Samuel Barber’s Concerto for Violoncello & Orchestra. The somber and rich opening strains of the “Andante sostenuto,” soon moved to the vibrant excitement of the “Molto allegro e appassionato,” a work that was sometimes thoughtful and brooding, and sometimes fierce and authoritative. The performance would win him the Silver Medal and $1000 Second Prize. Meanwhile, Lukas Goodman would take home the Gold Medal and $3000 First Prize for his performance of the “Allegro,” from Dvorak’s Concerto in B Minor for Cello & Orchestra. He brought evident dexterity to this piece of many moods, displaying gypsy-like flair as his tousled hair bounced freely across his forehead during each exciting phrase of his mellow performance.

Soprano, Bronwyn White
PHOTO: David W. Clements / DWC Photography

In a sleek, dark gown, soprano Bronwyn White began the VOICE competition as she brought romantic flair to the exquisite opening notes of “Quel guardo…So anch’io la virtù magica,” from Don Pasquale. Her coy and delightfully theatrical performance was at once playful and delightful, while being marked by graceful movement, superb vocal control and soaring high notes. Her reward would be the $1000 Second Prize and Silver Medal.

Mezzo-Soprano, Brennan Blankenship
PHOTO: David W. Clements / DWC Photography

Winning the Gold Medal and $3000 First Prize would be mezzo-soprano, Brennan Blankenship, whose powerful and elegant voice would match her elegant black satin gown and shimmering necklace during her brief, but very impressive performance of “Sein wir wieder gut,” from Richard Strauss’ Ariadne auf Naxos.

In the PIANO category, Vincent Ip brought immediate and ferocious attack to the prancing opening passages of “Allegro, ma non troppo” from Prokofiev’s Piano Concerto No.3 in C major. There was rapid precision and thunderous excitement before the sudden shift to the rapturous romanticism of the composition’s more delicate passages; and then, ultimately, the fabulous and exciting conclusion that certainly earned Mr. Ip his Silver Medal and $1000 Second Prize. Finally, perhaps saving the best for last, pianist, Artem Kuznetsov, would capture the Gold Medal and $3000 First Prize with his performance of the thrilling, “Allegro con fuoco,” from Tchaikovsky’s familiar classic, Concerto No.1 in B-flat minor. Perhaps it was the exacting precision he brought to the rippling and pulsing grandeur of the piece that seemed to totally captivate the cheering audience. It was then that the esteemed panel of distinguished judges (Eric Mitchko, Diane Schultz, Kay Stern, Kirk Trevor and William Wellborn) named Kuznetsov as the winner of the night’s GRAND PRIZE, an additional $3000 and a Texas State Flag that had been flown over the capitol in Austin. That put everyone in just the right mood for the closing audience sing-a-long of “Deep in the Heart of Texas.”

Conductor KEITH LOCKHART with the Boston Pops Orchestra PHOTO: Courtesy of CWM Pavilion

By DAVID DOW BENTLEY III “The People’s Critic”

The Orchestra tunes up before ShowTime.

[Click any photo to enlarge]

Arriving Boston Pops fans eagerly await the arrival of Maestro Lockhart.

Longtime readers of this column may recall my report of the last visit of conductor, Keith Lockhart and the Boston Pops Orchestra to the Cynthia Woods Mitchell Pavilion.* That performance was seventeen years ago in August of 2002, but last week’s return engagement, with Lockhart again conducting, was every bit as splendid. It was indeed the perfect opener for the Pavilion’s 30^th Anniversary Season. Titled LIGHTS, CAMERA…MUSIC! SIX DECADES OF JOHN WILLIAMS, this tribute to the prolific composer of music for cinema got off to a lushly beautiful start with the “Main Title & Overture,” from Heidi. The majestic sweep of the music and the echoing call of the Alphorn seem to transport us to the hillsides of the Swiss Alps. Then, under smoky, sea-blue lighting amid the relentless pounding of the kettle drums, there came a sudden shift toward nerve-wracking tension, with the always thrilling “Theme” from Jaws. That tension would escalate further with the pulsing rhythms of the “Main Title” from The Towering Inferno.

Mr. Lockhart met with a group of children in the Pavilion’s MINI MAESTROS Program designed to encourage new audiences by making appreciation of the arts fun, as well as accessible for youngsters of all ages. PHOTO: Courtesy of CWM Pavilion

The next segment, titled Around the World with John Williams, began with the mystical and oriental flavors of “Sayuri’s Theme” from Memoirs of a Geisha, featuring a magnificent solo performance from principal cellist, Ronald Lowry. That was elegantly followed by the “Suite” from Far and Away, opening with its high-stepping flair and joyous accents of an Irish jig. The final segment of this first half of the concert was titled, The Magic of John Williams, and began quite appropriately with the whirling and tinkling mystery of “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone. Its sudden surges of passion were guided by the sweeping embrace of the strings and punctuated by the orchestra’s fiery brass. During “Stargazers,” from E.T. the Extra-Terrestrial, principal harpist, Ina Zdorovetchi would continue the enchantment casting a hypnotic spell with the haunting delicacy of her performance on such a perfect night for a concert under the stars. The orchestra would then supply the perfect finale for part one of the program with a soaring and sparkling trip heavenward via the majestic power of the “Flying Theme,” from E.T. the Extra Terrestrial.

Cynthia Woods Mitchell Pavilion Board of Directors (from left: Carol Garner; Chairman Jonathan Homeyer; Estelle P. McLaughlin; Andrew E. Steinberg; and, Pavilion President and CEO Jerry MacDonald) welcomed renowned Maestro Lockhart at a special reception in The Woodforest Bank Club prior to the concert.
PHOTO: Courtesy CWM Pavilion.

Following Intermission the audience was quickly called to attention with the thrilling “Raider’s March” from Raiders of the Lost Ark. Then the final two sections of the program began with John Williams: Facing History and Ourselves, which opened with the poignant, Theme from JFK, featuring a stirring performance from Terry Everson on trumpet. In yet another stunning solo performance, concertmaster, Charles Dimmick beautifully captured all the heart-wrenching reverence of the haunting Theme from Schindler’s List. As the orchestra moved on to the stately, warm elements of early American music in the Theme from The Patriot, I was reminded of so many warm summer Sunday nights when my family enjoyed the U.S. Military Band’s concerts on the banks of the Hudson River at West Point where patriotism was on full display. Then, in a selection that might fit well into next October’s annual Hocus Pocus Pops concert from the Houston Symphony, the orchestra provided the suitably spooky twists and turns of the “Devil’s Dance” from the Witches of Eastwick.

The first 2000 arriving guests received the Pavilion’s 30th Anniversary Poster by artist Carlos Hernandez.

The exciting final portion of the program, May the Force Be With You, began with the thunderous “Imperial March” from The Empire Strikes Back, which served as a perfect reminder there is nothing like hearing such monumental music from a live orchestra. Closing out the program would be a performance of “Rey’s Theme” from The Force Awakens, and then the inevitable and thrilling Main Title from Star Wars. That film would also supply the playful and delightful, “Cantina Band” song, the first of several encores to calm the cheering crowd. After a long and strenuous evening of his ever-graceful conducting from the podium, maestro Lockhart was not too tired to wow the audience with a couple of hand-clapping favorites: “Deep in the Heart of Texas,” and “The Yellow Rose of Texas.” Who wouldn’t love him after that?

* https://thepeoplescritic.com/2002/08/29/boston-pops-caps-symphonic-week-at-pavilion/

COMING SOON to the Cynthia Woods Mitchell Pavilion on April 6, 2019: FRANK The Man, The Music, starring the number one singing impressionist in the world, Bob Anderson, performing the music of Frank Sinatra with a 32-piece orchestra. For tickets call LIVE NATION at 800-745-3000. For information call 281-364-3010 or visit the website at www.woodlandscenter.org.

BOB ANDERSON as Frank Sinatra at The Cynthia Woods Mitchell Pavilion
COURTESY PHOTO

By DAVID DOW BENTLEY III “The People’s Critic”

They say that “seeing is believing,” but there are magical times when that old saying seems dramatically challenged. Such was the case last Saturday night when a unique concert titled “FRANK. The Man. The Music” was presented at the Cynthia Woods Mitchell Pavilion in The Woodlands, Texas. Houston area fans of “Old Blue Eyes” were out in force, and although the beautiful venue was not at full capacity on that pleasantly warm spring evening, those fortunate enough to be in the audience would see and hear an event that few would soon forget. In a word, the performance of Bob Anderson* so thoroughly embodied the sound and spirit of the late, great, Frank Sinatra, that it was simply remarkable. To illustrate that, I harken back to some forty years ago when I had the pleasure of escorting my late mother to Radio City Music Hall to see Sinatra in concert. It was a more mature voice than that of the Capitol Records era years before, but it was very wonderful nonetheless. The point I would like to make is this. If, on that occasion four decades ago, Mr. Bob Anderson could have magically walked out on that Music Hall stage in place of Frank Sinatra, I venture to say he could have sung the entire concert and fooled the majority of the audience in the process.

Woodlands Pavilion Courtesy photo

Sporting an elegant black tuxedo at Saturday’s performance, Anderson’s physical appearance, voice, gestures, mannerisms, and overall attitude of “cool,” made it appear he was spiritually “channeling” the Great One. It was breathtaking to see, and an utter joy to hear, accompanied by the 32-piece Vincent Falcone Orchestra that included many talented Houston-area musicians borrowed for the occasion. All of this would be skillfully guided by renowned pianist and Musical Director, Joey Singer.

That brings us to the essence of Sinatra, the seemingly endless catalogue of his immense repertoire. It seemed appropriate that Anderson began the program by giving the audience the musical invitation of a soaring, “Come Fly With Me.” The crowd roared its approval and was rewarded with a warm, embracing, “For Once in My Life.” A jazzy and elegant rendition of Cole Porter’s, “I’ve Got You Under My Skin,” would feature one of the many legendary Nelson Riddle arrangements to be heard throughout the evening. The lively Anderson would bounce freely about the stage, and then, between numbers, he would punctuate the proceedings by playfully addressing the audience and sharing humorous banter with the band. There would be a visually shimmering, “Moonlight in Vermont,’ and a “My Heart Stood Still,” full of passion. During his delightful, “The Lady is a Tramp,” his smooth gestures seemed to be drawing pictures in mid-air. Delivering a smooth and super-cool, “The Best is Yet to Come,” he then joked with the audience, “I hope you all live to be 100, but I mean no offense to those that are 99.”

Pavilion Staff had the opportunity to meet backstage with Mr. Anderson. (Center)COURTESY PHOTO

Then came a joyful celebration of Chicago with the Sammy Cahn/Jimmy Van Heusen tune, “My Kind of Town.” Gently tinkling on the ivories with “In the Wee Small Hours,” conductor Singer led into Anderson’s shadowy, well-crafted and melancholy saloon song medley featuring, “Here’s That Rainy Day,” and then, with drink in hand, Johnny Mercer’s classic, “One for My Baby.” Then, with thoughtful instincts for every phrase, Anderson delivered a captivating, “Don’t Worry ‘Bout Me.” The snazzy “Luck Be a Lady,” that followed was full of all the energy, power and Vegas pizazz that we associate with Sinatra. A hauntingly beautiful, “It Was a Very Good Year,” proved Anderson’s skill as a master story-teller.

It may have been a bit over-long, but there was an amusing re-enactment of a recording studio session to perfect the final cut of, “I’ve Got the World on a String.” Then came the romantic and rhythmic sounds of Brazilian composer, Antônio Carlos Jobim, as Anderson offered a smooth and relaxed, “In My Loneliness,” and the visually seductive, “Girl from Ipanema.” A brassy, “Here’s to the Band,” celebrated the musicians backing up the star, and then the obligatory, “New York, New York,” had all the dazzling excitement we expect from that Sinatra standard. An absolutely stunning, “Old Man River,” was followed by a sensational, “All the Way,” that seemed it must be the grand finale. But the indefatigable Anderson kept right on rolling with a medley of touches from, ”Witchcraft,” “Strangers in the Night,” “Fly Me to the Moon,” “Night and Day,” “The Summer Wind,” “That’s Life,” and, of course, the Paul Anka classic, “My Way.” Amid the long and continuing cheers of the standing ovation that followed, many patrons started to head for the exits. After two hours without an intermission, imagine their surprise when the star launched into yet another gem with one of the richest jewels of the evening as he beautifully sang the lovely, “Send in the Clowns.” Here’s hoping the rumors are true that this show may be heading for Broadway. New York, New York will be ready!

* For interesting background on Bob Anderson, visit the Peggie Miller column linked below:

https://www.yourconroenews.com/neighborhood/moco/events/article/Peggie-Miller-Sinatra-experience-opens-13703665.php

The Cast of Stage Right’s DIARY OF ANNE FRANK at the Crighton Theatre.

By DAVID DOW BENTLEY III “The People’s Critic”

[All Photos by Dave Clements/DWC Photography* Click any photo to enlarge]

The wonderful Stage Right Players, resident company of the exquisite Crighton Theatre in Conroe, Texas, is well known for its many delightful productions of musicals and comedies. But the group is not afraid to take on more serious offerings from time to time, as was the case with last season’s production of The Elephant Man. Continuing in that vein, Directors, Bonnie Hewitt & Meredith Ann Gaines, now bring us a poignant revival of The Diary of Anne Frank, the 1956 play by Frances Goodrich and Albert Hackett. The original Broadway production won the Pulitzer Prize, the Tony Award, and the Critics Circle Award. Based on the actual and tragic events recorded in Anne’s diary, this is a timeless play in every way, but what is perhaps most surprising is that such a serious drama can be at once so heartbreaking, while at the very same time being so uplifting.

On set for cast of DIARY OF ANNE FRANK

Such is the case in this epic 1940’s tale of eight Jews trapped for over two years in the hidden upper rooms and attic of an Amsterdam warehouse/office building. The cramped and authentic set from designers Hewett & Gaines, nicely frames the harrowing tale of these eight courageous souls, in their desperate attempt to avoid capture by the Nazis during the waning days of World War II.

German officers (Baron Daniel W. Jackson & Sean Sears) challenge Mr. Frank (John Sallinger) and daughter, Anne (understudy, Cristin Burris)
*THIS PHOTO by Michael Pittman

But before you even enter the theater to see that set you must first present yourself to a frightening German Waffen SS military officer (Baron Daniel W. Jackson), with an ominous guard dog at his side.

If approved as an audience member your ticket will be stamped with the Nazi seal.

That Nazi officer mans the entrance desk in the lobby and reviews your credentials as you present your theatre ticket for examination. If approved, he will literally stamp the back of your ticket with the seal of the German Reich, and you will then be permitted to enter.

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

The central character in this drama is, of course, young Anne Frank herself, played here with splendid sensitivity and coming of age enthusiasm by Katie Kowalik.

Katie Kowalik stars as ANNE FRANK.

Anne helps to advance the plot by sometimes stepping out of character to address the audience as narrator, often accompanied by brief snatches of classical music. Kowalik’s performance as this thirteen year-old girl overflows with such joy and optimism in the face of extreme hardship, that it cannot help but lift one’s faith in humanity, the Nazi horrors notwithstanding. The characters trapped here with Anne include her father, Otto, (affectionately played by John Salinger), her patient and understanding mother, Edith, (Maria O. Sirgo), and Anne’s older sister, Margot (a gentle and subtly understated performance from Samantha Seeton at the performance I attended). In addition, we have Mr. Frank’s friends, the sometimes bickering Mr. & Mrs. Van Daan (Quint Bishop and Patrice Kentimenos), their son, Peter (Kevin Downs in a shyly sensitive portrayal), and a quirky dentist named Mr. Dussel, (John Kaiser). Nicely rounding out the cast are John Guest as Mr. Kraler, and Leona Hoegsberg as Miep Gies, two kindly Dutch souls who regularly bring food, supplies and cheerful encouragement to these imprisoned refugees, all the while carefully keeping secret their location.

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

YOUNG LOVE
Katie Kowalik as Anne and Kevin Downs as Peter.

As the plot evolves we see the warm relationship between Anne and her father, and then Anne’s growing friendship with Peter as their relationship blooms into a sweetly innocent first love. There are powerful performances from Ms. Sirgo and both Mr. Bishop and Ms. Kentimenos as sparks of tension fly between Mr. and Mrs. Van Daan over the value of a fur coat, the dwindling supplies of food, and hard-to-obtain cigarettes. But tensions are often relieved by the amusing wit of the script, and not infrequently, by the comic moments so beautifully handled by Kaiser in his role as the dentist, Mr. Dussel. Meanwhile, Anne’s youthful spirit of rebellion confounds her loving mother, as Ms. Sirgo nicely captures the patience a mother needs to deal with a teenager. While Anne may have a rebellious nature, her gentle and loving heart is fully revealed in the touching scene when she presents everyone with her humble, but very thoughtful Chanukah gifts. It is a moment that cements a special bond between the characters in the play and the members of the audience. It is an experience worth sharing, and I recommend it to you as validation of one memorable line from Anne’s diary: “In spite of everything I still believe that people are good at heart.”

Diary of Anne Frank runs thru April 28^th with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on Sundays. Tickets cost $24, $20, $15, according to age, with discounts for groups. Reservations are available at www.stage-right.org, or call 936-441-7469 weekdays between 3 and 6 p.m. The Crighton Theatre is at 234 N. Main in downtown Conroe, Texas.

The cast of RAGTIME

By DAVID DOW BENTLEY III “The People’s Critic”

[All Photos by Melissa Taylor. Click any photo to enlarge]

I recall back when I first became curious about the musical, RAGTIME, I was astonished upon locating a synopsis of the plot, which appeared, at first glance, to have such a complex structure, with its three main story lines, that it struck me as nearly impossible to stage successfully. Belying that, the extraordinary production currently being presented by Theatre Under the Stars at Houston’s Hobby Center is about the best example I can imagine of genius on the stage translating the complex printed pages of a play to a living, breathing miracle right before our eyes. Based on the E.L. Doctorow novel of the same name, the musical has a book by Terrence McNally, memorable music by Stephen Flaherty, and meaningful lyrics by Lynn Ahrens. It premiered in Toronto in December of 1996, and opened its two-year run on Broadway in January of 1998. This breathtaking production is brilliantly directed and choreographed by Marcia Milgrom Dodge, with exquisite musical direction from Brad Haak who presided over the stellar 22-member orchestra.

Courtney Markowitz as Mother, Ryan Silverman as Father, and Michael Karash as The Little Boy

The challenging plot I mentioned earlier takes place in New York in the early 20^th century and revolves about characters in three very different social arenas. There is a prosperous New Rochelle family including a feisty Little Boy (Michael Karash), a conservative and adventurous Father (Ryan Silverman), a tender and understanding Mother (Courtney Markowitz), Mother’s sometimes rebellious Younger Brother (Evan Kinnane), and the grumpy Grandfather (Kevin Cooney).

Ezekiel Andrew as Coalhouse, Danyel Fulton as Sarah and the Cast of Ragtime.

The second scenario evolves a world away in Harlem where we meet the African-American ragtime piano player, Coalhouse Walker Jr. (Ezekiel Andrew), and his beautiful lover, Sarah (Danyel Fulton).

Robert Petkoff as Tateh and Maya Kaul as The Little Girl

The play’s surprisingly contemporary third focus falls on the immigrants arriving in New York in the persons of a struggling Jewish artist, Tateh (Robert Petkoff), and his young Little Girl (Maya Kaul). Tateh’s quest for the American dream will eventually land this peasant as a Hollywood mogul. Each of these three groups has an entourage of related characters that fill out this enormous cast approaching fifty talented actors. And we eventually go on to meet Henry Ford (Christopher deProphetis), Admiral Peary & J. P. Morgan (Paul Hope), Booker T. Washington (Stephonne Smith), and Harry Houdini (Josh Walden).

Under the watchful eye of the Statue of Liberty, the magic of this production begins in the first amazing moments as the various groups arrive ascending a center-stage footbridge upon which they introduce themselves in glorious rotation and song. They are accompanied by such infectious music that we are immediately captivated as we begin to learn who all these players are during a haunting musical “Prologue” wrapped in the intoxicating choral mastery of an ensemble that quickly has the audience under its spell. Even the smoothly whirling choreography of the arriving cast (designer, Josh Walden) has a pleasantly hypnotic effect. As she bids farewell to her seafaring husband, we first hear the lovely and lilting voice of Miss Markowitz as the Mother, in a performance of “Goodbye My Love,” that could have etched fine crystal. As Father’s ship sails off on a shimmering sea beneath moonlight and stars, we experience the first of countless scenic projections from designer, Kevan Loney, that are among the finest I have seen on the stage. As Father’s departing vessel is passed by an arriving ship of immigrants, there is a stunning counterpoint trio as Mother, Father and Tateh sing the beautiful, “Journey On.”

Emma Degerstedt as Evelyn Nesbit

Then, propelled by Younger Brother’s obsession with a renowned actress, we are suddenly thrust into the Vaudeville world of beautiful model and chorus girl, Evelyn Nesbit (Emma Degersted), for the crimson glow and musical merriment of the fact-based “Crime of the Century.” The number is full of costume magic (designer, Santo Loquasto), as it spoofs how Nesbit’s husband, Harry Thaw (Josh Walden), shot and killed her lover, noted architect, Stanford White (Mark Jamal). But these few samples of the play’s opening scenarios cannot begin to reveal the riches that await audiences as they meet this uniformly brilliant troupe of nearly all-Equity cast members, and superb vocalists among the finest on any stage. The rich stories of the immigrants (“A Shtetl Iz Amereke”) are accented by the legendary socialist, Emma Goldman (Kim Stengel) during, “The Night Emma Goldman Spoke at Union Square.” The struggles in the Afro-American community and the emerging delights of Ragtime music are richly portrayed through the powerhouse voices and performances of Mr. Andrew and Miss Fulton. (She often reminds one of Broadway star, Audra McDonald, who originated the role of Sarah). The stunning, “Till We Reach That Day,” that closes Act One seems to unleash the human spirit with magnificent power as it addresses the nation’s racial divide with hope.

The Cast of Ragtime

Always, there is the ever-present choral support of the splendid ensemble. But amid the serious themes there are moments of unexpected fun, like the bouncing delights of the “Getting’ Ready Rag,” and the cleverly staged baseball scene at New York’s Polo Grounds. Truthfully, this show is an embarrassment of riches the likes of which I have not seen since the original Broadway production of, “Fiddler on the Roof.” Here we have a critic’s worst nightmare: A production so vast in its scope, so wondrous in its musical and visual delights that it defies description in the single page I am permitted. But one line of dialogue stuck in my mind: “Without art, what is our existence?” We certainly have it here.

RAGTIME continues through April 28th at Houston’s Hobby Center main stage with performances Tuesday, Wednesday & Thursday at 7:30 pm, Friday & Saturday at 8pm, and 2pm matinee performances on both Saturday and Sunday. For tickets visit the website at http://www.thehobbycenter.org, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

LoneStarLyric founder, Kelli Estes, greets the audience for ANOTHER BRITISH INVASION at MATCH Theater, Houston.

By DAVID DOW BENTLEY III “The People’s Critic”

It is hard to believe it is the better part of two decades since I first had the pleasure of hearing talented soprano, Kelli Estes, as she performed in New York City. How could I have guessed then that fate would soon find us both working in the Houston area where, happily, whenever I am in town, I continue to have pleasant opportunities to see her perform with the talented LoneStarLyric Company that she founded thirteen years ago back in 2006? Appropriately billed as “Houston’s Premier Lyric Theater,” the company’s 13^th Anniversary season continues with this weekend’s ANOTHER BRITISH INVASION, a cabaret celebration taking place at the Midtown Arts & Theater Center Houston, a.k.a. “MATCH.” The current production is the fourth in the troupe’s five-event series this season, and seems particularly timely in this age of “Brexit.” The program highlights an assortment of musical selections associated with British composers from Andrew Lloyd Webber, to Noël Coward, the Gershwins, The Beatles, and beyond. The talented vocalists include Andrew Briggs, Sarah Brindley, Ms. Estes, and Jeremy Wood. The accompanying jazz trio features Music Director, Barry Sames, on piano, Carol Daubert on drums, Alan Simmons on bass, with Mr. Briggs often joining in on guitar.

The cast of LoneStarLyric (L-R) Alan Simmons on bass, Barry Sames on piano, Andrew Briggs, Kelli Estes, Sarah Brindley, Jeremy Wood, & Carol Daubert on drums.

Soft pastel lighting pleasantly illuminates the intimate and casual space of Theater #1 in the MATCH theatre complex. A refreshment stand adjoins the theatre, and drinks and snacks are welcome in the house. All of the comfortable seating is within full view of the stage, and a few premium seats have cocktail tables beside them.

The trio led things off with a jazzy interpretation of Andrew Lloyd Webber’s, “All I Ask of You,” and was quickly followed by Mr. Wood with the lively Leslie Bricusse/Anthony Newley collaboration of, “My Kind of Girl.” Ms. Brindley showed no fear in moving between high and low vocal ranges for her smoothly elegant delivery of George & Ira Gershwin’s, “A Foggy Day.”

Kelli Estes

After Estes treated the audience to the Johnny Mercer/Richard A. Whiting tune, “Too Marvelous for Words,” trouble reared its ugly head during a two-number tribute to the challenging “patter” songs of Gilbert & Sullivan. The tongue-twisting and rapid-fire difficulty of many of their delightful G&S operetta songs is well-known, and quite amazing to hear when successfully performed. Alas, here the several interrupted attempts by Kelli and Jeremy for “My Eyes Are Fully Open,” did not go well, but it was all in good fun as Andrew rescued them with a fine performance of the equally difficult, “Modern Major General.” Jeremy would then add to the fun with the tropical rhythms, rhymes and wit of Noël Coward’s “Nina,” [from Argentina]. Sarah then offers a soft and gentle transition with another Bricusse/Newley tune during her light and airy, “Pure Imagination.” Speaking of transitions, Kelli’s performance of the McCartney/Lennon song, “Blackbird,” was the perfect pathway to the group’s pleasant harmonies as they joined forces for a Beatles celebration with “All You Need is Love,” “Love Me Do,” and an “All the Lonely People,” that featured nice guitar work from Andrew. They closed this Act One with a solid, “Nowhere Man,” and the perky fun of an infectious, “When I’m 64,” that was nicely complemented by some notably fine work from Simmons on the bass.

The countless additional delights following intermission would include a very operatic performance of Andrew Lloyd Webber’s, “Memory” from Sarah, who then joined Kelli for a fine pairing of the Jule Styne/ Bob Merrill Funny Girl classics, “People,” and “Don’t Rain on My Parade.” Kelli’s tender side would be nicely displayed in Noël Coward’s, “Mad About the Boy,” and there were more fine moments on bass from Simmons. Jeremy and Sarah pair for the Jule Styne/Sammy Cahn tunes, “Time After Time,” and “Just in Time,” smoothly navigating some tricky counterpoints while the trio shows off during some high-speed displays. Those musicians would also win some appreciative audience applause during the sneaky fun of Henry Mancini’s, “Pink Panther,” and then it was time for Kelli to draw things toward a close with Jule Styne and Comden & Green’s poignant, “I Guess I’ll Hang My Tears Out to Dry.” While there wasn’t much to cry about during this pleasant musical journey, I would offer two suggestions. While there were numbers where a firm hand on the piano seemed in order, there were other times when this listener would have liked a lighter touch on the ivories. Lastly, energy and enthusiasm are great, but I have a pet-peeve when talented performers supplement the beautiful music and lyrics of classic songs that speak for themselves, by feeling the need to decorate every syllable of a tune with animated gestures and facial expressions. The very best songs need none of that, so I will now take my exit cue from this show’s finale, Eric Idle’s, “Always Look on the Bright Side of Life.” So if my readers hurry, they can still catch today’s final performance at 5 p.m. at Midtown Arts & Theater Center Houston, 3400 Main St. @ Holman. For tickets & information visit www.LoneStarLyric.org, or call 917-414-9577. The phone number at MATCH is 713-521-4533, and the website www.MATCHOUSTON.org .

ELEPHANT MAN a Courageous Departure for Crighton Theatre

Twin Pleasures Illuminate TUTS Production of OKLAHOMA!

SAVANNAH Laughter Rocks the Crighton

K. D. Lang Captivates Adoring Fans at Houston’s Jones Hall

The Wondrous Blend of Houston Symphony, ABBA, and RAJATON

Dancing is the star of Class Act’s THOROUGHLY MODERN MILLIE

Stage Right’s Enchanting Journey INTO THE WOODS

“W I Z” Fans Ease on Down the Road to TUTS

LONE STAR LYRIC and Kelli Estes Are a Perfect Match for Broadway Music

Musical Soap Opera a New 80’s Twist at the Music Box

Courageous and Shattering NORMAL HEART from Lone Star College

A Dazzling “42nd STREET” Thunders on to Crighton’s Stage

Houston Symphony Celebrates ELLA FITZGERALD

MUSIC BOX Offers Another Lullaby to Old Broadway

A 35th Anniversary Triumph for YOUNG TEXAS ARTISTS

BOSTON POPS is the Crown Jewel in Pavilion’s 30th Anniversary Celebration

Mystical Manifestation of SINATRA at Woodlands Pavilion

Stage Right’s DIARY OF ANNE FRANK Arrives at Crighton Theatre

RAGTIME is a Mystical Work of Art from TUTS

“13” is a Lucky Number for Houston’s LoneStarLyric