The Courier Columns – The People's Critic

The Aerial Duo

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

All Photos Courtesy of HSO and Cirque de la Symphonie

[Click any photo to enlarge]

The fun at Houston Symphony’s Jones Hall began as soon as much-loved conductor, Michael Krajewski, walked to the podium, as the orchestra played the

Michael Krajewski

Theme from Rocky, long associated with its very popular Principal Pops Conductor who retired a few years ago after 17 years in that position. As he took the microphone, he quickly joked about how this would be his “Third Annual Farewell Concert.”

The jester named “Jaster”

And what a concert this astonishing, “Cirque de la Symphonie,” program would be.

The Cubist

From just a few rows back in center orchestra, I was about to see feats of both magic and acrobatic strength and skill that would seem to defy all laws of logic and gravity. The amazing moments would be punctuated by bits of clown-like comedy and pantomime from a jester named “Jaster,” and his talented female partner. With always amusing movements and facial expressions, they performed incredible and instantaneous costume changes that forever put to death the notion that, “Seeing is believing!”

The Mask

Another striking cast member seemed to be some strange, angular and orange creature known as The Mask due to his eerie white face. He would lumber about the stage, all the while skillfully juggling numerous small white balls and seeming like some very large and mysterious dog as he roamed about.

Of course musically this would be a breathtaking performance, and to accompany it maestro Krajewski had wisely selected a smorgasbord of the most exciting classical music in the repertoire. Act One would include such symphonic delights as the “Tritsch-Tratsch (Chit Chat) Polka,” of J. Strauss Jr., Khachaturian’s “Ayesha’s Suite No. 1 Dance from Gayane,” Bizet’s “Les Toréadors,” the “Danse Boheme,” from Carmen, “Waltz from the Masquerade Suite” by Khachaturian, Offenbach’s “La Vie Parisienne Overture,” and Offenbach’s delightful “Can-Can,” from his Overture to Orpheus in the Underworld.

The Hula Hoops

Throughout the performance there would be soaring and astonishing aerial acrobatics on ropes, straps, colorful silken strands, as well as fantastic feats of juggling with neon discs, hula hoops, and bowling pins. John Williams’ thrilling “March from Superman,” would take the program to Intermission, but there would be much more visual and musical excitement to come.

Act Two began with another amazing magic trick as the formally dressed conductor was called upon to assist in thoroughly binding the cast’s comedienne from head to toe with heavy rope that secured her hands, arms and legs. Then the reluctant Mr. Krajewski was coaxed to join his bound victim in a small election booth-like curtain at mid-stage. The curtain was briefly shaken for a matter of seconds, and when it was pulled aside the woman was still bound, but miraculously now wearing the conductor’s formal black jacket, tightly secured under the ropes that bound her, while he was now in shirt and tie without his jacket! The mystified audience gasped in amazement as the ropes were untied and the jacket restored to its rightful owner.

The rolling “German Wheel”

The Contortionist

Musical selections during this second half of the program included Tchaikovsky’s “Danse des Cygnes,” from Swan Lake, Dance of the Buffoons from Rimsky-Korsakov’s The Snow Maiden, Smetana’s “Dance of the Comedians” from The Bartered Bride, Gounod’s “Funeral March of a Marionette,” Falla’s “Ritual Fire Dance,” Tchaikovsky’s “Waltz” from Swan Lake,” and the Rossini-Respighi “Tarantella” from La Boutique Fantasque.

The incredible “Neckstand”

But the savvy conductor had cleverly saved the best for last as he launched the orchestra into the seductive masterpiece of Ravel’s intoxicating, “Bolero.” To top it off, this selection prompted the slow-motion appearance, from opposite ends of the stage, of two mysterious figures, men of magnificent physique, and coated from head to toe in silver make-up to rival the Tin Man in “The Wizard of Oz.” Known as the Acro Duo, their every move continued to be in slow motion that paralleled the building excitement of the music. Their gymnastic feats of posed acrobatic artistry were simply unbelievable. I hope these several photographic examples will verify my claim. Bravo to the orchestra, conductor and all performers for this uniquely memorable concert!

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.

Artists of the Houston Ballet perform, “THE LADIES”
Photo: Amitava Sarkar

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

Miraculously, after several days of violent storms across much of Texas and the Houston area, it was a perfectly beautiful and pleasantly warm evening for an outdoor production as the HOUSTON BALLET took to the stage of the Cynthia Woods Mitchell Pavilion on the first weekend in May. Rather than the full productions that this company sometimes presents in that venue, this Mixed Repertory program would be a series of selected ballet works, some classic, and some more modern and experimental. While the muddy hillside lawn was closed to picnickers, there was plenty of free seating available in the house. The eclectic program would begin with two World Premieres. The first ballet was titled, “Ina and Jeffrey,” and starred Natalie Varnum (choreographer) & Oliver Halkowich. The two dancers were dressed in casual pink jumpsuits with white plastic helmets, operating in graceful twin-ship. They mirrored each other’s movements in a playful and prancing program that had a free-spirited aspect probably quite appealing to youngsters in the audience. With choreography by Jacquelyn Long, the second world premiere was, “It Just Keeps Going,” featuring Soo Youn Cho & Harper Watters. It was a more stately and elegant work full of graceful dance pairings, dramatic lifts and extensions, all with rich violin accompaniment (Denise Tarrant), while capturing a daydreaming and restful atmosphere. The third selection was titled, “Oh, There You Are,” and featured the full ensemble, along with more beautiful violin accompaniment from Miss Tarrant. It began with the cast of dancers arrayed about the stage almost as statues on platforms. Under random spotlight flashes, the movement quickly ensued, with jumps, weaving motions and pop-ups from various parts of the stage.

Artists of the Houston Ballet perform, “OH, THERE YOU ARE.”
Photo; Amitava Sarkar

There was a whirling intermingling of the full cast of performers, and it became apparent that this ballet was serving as a kind of examination of gender stereotypes. An unusual departure for a dance program was the introduction here of two microphones on the stage from which oral commands were given to the dancers: “You shouldn’t cry,” “Be a man,” “You run like a girl,” “Guys can’t multitask,” “Boys will be boys,” “Show them who’s boss.” Commands to the women in the cast included such directives as, “She really let herself go,” “Be careful of your figure,” “Should you really be eating that?” Then the narrator seems to address the audience with an overriding question: “What if we really see ourselves and accept every bit of who we all are?” Before the dance concluded there would be foot-stomping excitement, pleasant accompaniment on guitar, and visually appealing acrobatic energy during what appeared to be a whirling dance from a Jewish wedding. Always there seemed to be the unexpected around the next corner. Shadowy mood lighting added to the look, and the rustic and crimson glow of the side projection screens on either side of the proscenium, accented the complexity of dancing that could not have been as random as it appeared for those who had to learn this difficult choreography (Melody Mennite). The action-packed conclusion was reminiscent of the Jets and Sharks ballet in West Side Story.

Houston Ballet’s Miller Outdoor fall performance with Principal dancers, Soo Youn Cho & Jared Matthews. PHOTO: Lawrence Knox

But in this long, 3-Act evening of dance, those seeking the more traditional classic look of ballet would not be disappointed. Act Two did feature one oddly modern work titled, “Come In,” (choreographer, Azure Barton), that at times seemed endless to this observer. But prior to that endurance test, the act opened gloriously with the grandeur of the Stanton Welch ballet, “The Ladies,” magnificently accompanied by the music of Rossini as splendidly performed by the Houston Ballet Orchestra, conducted by Ermanno Florio. I pity those who left after Act One. Better still would be the spectacular final offering of the evening: the “Act III Wedding Pas de Deux” from the exquisite 19th century ballet, Raymonda. It starred Yuriko Kajiya and Chun Wai Chan in a stunningly athletic display of the best that ballet has to offer, and the appreciative audience quickly rose to its feet in joyful ovation. While walking to the parking lot I overheard an elderly couple sharing their own delight as the woman remarked, “Last night we were hiding in a closet during the tornado warnings, and now here we are!” A happy ending all around. Bravo!

[Click upcoming Pavilion schedule at left to enlarge.]

On Wednesday, May 22, Houston Grand Opera is bringing a beloved classic to life on The Cynthia Woods Mitchell Pavilion Main Stage – Giacomo Puccini’s colorful and vibrant work of art La Bohème. Mezzanine and lawn seating are free. Reserved orchestra seating tickets are $20. The performance will begin at 8 p.m. and gates open at 7 p.m.

Cast at The Music Box Theatre (L-R) Luke Wrobel, Cay Taylor, Rebecca Dahl & Brad Scarborough

By DAVID DOW BENTLEY III

“The People’s Critic”

It’s that time again. Time to get out and enjoy the nightlife in Houston. The cheerful delights continue as the familiar troupe at the Music Box Theater takes on their latest subject: “Songs of the Silver Screen.” To steal a line from the movie Casablanca, the cast has been able to round up “the usual suspects,” minus one, as cast regular, Kristina Sullivan, was granted a much-deserved vacation during this production. But all the regulars remain, including Brad Scarborough and Rebecca Dahl, the company’s founders, along with Luke Wrobel and Cay Taylor adding to the fun. The merry atmosphere was quickly established with the cute and childlike performance of “The Rainbow Connection.” It featured great harmonies and solos and was a joyous opener that was topped by projections of Kermit the Frog and Miss Piggy. A pleasant parade of film parodies and memorably famous quotations would follow. A clever spoof of the James Bond films was titled, “Tomorrow Never Says Never, and Also Never Dies.” It featured a fine performance of the song, “Nobody Does it Better” by Luke, as the cast performed a shadowy, slow-motion background mime of the action-packed shootouts reminiscent of the 007 films. Adding to that action were a few staticky malfunctions of the house microphones that were regrettable. A Luau Beach sketch was somewhat rescued by a nice duet of “Endless Love,” from Cay and Luke, which might have been improved with less fussy “business” and desperation during that beautiful song. A much more satisfying segment followed with a parody of The Godfather that was hilarious. Luke was marvelous in the title role, presiding over the wedding of his daughter, amusingly played by Cay in the role of the bride, hilariously named Mary Nara (with all due respect to my favorite spaghetti sauce). Brad was every inch their equal in his wimpy role as the slapped-around younger brother, Fredo. It was a comic high point as the Godfather lashes out, slapping Fredo around and scolding him for “…touching my daughter on her wedding day!” Of course Fredo is rewarded with the traditional horse’s head as the Godfather proclaims, “I knew it was you Fredo.” Brad then moved on to a sensational and growling performance of “Pretty Woman,” while seducing a Pom-Pom girl in the person of Rebecca. His was a resonant, smooth, rich performance, with such a fine transition to “Unchained Melody” that it made me think, “This guy could be filling stadiums with that fine voice if he wasn’t here delighting audiences in this intimate venue.” Before intermission arrived, Rebecca would deliver a fierce, “Holding Out for a Hero,” and then there was a calming, “I Say a Little Prayer,” quartet to close out the act.

There was plenty of excitement to begin Act Two during the “Eye of the Tiger,” from the film ROCKY III . With Brad’s laser beam voice, the cast joined in behind him as he mimicked the boxer’s jump rope and punching bag workouts. Here and there we hear a few ghostly but forgettable telephone conversations spoofing the movie Scream. On a higher plane, we have an uproarious death scene from Terms of Endearment, with Rebecca in full diva mode for a fine duet with Brad of the A Star is Born hit, “Shallow.” It is delightfully and simply accompanied by guitar (Mark McCain), along with the constant beep-beep of the bedside hospital monitor. It adds to the merriment until one of the exasperated hospital attendants finds it necessary to finish Rebecca’s lengthy and amusing death scene with a smothering pillow. But don’t despair. Soon we have a cheerful trio of, “Always look on the Bright Side of Life,” that even features some ghostly dancing with the corpse. Black humor to say the least, but the audience loved it. Cay then provides a powerful performance of the song “Tightrope” from The Greatest Showman, and brings it to a light and airy conclusion. Rebecca hits a solid vocal homerun with a, “The Man That Got Away,” that would have made Judy Garland proud. Meanwhile, science fiction fans won’t want to miss Cay’s performance as a tiny but hilarious E.T. Then Brad and Luke then give us two fierce and wild guys from Top Gun, with “Danger Zone.” Another parody titled, “When Harry Met Seattle,” featured Cay with a wistful, dreamy and poignant, “Moon River.” Luke brings solid country flair that is perfect for Houston, when he sings the wonderful “Everybody’s Talkin,” before moving on to a radiant, “Somewhere Over the Rainbow” which blended in perfectly. Echoing that theme, we suddenly see Brad waking up like the sleepy Dorothy in The Wizard of Oz, as he announces in wonder, “It wasn’t a dream! All I wanted was to get back to our theater.” That launched the cast into a sensational quartet of, “I’ve Had the Time of My Life.” The cheering audience seemed in total agreement.

Next Up at The Music Box

SONGS FROM THE SILVER SCREEN continues at the Music Box Theater, 2623 Colquitt, Houston, Texas, through June 2^nd with performances at 7:30p.m. Fridays & Saturdays, and there will be Sunday matinees at 2 pm on May 19^th and June 2nd. 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, FEELING GROOVY.

Arriving youngsters mingled with superheroes at the CONCERT FOR HEROES

[All photos courtesy of Cynthia Woods Mitchell Pavilion. Click any photo to enlarge.]

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

Aptly titled A SYMPHONY OF HEROES, the Houston Symphony’s recent concert at the Cynthia Woods Mitchell Pavilion on the solemn anniversary of September 11^th, was at once both reverent and optimistic. A free concert sponsored by HUNTSMAN, the stated theme was wonderfully supported by the orchestra’s selection of music from classic film scores celebrating such cinematic heroes as Superman, Robin Hood, Wonder Woman, Batman and Spiderman.

Free books for the children.

Some of those iconic figures even prowled the pavilion plaza delighting arriving children prior to showtime. Kids even had the chance to select free books from plaza reading tables.

The Houston Symphony

On the pleasantly warm late-summer evening there were even some welcome breezy crosswinds circulating in the pavilion, while soft pastel lighting embraced the shirt-sleeved orchestra on the stage.

Stuart Chafetz, Conductor

Presiding over the musical excitement, and more formally dressed in a crisp white dinner jacket and black tie, was the cheerfully good-humored conductor, Stuart Chafetz, who brought lots of fun to the proceedings, even when not one, but two microphones failed him while addressing the eager crowd.

Area fire fighters were some of the heroic first responders on hand to greet the crowd.

The thrilling opening selection made it clear this was an important occasion with the shimmering and ever-rising crescendos of John Williams’ powerful Summon the Heroes, featuring an impressive trumpet solo from Mark Hughes. Then, before the blaring excitement of Music from The Incredibles, Chafetz amused the old-timers in the crowd by singing a few bars of the old Mighty Mouse theme, “Here I Come to Save the Day.”

Kids could dress as super heroes.

Next came whirling excitement and sweeping grandeur from the musical pairing of Main Theme from The Avengers and Suite from X-Men: The Last Stand. Soon the enthusiastic crowd would be clapping along at a galloping pace for the Lone Ranger excitement of Rossini’s familiar William Tell Overture. What followed was what I consider to be one of the finest film scores of all time: Korngold’s majestic and Oscar-winning “Symphonic Suite” from 1939’s classic, The Adventures of Robin Hood.

MOMS are super heroes too!

The Music from Wonder Woman began with a spooky and ominous atmosphere and moved on to pounding rhythms. There would be more rousing excitement from the Theme from Batman, just at the time the conductor’s microphones were failing him as he bravely shouted to the crowd in the dark and cavernous arena. That problem was resolved just in time for maestro Chafetz to invite all emergency responders and military service members to stand and be recognized by the appreciative audience.

The intermission-free program moved on to the mysterious Spiderman Theme, and then to the somber, yet richly beautiful tribute of the elegant Hymn to the Fallen from Saving Private Ryan. Then the delicate transitions and gentle sweetness of John Williams’ Love Theme from Superman seemed an appropriate recognition of the real superheroes being honored by this very special concert from our own heroic Houston Symphony. Bravo!

Cast of the current TUTS production of A CHORUS LINE
Photo: Melissa Taylor

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

[All photos of this current TUTS production of A Chorus Line by MELISSA TAYOR]

***Click Any Photo to Enlarge***

By way of full disclosure, let me first declare that the legendary Tony Award-winning musical, A CHORUS LINE has been a longtime favorite of mine since the brilliant Michael Bennett directed and choreographed its record-breaking initial run on Broadway years ago. During that period I had several joyful opportunities to see the show on The Great White Way. It is a stunning theatre piece in every way, from the miraculous musical score (Music: Marvin Hamlisch, Lyrics: Edward Kleban), its poignant book (James Kirkwood & Nicholas Dante), and the stunning and ever-present dancing conceived by the aforementioned Mr. Bennett. The result was a monumental musical of such intimacy that by evening’s end we feel that we know, and very much care, about each of these young dancers struggling to “make it” on Broadway. All of these elements are respected, and once again brought to full fruition, in this extraordinary edition skillfully mounted by the Theatre Under the Stars organization here at Houston’s Hobby Center for the Performing Arts. TUTS Artistic Director, Dan Knechtges, is fully justified in bursting with enthusiasm as he introduces the production in a brief video screened just before the curtain rises.

Cast of A CHORUS LINE

His pride should certainly be shared here by the Director (Julie Kramer), Choreographer (Jessica Hartman), Dance Captain (Josh Walden), Musical Director (Michael Horsley), the all-equity cast of brilliant dancers, and the superb TUTS orchestra. Add to that a cast of ten gifted young dancers that make up the Teen Ensemble you will not be able to distinguish from the professionals in the cast.

For the uninitiated, except for the stunningly beautiful finale, all the action takes place in an empty Broadway theatre rehearsal space, decorated only by a stage-wide mirror. There, seventeen young dancers full of dreams are auditioning for the eight slots in a major Broadway musical. Clifton Samuels plays the show’s demanding director, Zach, whose intensely probing interviews of each candidate reveal the human stories that give this show its universal appeal, as they combine with the beautiful music and astonishing dancing. Those elements all explode right out of the gate in the thrilling opening number as the dancers sing the optimistic, “I Hope I Get It” in their quest for this job. Next we meet Mike (Alex Joseph Stewart), an Italian guy with a slightly goofy personality. He brings lively animation to telling the story of his learning to dance during the cheerful, “I Can Do That.” In an intricate number titled “And,” Logan Keslar brings comic flair and amusing body language to the role of flamboyant Bobby.

Sharrod Williams as RICHIE

That song cleverly intertwines the stories of Judy (Madison Turner), feisty Val (Celia Mei Rubin), and athletic Richie (Sharrod Williams, who delivers the acrobatic, “Gimme the Ball,” segment). Troubled childhoods come to the fore during the hauntingly beautiful, “At the Ballet,”

Veronica Fiaoni as “Maggie,” Paige Faure as “Sheila,” and Gabi Stapula as “Bebe”

as we hear the stories of Maggie (Veronica Fiaoni), Bebe (clear-voiced Gabi Stapula), and Sheila (Paige Faure). A somewhat ditzy, Kristine (Brooke Aver), explains she is no vocalist in the amusing, “Sing,” accompanied by her patient husband Al (Sean Ewing).

Mark (Brian Corkum) opens the dynamic full cast tribute to adolescence, “Hello Twelve, Hello Thirteen, Hello Love,” with the hilarious saga of his youthful confusion about gonorrhea.

Samantha Marisol Gershman as “Diana”

In her role as Diana, Samantha Marisol Gershman brings lashing power and desperation to the song “Nothing,” describing the struggle of a young dancer unsure of how to tap into feelings as an actress.

Celia Mei Rubin as “Val” 2019

A performer’s endless quest for attractive physical appearance is nicely captured as Val sings “Dance: Ten; Looks: Three.” Miss Rubin lights up the stage from one end to the other.

Sarah Bowden as “Cassie”

Then comes perhaps the most stunning moment in the show as Sarah Bowden, in the role of sassy, sexy Cassie, (who just happens to be Zach’s former lover), performs the epic number, “The Music and the Mirror.” Her astonishing and memorable dancing was nothing short of brilliant.

Eddie Gutierrez as “Paul”

In the role of the emotionally fragile Paul San Marco, Eddie Gutierrez delivers a poignant, center stage soliloquy with its powerful and heartbreaking tale of a young gay man’s struggle to find his identity. But our spirits soon rise again as Diana and the full company enchant us with perhaps the show’s most beautiful and enduring song, “What I did for Love.”

Cast of A CHORUS LINE

And just when we think there is nowhere to go from such bliss, the stage explodes with the sensational, “ONE,” the glitzy and golden finale that would perfectly showcase the incredible talents that TUTS had assembled for this unforgettable production.

A Chorus Line continues through September 22nd 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 www.tuts.com, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

Cast of THE WILD WOMEN OF WINEDALE
Photo: Michael Pittman

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

Preparing to destroy a treasured family Hummel figurine. (L-R) Renée Poe, Lisa Schofield, Carolyn Corsano Wong.
PHOTO: Michael Pittman

Who among us has not noticed the explosion, in recent years, of the growing industry of storage facilities designed to relieve us of the clutter of all our accumulated “stuff?” In my own family we sometimes joke about it, while all the while knowing it is really no laughing matter.

Stars (L-R) Renée Poe, Lisa Schofield, & Carolyn Corsano Wong keep the laughs going on both sides of the footlights.
PHOTO: DWC Photography

That fact notwithstanding, there are plenty of laughs currently emanating from Conroe’s elegant Crighton Theatre. Before heading home to clean out those closets, why not drop by to enjoy this madcap comedy from Stage Right Productions, directed by Dinah Mahlman? If you do stop by for this latest play in the series of Jones/Hope/Wooten comedies by Jessie Jones, Nicholas Hope & Jamie Wooten, you will be meeting the three hilarious Wild Women of Winedale. There is a bit of a pun involved in that title as we meet these “wild” women who happen to be three sisters of a certain mature age. We meet the widowed Fanny Wild Cantrelle (Lisa Schofield), who is apprehensively preparing for her 60^th birthday (“I thought getting older would take longer!”). She lives in a pleasant but cluttered house (set designer, Mandy Mershon), with feisty sister, Willa Wild, comically played by Carolyn Corsano Wong, whose zany antics never fail to amuse. There, they tend to their mysterious and ailing Aunt Hester, who is reportedly near death as she frequently rings her bedside bell to bring their attention from the other room. Adding to their domestic complications is the uproarious arrival of their semi-hysterical sister, Johnnie Fay “Jef” Wild (Renée Poe), who breaks the news that she is now homeless since her house and possessions have disappeared into a Florida sinkhole.

Lisa Schofield as the hyper-ventilating Fanny in a moment of hysteria.
Photo: DWC Photography

Now it so happens that Fanny is employed at the Museum of Virginia where she is involved in production of a documentary film aimed at “Defining Women,” and celebrating the lives and experiences of various Virginia women being interviewed on camera. This theatrical device allows for periodic breaks from the central story of the ensuing mayhem at the home of the sisters. These brief vignettes, sometimes poignant, sometimes amusing, are performed to the left of the stage by talented actresses that include Danielle Williams, Donna S. Warner, Kaye Thompson, Cheryl Campbell, Mandy Mershon, and Rhea Young. In the process we meet such characters as a pair of elderly friends who find delight in dressing as twins, and another woman who has discovered that “Having twins in your forties is God’s way of saying ‘You have slept enough.’”.

Cheryl Campbell as Nora, the candle maker.
Photo: DWC Photography

There is a sweet woman who works in the Candle Shop in Colonial Williamsburg, and has a cute period costume to match.

A touch of Shirley Temple from Renée Poe as Johnnie Fay.
Photo: DWC Photography

(Designers Leona Hoegsburg & Debbie Preisler, who also supply the uproarious Shirley Temple costume, with red satin trim and pantaloons, that is worn by Johnnie Fay during the show).

The sisters begin to realize it is time to separate themselves from attachment to “things,” and amid the yard sale chaos that follows, always there is humor. It is aimed at the older generation and should draw big crowds of senior citizens who appreciate finding the laughter in growing old. Lines like, “She’s had so many facelifts that the next one will be a Cesarean,” generate hilarity that brings the house down. Even bits of ironic wisdom like, “You can’t change the past, but you can dwell on it until you’re old and bitter,” add to the fun. Perhaps the more insightful concluding line, from optimistic Fanny, would inspire you to head over to see the show: “We get to choose our next adventures. There’s a whole world out there waiting for us.”

WILD WOMEN OF WINEDALE runs thru sept. 22^nd with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on both Saturday and Sunday*. Tickets range $17-$26, 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.

*PLEASE NOTE: As an added bonus at all performances representative of Montgomery County’s Community Assistance Program will be on hand in the lobby with information on how the organization is “Serving Our Neighbors In Need.” For further details, visit the website at www.cac-mctx.org .

Cast of THE MUSIC BOX THEATER

[All Photos by ThePeoplesCritic.com. Click any photo to enlarge]

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

If The Music Box Theater was revisiting some familiar territory during this third edition of its seemingly annual show, “KEEP IT BRASSY,” it really didn’t matter. The musical selections were updated, the often hilarious comedy bits and sketches were original, and the talented regular cast of five is singing better than ever. (L-R in above photo: Rebekah Dahl, Brad Scarborough, Luke Wrobel, Cay Taylor & Kristina Sullivan). No wonder this ever-popular Houston cabaret continues to hold the #1 position in the city’s entertainment listings with TripAdvisor.com, even besting the Houston Symphony at #2 and the Alley Theater at #3. No wonder they even fill the house for a rare Sunday matinee.

The opening number was full of pulsing action with a glistening rendition of The Temptation’s hit, “Get Ready,” that quickly blended into some cute, hip-swinging choreography for its celebration of Wilson Pickett’s, ”Land of 1,000 Dances.” Brad then took center stage with comic flair and his amazing vocal range to weave a warm and lovely reminder of Frankie Valli during “Can’t Take My Eyes off of You.”

LUKE WROBEL

Sassy and sultry Ms. Taylor sparkles while delivering a “Diamonds Are Forever,” full of haunting mystery. The ladies combine forces with deep-voiced Luke for fine vocal blending during a fun-filled “All About That Bass,” that is nicely decorated by moments from the band’s bass guitarist, Long Lee. That G-Sharp Band is named for its longtime Musical Director, keyboardist, Glenn Sharp, and includes Lead Guitarist, Mark McCain, Technical Director, Pat Southard, and Arthur Gilligan on percussion.

Guest Musicians

And celebrating the “Brassy” theme of the production, this show features 3 guest brass musicians always on stage, with Louis Sanchez on trombone, Michael Adamcik on reeds, and Lonney Lalane (known for his work with B. B. King) featured on trumpet. The three would soon offer some great, bluesy back-up for Rebekah during the James Brown hit, “I Feel Good,” which slowly evolved into some snappy and prancing choreography from the cast during the exciting Bruno Mars number, “Uptown Funk.”

With comically outlandish wigs and amusing British accent banter, the guys take on the roles of Neil Diamond (Luke) and Tom Jones (Brad). Luke’s “Crackling Rosie” rocks the room, and Brad’s chest-revealing satin shirt helps keep the ladies attention during his solid, sexy and hip-shaking, “It’s Not Unusual.” Kristina moves us to a calmer segment with the gentle pace of her leisurely and thoughtful, “Dock of the Bay,” before it escalates with assorted fine moments from the guest musicians, and Mr. Gilligan on drums.

Don Payne

And speaking of drums, there was a poignant reflection from director, Sharp, as he spoke of the great affection felt by all for the group’s longtime drummer, Don Payne, who had passed away. It was also revealed that Sharp would be concluding his near decade-long service as Music Director as he moves on to Christian ministry to become a pastor. But that did not prevent him from moving on to a wonderful piano introduction for “New York State of Mind,” before Luke brought laser-like power to that vocal.

Bob Pizzitola

The “Make Me Smile” hit of the band, Chicago, would be the delicious explosion of joy to take us to intermission. La Porte, Texas native, Bob Pizzitola, was in the audience, and he had another reason to smile. During the break, he was the winner of the house raffle drawing for free guest passes to a future Music Box production.

Kristina Sullivan

Act Two has countless more delights like a bubbly full cast “Spinning Wheel,” a poignant Carpenters tribute with Kristina leading a melancholy “We’ve Only Just Begun,” that has mellow back-up from the cast. Brad sports a joyful grin for, “Feeling Stronger Everyday,” while Cay owns the stage with a fluent command of Spanish during her passionate, “Mi Tierra,” full of sensuous and intoxicating moves. There’s lots more with a knockout finale of Bruce Springsteen’s, “Born to Run,” and a dreamy and mysterious “Skyfall,” from Rebekah.

Cay Taylor (right) serenades “Garland and Sinatra”

But whatever you do, don’t miss the savagely funny talk show spoof with Luke as Sinatra, and Ms. Dahl absolutely hilarious capturing the contorted body language, rumpled hairdo, nervous mannerisms, and the hyper-chatter of a Judy Garland clearly under-the-influence. Just wait until you hear Judy’s sage advice about drinking water, but if that doesn’t interest you, remember the Music Box has a bar available for beer, wine and light snacks.

KEEP IT BRASSY 3 continues at the Music Box Theater, 2623 Colquitt, Houston, Texas, through October 19th with performances at 7:30p.m. Fridays & Saturdays, and there will be one Sunday matinee at 2 pm on Oct. 13^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, BACK TO the 80’s Again.

The Cast of TUTS “Spring Awakening”
PHOTO: Melissa Taylor

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

Let’s be clear right out of the box. The current offering from Houston’s Theater Under the Stars is NOT your grandma’s Broadway musical. For all of its theatrical dimensions and explorations of adolescent rebellion, SPRING AWAKENING is clearly a teenage journey of self-discovery through the angst and perils of pubescent sexuality. Based on the 19^th century play of the same name by Frank Wedekind, this 2006 Broadway edition features the rock music of Duncan Sheik, and book by Steven Sater, whose lyrics often read like fine poetry. The show would go on to capture eight Tony Awards, including Best Musical, Direction, Book & Score.

The action takes place in the late 1800’s and focuses on the interactions of a group of teenaged boys and girls who are students in a small German town. Directed by Taibi Magar, this TUTS production benefits from a highly talented and radiantly energetic young cast that includes Sophia Introna as Wendla, Wonza Johnson as Melchior, Nathan Salstone as Moritz, Juliette Redden as Martha, Raven Justine Troup as Ilse, Blake Jackson as Hanschen, and Alex Vinh as Ernst. As the plot evolves, young Wendla is in a quest to learn more about where babies come from as she quizzes her hesitant Mama (Liz Mikel is convincing in this, and the several other minor roles for “Adult Women.”) Wendla presses her appeal as Ms. Introna sings a passionate, “Mama Who Bore Me,” that is beautifully reprised with her young girl friends joining in.

Meanwhile, at the local school for boys, young Moritz is troubled by erotic dreams he has been experiencing. He appeals to his more sophisticated and knowledgeable classmate, Melchior, for explanations. We first hear Mr. Johnson’s fine voice during the devilish, “All That’s Known,” as Melchior agrees to prepare a detailed facts-of-life essay for Moritz. The other lads in the class are experiencing similar growing pains, while at the same time feeling great frustration with the harsh discipline of the cruel teacher (Brian Mathis brings his booming voice to this first of his several small roles for the “Adult Men” in the piece). The boys soon erupt in rebellion for the ferocious song and fierce dancing of “The Bitch of Living.” (Choreographer, Marlana Doyle). The girls are not to be outdone when they explode with frustrations of their own during the excitement of “All Our Junk.”

Sophia Introna as “Wendla” and Wonza Johnson as “Melchior” in the Theatre Under The Stars production of Spring Awakening. Photo by Melissa Taylor

But there are calmer moments like the dreamlike staging and haunting vocal blending from the boys and girls during the richness of a, “Touch Me,” that is nicely sprinkled with several fine cast solos. Not surprisingly, a delicate duet of “The Word of Your Body,” from Wendla and Melchior soon results in an unexpected pregnancy. I will leave the details of that plot line for future audiences to discover. There would be moments in the latter part of Act One when the music turned harsh, and shrill with lyrics hard to hear amid the din. But I would note that in the number, “The Mirror-Blue Night,” Mr. Johnson had a focused intensity as Melchior that seemed to really suggest star quality in this young actor. He would shine again with his rich and soothing voice when Melchior joins Wendla and the solid Boys and Girls Chorus for “The Guilty Ones,” at the opening of Act Two.

The cast of Theater Under the Stars SPRING AWAKENING
Photo: Melissa Taylor

The fine orchestra (Music Director, Alex Navarro) is visibly in shadow to the back left of the stage, and occasional segments of the drama are effectively played out in an elevated scene box in the upper right corner of the proscenium. (Scenic designer, Ryan McGettigan, Lighting designer, Bradley King). As the emotionally troubled Moritz, Mr. Salstone brings compelling desperation to the song, “Don’t Do Sadness,” before Ms. Troup changes the mood in her role as Ilse, with a gentle and intoxicating, “Blue Wind.” The rich humanity of songs like “Those You’ve Known,” and “Whispering,” touch the heart. Of course there are some troubling outcomes in Act Two, and one of the most surprising comes when Melchior is called before the school’s headmaster and charged with having written the scandalous facts-of-life essay. Realizing he must now confess, Melchior launches into a song full of expletives with a title I never expected to see in a printed Broadway program. It’s an electrifying full-cast number with undulating choreography and sensational staging. And the song title? So I can get this past the censors, use your imagination to fill in the blanks: “Totally Fu-k-d!” Like I said, this is NOT your Grandma’s Broadway musical.

SPRING AWAKENING continues through October 20th 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 www.tuts.com, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

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.

RICK STEVES
All photos courtesy of Rick Steves & Houston Symphony

It was like an exquisite fairytale tour of the continent for lucky audiences at last weekend’s Houston Symphony concert titled, “Rick Steves’ Europe: A Symphonic Journey.” A full house packed Jones Hall, and with top ticket prices above one hundred dollars it was not exactly a poor man’s trip to Europe.

MICHAEL KRAJEWSKI & The Houston Symphony

But what a fabulous trip it would be, especially with the return of the orchestra’s retired and much-loved Pops Conductor Emeritus, Michael Krajewski, who playfully referred to this appearance as his 4^th Annual Farewell Concert. The European theme notwithstanding, Krajewski quickly had the audience in the palm of his hand beginning the program with a tour of America launched, of course, with a rousing “Star Spangled Banner.” The ensuing trip would open with the racing strings, thundering kettle drums, and thrilling brass during Jerome Moss’ vision of the American West in the Main Title music from “The Big Country.” That piece was a perfect lead-in to Grofé’s gently trotting “On the Trail” mule ride from the 3^rd movement of his visual epic, “Grand Canyon Suite,” and featuring a stunning opening violin solo passage from Co-Concertmaster, Eric Halen. The sweetly delicate opening phrases of the R.A. Bass arrangement of, “Shenandoah,” would then set the stage for the symphonic grandeur that would follow from this masterwork. It was lightly decorated by soft chimes and bells from percussion, and featured a stunning trumpet solo. This first half of the program concluded beautifully with the clever R. Wendel arrangement, “From Sea to Shining Sea.” Opening with “America the Beautiful,” that piece took the audience on a musical cross-country tour from west to east, featuring such familiar tunes as, “San Francisco,” “Meet Me in St. Louis,” “Chicago,” “My Old Kentucky Home,” “Georgia on My Mind,” “Carolina in the Morning,” and then closing with a joyful, “New York, New York.” But somewhere in between, it seemed the hand-clapping Houston audience favorite was clearly, “Deep in the Heart of Texas.”

Rick Steves in Germany

Beginning the featured Part Two of the concert, Maestro Krajewski, looking fit and trim as ever, stepped forward to introduce the man he called, “America’s foremost authority on European travel.” With that, the attention shifted to a gentleman well known to PBS viewers, the amiable and knowledgeable travel expert, Rick Steves, who explained that the musical organization of the project was designed to focus on the music of what he called the Romantic Era of the late 1800’s, a time when the seeds of freedom inspired by our own American Revolution across the sea, were then taking root in countries all across Europe as the common man sought liberty from the ruling class of the nobility. Steves then began a series of narrations that would accompany the splendid travelogue videos screened above the brilliant orchestra, while he guided one and all through countries and composers that included Austria (J. Strauss Jr.), Germany (Wagner), the Czech Republic (Smetana), Italy (Verdi), Great Britain (Elgar), Norway (Grieg), and France (Saint-Saëns).

Rick Steves in Norway

The orchestral delights that accompanied each nation spotlighted included “On the Beautiful Blue Danube” (Strauss), the “Prelude to Act III of Lohengrin,” (Wagner), “The Moldau” from Smetana’s “My Fatherland,” Verdi’s “Triumphal March from Aida,” Elgar’s familiar, “Pomp and Circumstance,” and Grieg’s “Morning Mood” from the “Suite No.1 of Peer Gynt.” As the splendid orchestra performed the works associated with each country, the audience was treated to sublime travelogue views across Europe that captured magnificent landscapes, rivers, streams, villages, churches, traditional costumes, castles, dancers, plazas, parks, mountain climbers, paintings, murals, frescos, statues, fountains, street scenes and cafes, exquisite architecture, Roman ruins and aqueducts, canals, vineyards, knights in armor, rainbows, misty fiords, traditional foods, and lush gardens at every turn.

Rick Steves in Switzerland

This memorable feast for the eye and ear was brought to a fine conclusion with a celebration of the present day European Union as the orchestra played the E.U.’s adopted “Anthem of Europe,” based on Beethoven’s final movement of the 9^th Symphony, “Ode to Joy.” Not surprisingly, there appeared to be universal joy on the faces of the departing audience. BRAVO!

The Cast of Stage Right’s CINDERELLA –
All Photos: Dave W Clements & DWC Photography
[Click any photo to enlarge]

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

Kathleen Baker as CINDERELLA

Lucas Olivarez as the Prince

Conroe’s wonderful Crighton Theatre has, for many years, continued to send me personal invitations to the shows mounted by the much-loved STAGE RIGHT PRODUCTIONS Company. The group has as its longstanding motto: “A Community for the Entire Family.” That motto has perhaps never been more appropriate than for the very cute current offering of Rodgers & Hammerstein’s musical, CINDERELLA, cheerfully directed by Stage Right veteran, Sara Preisler.

(L-R) Alexandra Casey, Christina Sato, Madison Mapes

Rob Baker as King & Martha Davis as Queen

A show full of adorable, local young children, this is clearly a community gem that should bring out a crowd full of friends, neighbors and the families of all the children involved. Other folks, who have ever enjoyed a really well-done elementary school program full of creative sets and sweet kids dressed in beautifully designed costumes, may want to consider joining in the fun with upcoming audiences.

Fairy Godmother (Shananda Poulos) casts her magic spell.

The Magic Coach Arrives

These youngsters sing and dance beautifully while playing the parts Cinderella’s mice, her birds, and her mischievous black cat. They are scene stealers at every bend in the road. (Set design and choreography by director Preisler & Cricket Pepper, Costume designer, Debbie Preisler, and Musical Direction by Layne Roberts).

Cinderella’s Cat

Whether in throne rooms or royal ballrooms, the adults in this cast are regally costumed as well. They give it their all in performing the several charming R&H songs, that for more than half a century have made their way from the earliest TV version of the show (with Julie Andrews), and on to national tours, and even Broadway. And speaking of those charming songs, my only complaint would be the absence of a running song list in the printed program. I’m surprised that omission was permitted by the vendor, R&H Theatricals.

I assume there is no need to detail the familiar tale of pretty young Cinderella (Kathleen Baker), who is horribly abused by her vain and sinister Stepmother (Christina Sato), and her whining, cackling and uproariously annoying stepsisters, Grace (Madison Mapes), and Joy (Alexandra Casey). But of course, relief is on the way in the person of the handsome Prince Christopher (Lucas Olivarez). His parents (Rob Baker as the King, and Martha Davis as the Queen) have a plan to get their son married, but meanwhile, they keep a close eye on him with the help of Lionel, the Royal Steward (an amusingly droll performance from Todd Brady).

Miss Poulos lights up the stage.

Adding to the fun is the kooky and explosive performance of vocally talented Shananda Poulos in the role of of the Fairy Godmother. Poulos really ignites the stage with fine singing and a zany characterization that somehow reminded me of Queen Latifah. She brings magic to the stage in more ways than one, and I’m still wondering how Cinderella was instantly changed from her rags to her ball gown! Mapes and Casey bring jealous hilarity to their over-the-top “Stepsisters Lament,” while wondering, ”Why would a fellow want a girl like that?” as the Prince shows romantic interest in Cinderella.

Dancing at the Royal Ball

Other song delights include, “The Prince is Giving a Ball,” Cinderella’s very sweet, “In My Own Little Corner,” the exciting ensemble number,” The Prince is Giving a Ball,” and the equally exciting, “Impossible; It’s Possible,” duet from Cinderella and her Fairy Godmother. The elegant “Gavotte,” and charming “Waltz for a Ball,” were beautifully danced by the cast in the palace, and other melodic treats include, “Ten Minutes Ago,” “A Lovely Night,” and “Do I Love You Because You’re Beautiful?”

Come and see if the shoe fits.

As you might imagine, after some difficulty Cinderella does get her Prince and the wedding scene climax is an opulent dandy that brought the cheering crowd to its feet. Audience member, Renée La Fleur, was a first-time visitor to the Crighton, and smiled widely as she told me, “This is really bringing me back to my childhood.” Why not come see for yourself this weekend?

CINDERELLA runs thru Nov. 3rd with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on both Saturday and Sunday. Tickets range $17-$26, 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.

Grammy Award-Winning Soprano, JESSICA E. JONES, entertained YTA guests at The Glade.

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

[All Photos by ThePeoplesCritic.com. Click any photo to enlarge]

YTA President, Susie Pokorski, opened the program.

For the many Montgomery County supporters of the annual Young Texas Artists Music Competition (www.ytamc.com), the last Friday of October was a splendid opportunity for an elegant night out in celebration of some of the brilliant young talents the organization has encouraged. Under the skillful direction of YTA President and CEO, Susie Pokorski, the gala event was titled, CLASSICS AT THE GLADE, and featured a champagne reception, cocktail buffet, and renowned concert classics performed by three of YTA’s former winners.

Glade Cultural Center

The affair was held at The Woodlands’ stunning new arts venue, The Glade Cultural Center (www.gladeculturalcenter.com). The center is perfect for private events and receptions, and also provides a unique and accessible fine arts experience for visitors, with a hosted fine art gallery and antiquities.

Valet parking was provided, and as YTA guests stepped from their cars they were warmly greeted at the door by Mrs. Pokorski and her husband Jim. Once inside, visitors were surrounded by lovely artwork and photography on the many walls that surrounded the open bar, the numerous hot and cold buffet areas and a tasty dessert table.

Craig Stephan

The hot Shrimp & Grits station was a favorite of many, and all the while guests enjoyed fine dinner music from accompanist and pianist for the evening, Craig Stephan.

Jade Simmons

Then, once the visitors had time to eat, drink and tour around the art displays,

THE INTERVIEWS: (L-R) Jade Smmons, Zhi-Yuan Luo, Artem Kuznetsov, Jessica E. Jones

Pokorski welcomed the crowd to be seated for the featured performances as she introduced the host for the evening, familiar YTA favorite, Jade Simmons, the CEO of Jade Media Global, and also host of the hit American Public Media podcast, “Decomposed.”

The YTA Video

A talented performer herself, Simmons has entertained at both the White House and Supreme Court, and in recent years has also hosted many of the YTA Competitions of Finalists at Conroe’s Crighton Theatre. Before this evening would end she would share a short video about the YTA organization, and then again show her skill as an interviewer by calling the three featured soloists on stage for a delightful exchange about their lives as professional performers.

Zhi-Yuan Luo

Simmons then introduced 25 year-old Zhi-Yuan Luo, who began playing clarinet at age 12. Currently studying for his master’s degree in Austin at The University of Texas, he was winner of both the Silver Medal and Audience Choice Award during the 2019 Young Texas Artists Music Competition last March. On this occasion, he would dazzle the audience with “Untitled Work for Clarinet and Electronics”, an unusual composition by S. Greene. Performed under smoky blue lighting, the piece involved accompaniment for his skillful clarinet performance from a small, neon bordered speaker system, synchronizing an unusual digital electronic score to the artist’s solo performance. Generous with his talent, when the regular program concluded, he stepped mid-room, clarinet in hand, and provided after-dinner music while guests mingled and enjoyed the artwork on display.

Artem Kuznetsov

Next up was gifted concert pianist, Artem Kuznetsov. Russian by birth, in 2004 he was featured in “Gifted Children of Russia.” A successful veteran of many music competitions, he was winner of both the Piano Division Gold Medal and the Grand Prize in this year’s aforementioned Young Texas Artists Music Competition. Currently studying at Rice University, he volunteers in musical outreach to under-served communities, has a debut album slated for release this fall, and will soon perform with the Allen Philharmonic and the Texas Medical Center Orchestra. On this occasion his superb piano skill was on full display as he performed Bach’s “Toccata and Fugue in D Minor”, brilliantly capturing all the subtle nuances and transitions of the complex work.

Jessica E. Jones

The final guest performer was soprano, Jessica E. Jones, a veteran of the 2012 Young Texas Artists competition. With a wide repertoire and a master’s degree in performance from the prestigious Moore’s School of Music at the University of Houston, she has gone on to perform with opera companies in Texas, Florida, New Mexico, Utah, Idaho and Montana. More recently she became a Grammy Award winner for her performance on the Best Opera Recording of 2019: The(R)evolution of Steve Jobs. At this YTA gala she easily validated her stellar reputation with a joyous performance of Puccini’s “O Mio Babbino Caro,” from Gianni Schicchi, and a wondrous rendition of Andrew Lloyd Webber’s, “Think of Me,” from Phantom of the Opera. The rousing audience reception precipitated her radiant and theatrical encore of Lerner & Lowe’s delightful, “I Could Have Danced All Night” from My Fair Lady. A more joyful conclusion could not have been hoped for.

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

[All photos by ThePeoplesCritic.com. Click any photo to enlarge]

KELLI ESTES takes center stage at Ovations Night Club

No, it wasn’t a Christmas show. Not yet. That treat is just around the corner for Houston’s popular Lone Star Lyric cabaret, and more about that later. This month’s offering, titled “‘Round Midnight,” was a lush showcase of classic standards from the American Songbook, paired with some of the finest vocal and instrumental talent ever to set foot on the stage at Houston’s chic and cozy nightclub, Ovations.

For this, the group’s 14^th Anniversary year, company Artistic Director & Co-founder, Kelli Estes was in fine vocal form, and just as glittering as the stunning necklace she wore about her neck. But on this occasion she was not the lone golden voice on the stage, as she was joined by two Broadway-caliber gents, Lee Gregory and Stephonne Smith.

The LSL Band

But before sampling any of those talents, we first meet LSL’s gifted musicians as the instrumental trio took to the stage to offer the show’s jazzy title tune. Music Director, Rob Hunt, opened the number literally dancing across the keys with a crisp and delightful intro on piano. He was quickly joined by the simmering percussion of drummer, Ben Atkinson, and the solid bass work of Steve Martin. All of that played out under the ever evolving pastel lighting from designer, Jim Elliott.

Lee Gregory

Stephonne Smith

But on to the great musical selections that followed, opening with a unique (and very successful) arrangement for the guys, as Stephonne and Lee performed a most unusual counterpoint duet of, “One for My Baby.” Their deep and powerful baritone voices blended so smoothly I wondered if we should go home right then after such a “tough act to follow.” But not to worry as the band transitioned to seductive Latin rhythms for Kelli’s sparkling, “A Night Like This,” and then handsome Mr. Gregory’s resonant baritone produced a very solid, “Let’s Face the Music and Dance.” It really did make you want to head to the ballroom, and perhaps it could only have been improved if he had a steamer to smooth his rumpled white suit.

Estes has an intermission chat with The People’s Critic and Bob Pizzitola of LaPorte

Stephonne’s resounding, “All By Myself,” was peppered by playful and wide-eyed flirtations with audience members, but he wasn’t by himself for long as Kelli soon joined the number with a cheerful, “Can’t We Be Friends?”

A tender, “The Girl Next Door” from Mr. Gregory.

Lee returns with a true voice for musical theatre that reminded one of Howard Keel during the, “The Girl Next Door,” adaptation of the original, “Boy Next Door,” more familiar to Judy Garland fans.

Estes goes “blue” for MOOD INDIGO

With spotlights highlighting her lush crown of red hair, Kelli returned with bird-like vocal purity for a restful, “In the Wee Small Hours of the Morning,” that featured a relaxing interlude from the trio. Stephonne shows his story-telling skill with a thoughtful, “Say It Isn’t So,” that ends in a soft vocal whisper, and Lee follows with a vocal laser beam for the fun of “Lulu’s Back in Town.” There’s a nice reflection on the Cotton Club era stars like Ellington, Armstrong & Fitzgerald, as Stephonne offers a memorable, “Don’t Get Around Much Anymore.” The stars would close out Act One with a merry trio of Cole Porter’s, “Let’s Fall in Love.”

The fun would continue following Intermission as Ms. Estes called a talented friend to the stage.

Special Guest:
BROOKS CHRISTENSEN

Audience member, Brooks Christensen, was celebrating his birthday, and proceeded to cheerfully prove his worth as a ragtime pianist with a dazzling and joyous performance of the “Pickles & Peppers Rag.” The cheering audience jumped to its feet. Then it was on to the countless Act Two delights that included the band’s wonderful take on, “Green Dolphin Street,” Stephonne’s prancing, “Pennies From Heaven,” and his smooth as silk, “Satin Doll,” Lee’s sassy and playfully aggressive, “All of Me,” his powerful pairing of, “Impossible,” with “I Don’t Stand a Ghost of a Chance,” and his deliciously outlandish and flamboyant, “Just a Gigolo.” Kelli renewed her diva credentials with a feisty, scat-singing of, “My Man,” and a haunting, “In My Solitude,” that smoothly transitioned to a rich, “Mood Indigo” that was bathed in very blue lighting. Then she hit a stunning home run with a masterful, “If You Go Away” that even embraced some of the original French lyrics of “Ne me quitte pas.”

The threesome united for the joyful closing medley of “Why Can’t You Behave,” “Let’s Misbehave,” and “Always True to You.” But they plan more seasonal joy for the fans on December 14^th with their upcoming show, HOLIDAY FRUITCAKE, described as a “…decadent dish of holiday hilarity…like any good fruitcake, sweet with plenty of nuts…a classy swingin’ affair full of holiday tunes.” The Ovations Night Club is located in Houston’s Rice Village neighborhood at 2536 Times Blvd. For LSL tickets or information call 917-414-9577, or visit the website at www.LoneStarLyric.org (Email: LoneStarLyric@gmail.com).

Cast of Crighton Theater’s THOROUGHLY MODERN MILLIE

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

[Click any photo to enlarge]

Lizzie Camp as Millie & Cain Hamilton as Jimmy

It was not your normal Saturday night at the beautiful Crighton Theater last weekend in downtown Conroe, Texas. As might be expected, the current Broadway musical revival of “Thoroughly Modern Millie,” from the resident Stage Right Productions Company, was full of many charms from the eager cast of local talent, with lively direction from Manny Cafeo.

Millie leads the flappers

That’s the good news, so let me be more specific. The cheerful musical has Music by Jeanine Tesori & Lyrics by Dick Scanlan (and the latter also collaborated with Richard Morris on the Book). The Roaring Twenties period plotline surrounds the arrival in New York City of young Millie Dillmount (Lizzie Camp) from her native Kansas.

The Priscilla Hotel Girls

She is eager to conquer the Big Apple with her secretarial skills while hopefully finding the well-to-do man of her dreams.

Millie (Left) welcomes new friend, Dorothy (Madison Mapes)

Her bright optimism is quickly challenged as she is robbed on the street, and then suddenly bumps into (literally) a young man named Jimmy (Cain Hamilton), who abruptly advises that she first spend the night at the cheesy Hotel Priscilla that caters to struggling young career girls, and then head back to Kansas where she came from.

Chinese fun from (L-R) Ara Hollyday, Carolyn Wong and Steven Wong

The hotel owner is the conniving and sinister, Mrs. Meers (coyly played for plenty of laughs by Carolyn Corsano Wong). Meers likes nothing better than to capture young girls with no family and ship them off to the Chinese white slavery trade. She has two bumbling Chinese laundry boys (amusingly played by Ara Hollyday and Steven Wong) who want nothing more than to bring their aging mother to America from Hong Kong. (Don’t miss their uproarious Chinese rendition of the song “Mammy,” and the sur titles projecting English translations of their silly banter above the stage).

Millie’s secretarial speed test with Mr. Graydon (Michael Martin).

Meanwhile, during a terrific and tongue-twisting duet of “The Speed Test,” Millie lands a job as personal secretary to the man she hopes to marry, wealthy Trevor Graydon III (Michael Martin), the boss of Sincere Trust Co. Millie’s marriage plan is complicated with the arrival at the hotel of a classy ingénue named Dorothy (Madison Mapes).

Love at first sight for Mr. Graydon & Miss Dorothy

Dorothy soon catches the eye of Mr. Graydon herself during their hilarious first-meeting duet spoofing the style of Nelson Eddy & Jeanette Mac Donald with a medley of “Ah! Sweet Mystery of Life”/”I’m Falling in Love with Someone.” It must be mentioned that the secretarial pool of talented young gals in this cast is clearly one of the stars of the show as they bring absolutely wonderful singing and tap dancing to the show, even when rolling around on their office chairs.

The tapping secretaries

Similarly, the many-talented ensemble cast of characters from the hotel light up the show repeatedly with great song and dance for the production’s many lovely tunes. (Choreographer, Dinah Mahlman, Musical Director, Ana Guirola-Ladd).

White tie & tails at the elegant home of Muzzy Van Hossmere (Chrisina Sato)

Also stars of the production were the fabulous costume designs from Abby Cleverly and Denise Schmidt-Debold, giving us a virtual fashion show of Roaring Twenties designs, including sensational fringed flapper dresses for the great Charleston dances, and fabulous evening gowns for chic party scenes at the elegant home of socialite, Muzzy Van Hossmere (Chrisina Sato). Scenic design was sometimes modest with a near-bare stage, excepting the painted backdrop of Manhattan’s skyline.

Another show stopping number and glamorous gown for Muzzy

But on the other hand, Set Designer, Ms. Schmidt-Debold, and her team, have created a very fine, two-tiered Hotel Priscilla, complete with functioning elevator at center stage. Both Mr. Hamilton and Mr. Martin deliver solid vocals, as do Miss Mapes, Miss Sato, and of course, Miss Camp in the title role. Having said that, I would caution that there were some moments when vocalists seemed to come on too strong with lovely lyrics that could be enhanced by the singers simply relaxing a bit to let the song do the work without unnecessary antics.

Now for the promised bad news that could have been much worse. Toward the end of Act One there was a sudden flash of light with a frightening and thunderous crash from somewhere in the theater, and at that same moment a solid object fell from the balcony, landing directly on the head of Woodlands resident, Debbie Little, one of my guests, who was seated right beside me.

Crighton front-house manager, Phil Clarke, took quick action during intermission to re-secure the balcony spotlight.

We soon discovered it was a sizable and solid screw knob that had failed in securing to an upstairs tripod, the enormous long spotlight that was at the edge of the balcony directly above the seats where I and my friends were sitting. By the grace of God we would soon learn that the crash we all heard was the collapse of that heavy spotlight which thankfully fell sideways against the balcony wall and not over the edge of the balcony where it could very well have killed one or more of us below. The show continued, along with a buzz of alarm that circulated among the audience. As Act One ended, two teen-aged youngsters who had been associated with the operation of that spotlight came downstairs in search of the missing screw knob that had struck Miss Little on the head. She was stunned and frightened, but thankfully not seriously injured. Front house manager, Phil Clarke, member of Stage Right’s Board of Directors, quickly came to assist us, and then went upstairs to stabilize that dangerous spotlight situation. Needless to say, we changed our seats for Act Two, and as I write these lines I have just received profuse apologies from Stage Right founder, Carolyn Wong, with the good news that the newly installed balcony spotlights have been repositioned for safety to the rear of the balcony. Perhaps Shakespeare said it best: ALL’S WELL THAT ENDS WELL!

The company of the North American tour of “Once on This Island” PHOTO: Joan Marcus

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

[Click any photo to enlarge]

I don’t usually assign my readers “homework” in advance of seeing a show, but it seems appropriate in connection with Theater Under the Stars’ current offering of the 1990 Broadway musical, “Once on This Island.” Directed by Michael Arden and featuring the music of Stephen Flaherty, with book and lyrics by Lynn Ahrens, I would suggest that prospective audience members prepare a bit before attending this somewhat unusual, one-act production. (No intermission). I make this recommendation because there is quite a lot going on during this compact and complex 90 minutes on a very crowded stage, and depicting the modest beach-hut world of the lower class on an island in the French Antilles. (Scenic designer, Dane Laffrey). It is a world where the fair-skinned and wealthier descendants of earlier aristocratic French settlers (known as the Grand Hommes) live separately from the island’s darker native peasants.

Mariama Diop as “Little Girl” PHOTO: Joan Marcus

As the play opens, a little girl (Mimi Crossland & Mariama Diop alternate in the role) is terrified by a well-staged and frightening storm that crosses the island. The action that follows is musically guided by a chorus of local Storytellers portrayed by McKynleigh Alden Abraham, Briana Brooks, George L. Brown, Michael Ivan Carrier, Jay Donnell, Alex Joseph Grayson, Phyre Hawkins, Savy Jackson, Tatiana Lofton and Robert Zelaya. They undertake to calm the frightened child by singing the mythical tale of another young island girl named Ti Moune (Courtnee Carter), who according to legend was once caught in a similar storm brought about by Agwe, the god of the sea (Jahmaul Bakare). The raging storm left Ti Moune clinging to a tree to survive the flooding. Because much of this tale is sung rapidly and with distinct island accents, some of the lyrics were not clearly audible for the audience, as was the case in the vibrant and undulating full-company opening number, “We Dance.”

Cassondra James as ‘Erzulie,’ Tamyra Gray as ‘Papa Ge,’ Jahmaul Bakare as ‘Agwe,’ Kyle Ramar Freeman as ‘Asaka,’ & cast of Once on this Island. PHOTO: Joan Marcus

(Choreographer, Camille A. Brown, Music Director, Steven Cuevas). For these reasons I suggest serious readers go online in advance of attendance to become familiar with the plot structure, and perhaps some of the music itself.

That being said, there is a certain mystery and enchantment surrounding this musical folktale that plays out under the glow of dreamlike lighting (designers, Jules Fisher & Peggy Eisenhauer). Orphaned Ti Moune is adopted by Mama Euralie (Danielle Lee Greaves) and Tonton Julian (Phillip Boykin), and their haunting song, “One Small Girl,” celebrates Ti Moune’s rescue. Soon she has grown to be a lovely young woman. It is then that we first hear the beautiful voice of Miss Carter, with her lashing vocal power for the prayerful song, “Waiting for Life.” Ti Moune imagines what it would be like to mingle with the wealthy and fast-driving grand hommes who crisscross the island in their fine cars.

Kyle Ramar Freeman as Asaka & Courtnee Carter as Ti Moune PHOTO: Joan Marcus

The gods hear her prayer, and Erzulie, the Goddess of Love (Cassondra James), wishes to give Ti Moune the gift of love, while the sinister Demon of Death called Papa Ge (Tamyra Gray) proposes a challenge to see which is more powerful, love or death. Asaka, the Goddess of Mother Earth (Kyle Ramar Freeman) joins the other gods for the torch-lit and whirling excitement of “And the Gods Heard Her Prayer.” Agwe then creates a storm that causes the car crash of a handsome young grand hommes gentleman named Daniel Beauxhommes (Tyler Hardwick). Ti Moune witnesses the accident and runs to his aid singing the beautiful and haunting, “Finding Daniel.” Miss Carter joins forces with Mr. Boykin and Miss Greaves as Ti Moune and her adoptive parents sing both the tender, “Pray,” and the song titled, “Ti Moune,” which cautions us to, “…choose your dreams with care.” There is also a fascinating shadow play as we hear, “The Sad Tale of the Beauxhommes,” but there is great fun ahead as gaily dressed Mr. Freeman (with a fruit-laden headdress that would be the envy of Carmen Miranda), literally lights up the stage as the explosive Mother Earth. Singing, “Mama Will Provide,” he is surrounded by the joyous and whirling chorus of the ensemble.

The company of Once on this Island. PHOTO: Joan Marcus

Unaware that since childhood Daniel has been betrothed to Andrea (Briana Brooks) among his people on the other side of the island, Ti Moune falls in love him. She has saved his life by making a kind of deal with the devil in the person of evil Papa Ge. But for the complicated details of those final chapters you will need to buy a ticket. Don’t forget to do your homework.

ONCE ON THIS ISLAND* continues through Sunday March 1st 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 www.tuts.com, or call (713) 558-8887 locally, and (888) 558-3882 (outside of Houston).

*For a Production preview visit: https://drive.google.com/file/d/1tt0luXtKXOqkltZG8p4FgPBb7RmpIDKD/view?usp=drivesdk

Steven Reineke with the Houston Symphony Orchestra

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

Of the countless hit recordings left to us by legendary vocalist, NAT KING COLE, the song “Unforgettable” would certainly rank high on that list. The concert is aptly titled, “UNFORGETTABLE: Celebrating the Nat King Cole Centennial,” and it beautifully describes this weekend’s triumphant performance of the late, great singer’s astonishing body of work, that got under way with Friday’s sensational opening night at Jones Hall. Presiding on the podium was the Houston Symphony’s popular and very high-energy Pops conductor, Steven Reineke, the always enthusiastic and animated maestro, who seems to endlessly appear as the person having the most fun of anyone in the hall. That fact was quickly evident as the tall and handsome conductor sprang into action leading his musicians in a lively arrangement of the explosive big band classic, “One O’clock Jump,” that was notable for the finely woven counterpoints from different sections of the orchestra.

Ryan Shaw

Then it was time to introduce the first special guest performer of the evening with the arrival on stage of sensational vocalist, Ryan Shaw, who immediately captured the flair and easy cool of Mr. Cole with his smooth performance of “Straighten Up and fly Right.” His black jacket and black bowtie combined with an artsy golden shirt that looked a bit like a jigsaw puzzle, and it all seemed to complement his black and gold dreadlocks tied neatly in a bun. (In addition to three Grammy nominations, Shaw has countless stage and concert credits, including starring as Stevie Wonder in the original Broadway production of Motown the Musical). Next, he demonstrated his richly resonant voice and skill as a storyteller, while beautifully capturing the haunting mystery of the Eden Ahbez song, “Nature Boy.”

Then conductor Reineke introduced the second featured performer, Josette Newsam. A native New Yorker, some may have recognized her from her appearances as solo and background vocalist on Today, Live! With Regis and Kelly, or Live! With Kelly and Michael.

Josette Newsam

In a smooth black gown with flared sleeves edged in silver, and beaming with a joyful countenance, she opened with a fierce and feisty, “Orange Colored Sky,” that rocked the room. There was mention of Nat King Cole having been the first black entertainer to have both his own radio and television programs, and it was there that the brilliant Ella Fitzgerald had performed Gershwin’s beautiful, “Embraceable You.” With a voice that could etch fine crystal, Miss Newsam then performed the song herself, and with all due respect to Ella, I have never heard a better performance of that song. It was, indeed, a warm embrace, a tender balm for the soul. With equally marvelous interludes from the orchestra, the result was simply sensational! Then under the warm glow of red-orange lighting, the orchestra would follow with Nelson Riddle’s infectious, “I’ve Got You Under My Skin,” nicely decorated with seductive accents from both brassy trombone and sax. Following intermission the orchestra would again excel during a multi-layered and ever escalating performance of the “Theme from Route 66.” Shaw followed that with the “Route 66” song, as he demonstrated his extraordinary ability to shift gears while soaring into upper vocal ranges. Other delights in the second half of the program would include a lushly beautiful, “Smile,” and a chic, nightclub-worthy, “Tangerine,” from the orchestra’s fine rhythm section quartet. Josette returned in a stunning cardinal red gown and glittering golden slippers for a poignant and whimsical, “What’ll I Do?” and she would glide through a rendition of Natalie Cole’s hit, “Avalon.” Shaw would provide a sparkling, “Just One of Those Things,” that he may have over-stylized a bit, and then the conductor challenged the audience to identify five King Cole tunes in a lovely medley. (I got 4 out of 5, but couldn’t name the familiar, “Ramblin’ Rose”). There would be several encores, but of course the standout would have our co-stars pairing for “Unforgettable,” lest we forget what a memorable evening it was.

Unforgettable: Celebrating the Nat King Cole Centennial takes place at Jones Hall for the Performing Arts, 615 Louisiana Street, in Houston’s Theater District. For tickets and information, please call 713.224.7575 or visit houstonsymphony.org. Final performance is today at 2:30 p.m.

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

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

It seems that each year at this time I am confronted with the daunting task of trying to summarize the countless delights of the MUSIC BOX THEATER’S latest creative tribute to Broadway musical theatre. This year’s edition, “BROADWAY AT THE BOX 2020,” is perhaps even more difficult to capture in words because the vocal prowess and comedic skill displayed during the two hours of numerous clever sketches seems better than ever. For years I have wondered when this talented little troupe would run out of brilliant ideas, but that just hasn’t happened. Of course the usual suspects are once again on hand with company founders, Rebekah Dahl & Brad Scarborough, ably assisted by Kristina Sullivan, Luke Wrobel and Cay Taylor. They combine forces for two hours of great music and great fun, (nicely supported by the four-member house band), and the result has been the group’s continued dominance in the TripAdvisor.com listings of Concerts & Shows for Houston.

Brad Scarborough

Rebekah Dahl

With Brad and Rebekah presiding, the lively and fun-filled opening number, “Road to Hell,” from the Broadway hit, HADESTOWN, featured the prancing and merry gyrations of the cast, and the infectious melody of the instantly likable tune. Next, from the show, DEAR EVAN HANSEN, Mr. Scarborough brought fierce vocal focus to the song, “Waving Through a Window,” as he skillfully carved out the varied complexities of the powerful number. With a bluesy, gliding and silken voice, Kristina followed with a warm and thoughtful, “Can’t Help Lovin’ Dat Man,” from SHOWBOAT, that was full of tender longing.

Kristina Sullivan

Cay Taylor

Rebekah pairs with Luke for the hilarious, “Sue Me,” from GUYS & DOLLS, and she hits a real homerun beautifully delivering Miss Adelaide’s rapid-fire and tongue-twisting vocal. Miss Taylor was next, offering a beautiful story of dreams not realized with the lovely, “Stars and the Moon,” from SONGS FOR A NEW WORLD. Rebekah then livens up the room entering from the rear of the theater making a slinky, sensuous and seductive trip through the audience singing a raucous, “Turn Back O Man” from GODSPELL, and then joining Brad’s calming Jesus on the stage for the number’s full-cast finale.

Luke Wrobel

Luke Wrobel (left) and Mark McCain

Next, Luke is joined on stage by gifted lead guitarist and band member, Mark McCain, as the two combine forces for the haunting delicacy of Cole Porter’s, “So in Love,” from KISS ME KATE.

Now dear readers I must ask you to trust me on this. Act One concludes with an annual event the Music Box has aptly titled the 7-MINUTE MUSICAL. This year’s offering of the “complete” WEST SIDE STORY is so totally brilliant and so endlessly clever, (for exactly seven minutes anyway), that the racing hilarity of its joys must really be seen to be believed. If you survive all of that, stop by the refreshment bar for beer, wine, cheese, snacks, or “Bottomless Mimosas” during intermission. Then settle down for the jam-packed second half of the show featuring a joyful medley of Jerry Herman songs, and numerous other hits from such shows as ANNIE, WICKED, BOOK OF MORMON, COMPANY, and many others. You are bound to come away realizing that old adage is true, “There’s no business like show business!”

BROADWAY AT THE BOX 2020 continues at the Music Box Theater, 2623 Colquitt, Houston, Texas, through APRIL 18th with performances at 7:30p.m. Fridays & Saturdays, (Except March 20^th & 21^st), and there will be two Sunday matinees at 2 pm on March 29^th and April 5th. 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, MOTOWN 2020 AND BEYOND.

Cast members of the Class Act Production of FROZEN JR.

[Special Thanks to Class Act’s Kristi Tabor for the photo above, and for the six additional new cast photos we now include at the end of this report. Click any photo to enlarge.]

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

I’m sure I am not alone in recalling the childhood wonder of curling up with a beautifully illustrated book of Grimm’s Fairytales and the like. There was a special enchantment in being transported to magical kingdoms in the far-off lands of our imagination. So it was that last weekend was the perfect opportunity to revisit such mysterious and wondrous places, right on the stage of the Nancy Bock Center for the Performing Arts here in The Woodlands, Texas. And it was no surprise that such magic would be created by producer, Keith Brumfield’s legendary Class Act Productions youth theatre company, now in its 23^rd season of making musical theatre magic several times each year. The vehicle for this latest success is the already very popular story of Disney’s FROZEN, presented here in the “JR.” edition designed especially for young performers. The enormous and talented cast of fifty-five singing and dancing youngsters was beautifully directed by Stacy Jones, with outstanding Musical Direction from Debra Moses, and sensational dance designs from Choreographer, Mieka Phillips. The elegant and very magical costumes of designer, Romy McCloskey were the “icing on the cake” of this beautiful production.

With the Music and Lyrics of Kristen Anderson-Lopez & Robert Lopez, and a Book by Jennifer Lee, the story of FROZEN takes place in the kingdom of Arendelle, ruled by Queen Iduna (Arden Blake) and King Agnarr (Henry McCloskey). The show opens splendidly with the beautifully staged, “Let the Sun Shine On,” and we see the first of many scenes in no need of extensive scenic design because the Disney package includes amazing and colorful projections of the scene on a full back wall the equal of a theater movie screen. That gloriously costumed opening number was full of lovely singing and charming ribbon dancing. Based on the 2013 Disney film of the same name, the real magic here enters the picture when we meet the royal couple’s two daughters, Young Elsa (Fiona Monreal), and Young Anna (Tori Rouswell). It is with their appearance that dangerous magical powers begin to complicate the plot, because the older princess, Elsa, has the frightening ability to freeze anything or anyone that comes under her magic spell. A sweet duet of, “A Little Bit of You,” offers a delicate snowflake ballet with Featured Dancers including Tiffany Twellman (Captain), Arden Blake, Shea McLeod, Addyson Phillips, and Lindsey Twellman. Mischievous Anna coaxes her sister into making snow, and they create a very animated snowman named Olaf (spryly played by Peyton Jones). But the magic backfires as Anna is seriously injured and the sisters are separated in the palace. Events move so quickly that the girls age right before us, as Grace Ann Jones plays “Middle Elsa,” and Cassidy Buday plays “Middle Anna.” The king and queen are tragically lost in a shipwreck at sea before we finally meet the grown Anna (Coral Petillo), and the grown Elsa (Mady Tozer), now reaching her 21^st birthday when she can be crowned as queen. Coronation Day is celebrated with “For the First Time in Forever.” The cheerful singing and dancing of the palace staff, and more stunning projection magic creates the convincing illusion of the ceremonial chapel. Anna is smitten with the arrival of handsome Prince Hans (Oliver Tipler), and their sweet song, “Love is an Open Door,” is perfected by the gorgeous surrounding dancing of the ensemble. Before the first act concludes, a bright-eyed and beaming young actor named Matthew Hernandez arrived looking very at home in the amusing role of Kristoff, an ice merchant with a friendly reindeer named Sven. (Delightfully played by Luke Tabor). The pair’s charming duet is a silly delight, followed by a sudden transition from the frozen world as Olaf, the snowman, imagines a tropical world “In Summer.” That world explodes with colorful costumes, gay parasols, and splendid singing from Miss Jones and the great Show Chorus Singers anchoring the production, and nicely closing out Act One on a high note.

Act Two would immediately be full of pleasures of its own, beginning with the Germanic folk dance flavors of the merry and dazzling opening number, “Hygge,” deliciously led by Oliver Tipler in the role of Oaken, the owner of Wandering Oaken’s Trading Post & Sauna. The catchy tune featuring the complex choreography of the dancers whirling concentric circles, and an emerging high-kick line calling to mind the Rockettes, was simply a pure joy to witness. If that was not enough happiness, it was quickly followed by Miss Tozer’s splendid delivery of the show’s iconic and best-know tune, “Let It Go,” which was beautifully embraced by stardust, snow showers, Northern Lights and the graceful ballet dancing of the cast. With that in mind I would like to dedicate this review to my favorite dreamy and beautiful little ballerina, my soon-to-be five year-old niece, “A.J.” As I thought back to the Act One song, “Dangerous to Dream,” I realized how that notion has never been a problem for Class Act founder, Keith Brumfield. He’s clearly in his 23^rd year of fearlessly making dreams come true. BRAVO!

[Click any photo to enlarge.]

King Agnarr (Henry McCloskey) and Queen Iduna (Arden Blake) watch over the young princesses and thee Royal Court.

Members of Class Act’s production of FROZEN JR.

Mady Tozer in the role of Elsa

Prince Hans (Oliver Tipler) proposes to Anna (Coral Petillo)

Elsa (Mady Tozer) delivers the show’s hit song, “Let It Go”

The Reindeer (Luke Tabor) looks on as Peyton Jones animates Olaf, the snowman when greeting Anna (Coral Petillo) and Kristoff (Matthew Hernandez)

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

[Click Any Photo to Enlarge]

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

Is there musical theater after Covid-19? You betcha! And Houston’s MUSIC BOX THEATER is prepared to prove it to you. But before I get into that, let me briefly digress. I would like to first thank the countless readers of ThePeoplesCritic.com who have sent emails and messages of appreciation, encouragement and support during this very challenging time for both theater critics, and for us all.

Arriving audience awaits the cast.

Having said that, it is now my high honor to announce the winner of this year’s award for CLEVEREST TITLE OF A NEW MUSICAL! May I have the envelope please? … [Drum roll]… And the winner is… The Music Box Theater, for “QUARANTUNES Live!” Better still, the show itself is very clever as well. Sporting the usual talented cast of five, (Rebekah Dahl, Brad Scarborough, Cay Taylor, Kristina Sullivan, and Luke Wrobel), this timely new production is built around carefully selected songs, which, in various ways, can serve to comment on the months of pandemic confinement we are all still grappling with.

The Cast Takes the Stage

The opening medley captured that mood perfectly, beginning with a warm, inviting rendition of Neil Diamond’s, Hello Again from Mr. Wrobel, as he nicely accompanied himself on keyboard. The stress we have all endured was well-expressed as Luke joined Brad for the Queen hit, Under Pressure. Wearing a cool summer dress, Miss Taylor then turned up the heat with a sultry performance of the old Peggy Lee hit, “Fever.”

Kristina sings “The Show Must Go On”

At the mention of that now frightening word, some of her Covid-concious cast mates humorously burst forth wielding antiseptic spray. Kristina’s exciting performance of another Queen hit, The Show Must Go On, seemed to summarize what this whole experiment was all about. Miss Dahl’s several months away from the stage seemed to have only enhanced her talents as she delivered a powerful, “That’s Life” with a voice so thrilling that it could have etched fine crystal. She quickly brought that same power to the Melissa Etheridge hit, “Come to My Window,” nicely chosen in this age of being housebound.

The house band was appropriately masked.

Luke and wife, Kristina, honored recently deceased singer, Kenny Rogers, with a stellar duet of “Island in the Stream,” that they would do well to record. With lines like, “…if we rely on each other,” and “…sail away to another world,” that song’s lyrics made me feel we will all come through our current trials. Miss Taylor enhanced that feeling as she followed sweetly with, “What the World Needs Now is Love.” After a few respectable opening notes on his harmonica, Brad carves out another masterful performance with the Hollies’ hit, “He Ain’t Heavy, He’s My Brother.” With Rebekah and Cay up front, and glorious harmonizing from the cast, a show highlight would have to be the stunning “Hey, Jude,” that climaxed with Rebekah’s spectacular voice soaring heavenward.

Back in the latter part of the last century I had the privilege of reviewing a New York performance of Crystal Gayle, which, of course, included her signature, “Don’t It Make My Brown Eyes Blue.” Here, dressed in a pretty flowered summer dress with puffed sleeves, we have an absolutely wonderful rendition of that song from Kristina.

A “Hold On” trio from the ladies.

The three gals then combined forces with great vocal blending for a lively trio of, “Hold On.” That was followed by the full cast beautifully delivering a brilliant a cappella arrangement of, “Somebody to Love.” Luke moved on to a fine performance of, “Long December,” and speaking of “long,” he was nicely accompanied by one of the house band’s talented members, guitarist, Long Lee. Miss Taylor’s, “Higher Love,” seemed timely with its references to “facing our fears,” and was enhanced by two of the bands fine guitarists. Reminding one again of Crystal Gayle, Kristina brings silken voice to the Cat Stevens tune, “Wild World,” nicely decorated by Mr. Lee on electric bass. Some playful nonsense arrived as Frank Sinatra (Wrobel), and Judy Garland (Miss Dahl) stumbled on to the stage, cocktails in hand. Rebekah’s hilarious tousled wig, and the stool-sitting angularity of her Garland impression are worth the price of admission as Judy announces, “Drink up! What doesn’t kill you, makes you older!”

A calming voice and guitar from Brad.

Brad calms the mood with a relaxing and beautifully sung, “Take it Easy,” and then, as we all continue to make our way through this Pandemic War, it seemed most appropriate for the ensemble to wind things down with the touching World War II tune, “We’ll Meet Again.” Let’s hope so!

QUARANTUNES Live continues at the Music Box Theater, 2623 Colquitt, Houston, Texas, through July 25^th, with performances at 7:30p.m. Fridays & Saturdays, (Except July 4th). For this show only, due to required social distancing & limited seating requirements (Click sidebar at right), all tickets will be $60. There will be one Sunday matinee at 2 pm on July 12th. For tickets and information call 713-522-7722 or visit the website at www.themusicboxtheater.com,

(L-R) Robert Faber as Felix, Mandy Hall as Cecily, Sarah Wilkins as Gwendolyn, and John Barton as Oscar, in the Stage Right production of THE ODD COUPLE.

By DAVID DOW BENTLEY III

“The People’s Critic”

[PHOTOS BY: Michael Pittman. Click any photo to enlarge.]

Perhaps William Shakespeare was not predicting our approaching Texas pandemic winter storm when he wrote the line, “…Now is the winter of our discontent…” for Richard III in 1594. But who among us has not heard the phrase, “We’ll get through this!” during the harrowing past twelve months? Well maybe it’s true.

Montez welcomes the audience.
PHOTO: ThePeoplesCritic.com

My friend Ruthellen and I just attended last weekend’s Opening Night of THE ODD COUPLE, at the hitherto long-darkened Crighton Theatre. Both the theater and this critic have been “out of business” for countless months, (along with the rest of the shuttered entertainment industry), while the nation and the world battled the insidious Covid19 virus. Haven’t we all now earned the right to a few laughs?

Social Distancing in theater.

Well relief is now on the way, thanks to Stage Right Productions director, Melody Montez, and her courageous cast and crew for this classic Neil Simon comedy. I say “courageous,” because it is widely believed, in the world of theater, that comedy is the most difficult of the theatrical arts to do well. Gifts like subtlety, timing, comedic body language & facial expressions are not skills possessed by every actor. So right out of the box our community owes this company of local actors sincere gratitude for bravely taking on the work of many weeks of rehearsal and preparation aimed at putting the smiles back on our long-masked pandemic faces. Yes, masks are required when moving through the theater lobby and restroom areas, but not while sitting in your widely socially-distanced seat, with every other row kept empty, along with the block-off of seats immediately surrounding you and your party. This makes ordering your tickets early essential. Though this beautiful theater is capable of seating several hundred, it now has greatly reduced capacity due to required socially distanced seating. In addition to supporting this much needed renaissance of live theater, audiences will also have an opportunity to glimpse the ongoing expansion of the lobby/restroom/box office & concession areas that will greatly enhance the theater when completed.

For those who might be unfamiliar with The Odd Couple from the hilarious and long-running television series, the popular 1968 film version, or the original and successful run of the 1965 Broadway play, the amusing plot revolves around two guys surviving failed marriages, who end up sharing a Manhattan apartment. The boisterous Oscar Madison is played with rowdy gusto by John Barton. The always loud Oscar enjoys being a slob, eating snacks and playing poker.

Felix (Robert Faber) loves to cook & clean for roommate, Oscar (John Barton)

But Oscar takes pity on his friend, Felix Unger, (Robert Faber), when the desolate fellow is tossed out of his home by a divorce-seeking wife. Though the now-homeless Felix is Oscar’s polar opposite, Oscar invites him to become his roommate in the smoky and disheveled apartment. (Pleasant set design by Barton & Ms. Montez). Timid and heart-broken over the failed marriage separating him from wife and children, Felix loves to cook, is a fastidious neat-freak who wants things tidy, and revels in cleaning up Oscar’s messes. The guys’ ensuing clashes propel much of the comedy, along with able assistance from Oscar’s rowdy group of weekly poker players: Vinnie (Frank Pursel), Speed (Jeffery Ott), Roy (Bob Galley), and the ever-wise Murray (nicely played by John Kaiser). The comedy rises to an even higher level when Felix and Oscar invite the adorable upstairs neighbors, the Pigeon sisters, to come to dinner. (Mandy Hall as Cecily, and Sarah Wilkins as Gwendolyn.) With their cheerful British accents, the perky, pretty, and giggling sisters bring great fun to the proceedings. They are a riot as they comfort the despairing Felix when the topic of his divorce brings him to tears. If you’ve found yourself despairing during this seemingly lost year of the pandemic, maybe this hard-working cast has just the comedic medicine you need. Ruthellen summed it up nicely as we left the theater: “Isn’t it nice to be getting back to normal?”

THE ODD COUPLE runs thru February 28th, with performances at 8 p.m. Fridays & Saturdays, and at 2 p.m. on Sundays, with one additional matinee on Saturday Feb. 27th. For tickets visit www.crightontheatre.org, or call 936-441-7469. The Crighton Theatre is located at 234 N. Main in downtown Conroe, Texas. [PLEASE NOTE: Seating will be extremely limited as the Crighton Theatre is observing all recommended COVID spacing / capacity restrictions, and patrons are requested to wear masks whenever not seated for the performance.]

The cast of FOOTLOOSE at the Owen Theatre

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

[All photos by Trevor Hall Photography. Click any photo to enlarge.]

It seems to be happening bit by bit. The pre-pandemic world we once knew is creeping its way back toward the hoped-for goal of “normal.” Last weekend’s opening of the 1998 musical, FOOTLOOSE, (based on the 1984 film of the same name), really brightened a rainy Sunday afternoon, and is now rocking the room for The Players Theatre Company at Conroe’s Owen Theater. The fan base was out in force for the matinee, and every member of the well-attended audience respectfully wore a mask throughout the performance. It was a small price to pay for the fun that awaited them in this joyous edition, beautifully directed by Adam Isbell, and stunningly choreographed by Jodie Schrier.

This Broadway production was originally adapted for the stage by Walter Bobbie & Dean Pitchford (Based on his original screenplay). It features Lyrics by Mr. Pitchford, and the music of Tom Snow. The cheerful plot begins when a boy named Ren McCormack (Carson Rapsilver), and his mother, Ethel (Courtney Berry), find themselves abandoned in Chicago by a runaway dad when Ren’s father disappears. This requires them to move in with a distant aunt and uncle in a small southern town amusingly called, “Bomont,” and sounding just like a certain Texas town more familiar to us all. We get our first look at the large ensemble cast as the action begins on one of the many simple and effective scenic/set designs of Michael & Jamie Glass. The sets are always nicely framed by a background design of the town’s river bridge and a large ranch country windmill, and this opening scene depicts a subway station and surrounding street scene as folks get out of work for the day during the title song, the lively and acrobatic opening number, “Footloose.” It is clear from the start that a talented cast is very ready for action.

(L-R) Willard (Kyle Clevenger) and new friend, Ren (Carson Rapsilver)

As often happens for a “new kid in town,” Ren runs up against a few mean classmates at his new high school, especially the ornery and abusive, Chuck Cranston (Jake Teal in an appropriately sinister performance). Chuck thinks of the Rev. Shaw Moore’s daughter, Ariel (Madison Mapes), as his own personal property, and he resents the arrival of cocky Ren, who in his black leather jacket, reminds one a bit of the old Fonzie character in the “Happy Days” series. But Ren does find one new pal, the amusingly shy and goofy, Willard (Kyle Clevenger).

Rev. Moore & Family

Meanwhile, Rev. Moore (Dallas Hiett) is still trying to come to terms with the death of his son Bobby five years earlier when, following a dance party, the car he was in with some teenage friends went off the town bridge, drowning them all in the river. Hence, the reverend is not fond of his party-loving daughter dating a delinquent like Chuck, and correspondingly, Ariel resents her over-protective dad for his restrictions on her personal life. Joan Hodges gives a sensitive performance as Ariel’s mother, Vi, as she tries to navigate the strained relationship of her daughter and husband. She beautifully performs the tender and reflective, “Learning to Be Silent,” which seemed reminiscent of Sondheim’s beautiful, “Children Will Listen,” from Into the Woods. (Hodges lands another winner in Act II with the lovely, “Can You Find It in Your Heart.”) The tragic bridge accident had resulted in the reverend and the town council passing a law forbidding dancing. Therein hangs our central conflict.

Madison Mapes as Ariel & Carson Rapsilver as Ren.

As it happens, young Ren is a terrific dancer, and wants there to be a big dance at the high school. Mr. Rapsilver, with his gymnastic and acrobatic dance skills impressively on display in the number, “I Can’t Stand Still,” is perfectly cast to lead this high-energy cast in the numerous blockbuster numbers so skillfully choreographed by Ms. Schrier.

At home with the Moore Family.

Simple set changes are barely noticed as they easily transport us from the well-designed church, to the school, to the soda shop, to the town bridge, and both the inside and outside of the Moore family home with just a simple rotation. Choral singing of the church choir was terrific, and decorated by some pleasing counterpoints from the ensemble. Ariel joins Chuck and his pals, Travis (John Paul Manluctao), and Lyle (Sid Wadley) for the sassy sensuality of, “The Girl Gets Around,” while Ariel’s girlfriends, Urleen (Parigrynne Zangara), Wendy Jo (Sadie Blair), and Rusty (full-voiced Meredith Fisk), deliver a nice song of warning to their friends with, “Somebody’s Eyes.” Ms. Fisk, by the way, hits one out of the park in Act II with a rousing, “Let’s Hear It for the Boys,” that explodes across the stage with great dancing from the cast, much like the colorful, beautifully costumed (designer, Angelie De Los Santos), and eye-popping choreography ahead in the show’s finale reprise of “Footloose.” In between, audiences can enjoy the gals’ sassy harmonies for the foot-stomping, “Holding out for a Hero,” and Rev. Moore’s poignant, “Heaven Help Me.” The first act ends with the ensemble’s dance athleticism in “I’m Free,” and the second act opens with more excitement as the kids gather in the nearby Barbeque Dance Palace for boot-scootin’, two-steppin’ fun as Cowboy Bob (Lucas Olivarez) & His Band inspire great western-style dancing from the cast during, “Still Rockin’.” The fun continues as Willard and his pals deliver a “Mama Says,” that features the guys in a high-kick line that could rival the Radio City Rockettes. Why not come and get your own kicks with a long-delayed return to the world of LIVE theatre? You’ll be glad you did.

FOOTLOOSE continues through March 28, 2021 at The Owen Theatre, 225 Metcalf St., Conroe, Texas, 77301, with performances Friday & Saturday @8pm, and matinees Saturday & Sunday @2pm. Prices range from $15 – $24, with discounts for children, youth, & seniors. For tickets and information call 936-539-4090, or visit the website at http://www.owentheatre.com

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.

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