Christopher Allport and Friends

(left to right: Sarah Block, Christopher Allport, senor Don G and Donny B. Lord)

review below!

Beth Malone After Performance of SO FAR

If actress/
singer Beth Malone looks
happy and proud, as well
she should be. Her cabaret
work in progress So Far
is a hit. It's oh so honest
and entertaining.

review below!

Mitzi Gaynor Show

Mitzi Gaynor brings her one-woman night club show to the Lawrence Welk ResortsTheatre in Escondido September 2 -5 Labor Day Weekend.

I did a splendid interview with Ms. Gaynor last October before she did a Q and A at a Richard Rodgers and South Pacific tribute.

Read it @ GRIGWARE INTERVIEWS archived October 2009.

review above!

CABARET review - Christopher Allport

Christopher M. Allport's Cabaret Collective played Sterling's Upstairs @ Vitello's Sunday evening August 29. Collective most likely referring to the collection of Broadway pop tunes presented and also to the fact that Chris was joined by friends soprano Sarah Block and fellow 'Disney kid' Donny B. Lord.

For the most part it was an enjoyable set with Allport soloing, then dueting with Block throughout, and Lord performing later on. Allport is definitely a strong character type with a pack of attitude that best serves numbers like his strong opener "Wilkomen" from Cabaret. Also a good choice was "Razzle Dazzle" from Chicago or still another Kander & Ebb Chicago favorite "Mr. Cellophane". Tunes like "Anthem" from Chess, "The Prayer" and even Jason Robert Brown's "If I Didn't Believe in You" from The Last Five Years do not show off his talent. "The Prayer" especially is way beyond his vocal range, and with the others there's a dramatic stretch that is slightly out of reach. He's a tad stiff on stage as well, so sitting through some tunes with a focus on the audience might serve him better than trying to attempt some spontaneous dance steps that appear awkward and clumsy.

Block fared much better. Tall, poised and graceful, she possesses a lovely voice that just soared on "Gimme, Gimme" from Thoroughly Modern Millie, superb with Brown's "Climbing Uphill" and with just about every song she sang. She more than held up her end on "The Prayer" and was a welcome addition to the gig.

Donny B. Lord did one rousing tribute to Michael Jackson to celebrate his birthday with R. Kelly's "You Are Not Alone", on which he put his own inimitable stamp. Musical director Aurelien Eulert provided great accompaniment all evening and was divine in his piano solo "Embraceable You" in a salute to George Gershwin. Fine accompaniment was also to be had on percussion from Emiliano Almeida and on bass from O. Steinberg.

Lots of Kander & Ebb, lots of Jason Robert Brown, some George Gershwin, some Stephen Schwartz with a pinch of Jonathan Larson thrown in for good measure, "Seasons of Love", added up to a most entertaining set.

If Allport decides to return, he should stick to the comedic patter songs that fit his personality and leave the more musically lilting material to Block.

CABARET review - Beth Malone

On Saturday August 28 actress/singer Beth Malone returned to Sterling's Upstairs @ Vitello's to try out a newer installment of her cabaret show 'in progress' So Far to an enthusiastic SRO audience. Malone is a lesbian and is totally open about it. In fact, the show is not about her fabulous theatrical career, but about her personal life: recognizing a first crush on Barbara Mandrell, as she watched her weekly TV show - "I wanted to kiss her", and the subsequent journey that brought her to the comfortable place she is in today. She is happily married to another woman.
"I don't need a cowboy who can tell a joke, I am one!" Hailing from Colorado, her mom was a night club singer and her beloved dad - a cowboy! Malone wanted to be like him, and of course, as he wished, marry another cowboy and have the life she was accustomed to as a little girl. Along the way, she was infatuated with girls, had the usual 'experimental' sex with them that most little girls do and eventually had a short term affair with a dancer, and one with an Aspen waitress, that also fizzled, and at the same time was engaged to a journalist from her home town. Of course, she broke off her engagement, told her mom about her desires, who told her dad, and was immediately and painfully disowned by her father. Today she is married to the waitress gal Shelley, has made amends with her dad and is one ecstatic lesbian lady.
The honesty with which Malone tells her story is so touching, and with her ultimately appealing storytelling technique as a fine actress, that weaves around the songs with such tremendous humor, So Far becomes one sensational and uniquely entertaining evening. There are pix to play with of fellow lesbians Jodie Foster and Kristy McNichol and a fun audience participation Q and A: 'ask a lesbian a question you were afraid to ask'. "Do you like the term lesbian or would you prefer to change it?" Her answer, "I like the word; it's the word cervix I hate!" Another example was "What are five things a lesbian needs?" Answer, "One thing. An excellent pair of nail clippers!"Funny impromptu responses!
The evening was co-written by Patricia Cotter with excellent direction from Peter Schneider, and wonderful musicians Marty Jabara at piano and Bruce Carver on percussion. These guys really rock!
Musical highlights from contemporary composers included: "The Happiest Girl", "If Lovin' You Is Wrong, I Don't Want To Be Right", "The Life I Never Led" - a hilarious description of a New York dressing room full of straight actresses and their obnoxious drivel about male/female relationships - "What I Cannot Change", "Hero" and "I Think I Love You".
Malone has the chops to do an hour of pure singing, but her show goes beyond the norm and is indeed something special.
This is a jubilant, genuinely open story of a lesbian actress/singer brilliantly performed by the supertalented lady herself. Don't miss Beth Malone when she brings So Far to New York in September!

Troubies Support Katherine Malak @ Sterling's

Katherine Malak was superb in her LA cabaret debut and the Troubies with whom she is co-starring in A Wither's Tale @ the Falcon Theatre were in attendance to cheer her on!

review below!

Fritz Coleman's Comic Material Lingers Strong Long After Performance

Fritz Coleman has a unique down-to-earth style on and off the stage that makes him unforgettable. He did 4 SRO performances of On the Fritz at the El Portal. Audiences adore him, like friends the Johnsons - actor Jay and wife Sandy. (above top)

Within the hour and a half set of Fritz's Evening, he discusses quite frankly but humorously how life has changed for the better and then again not so good due to advanced technology: "It's not social networking, but anti social-networking!" Then there's his slant on religion - he grew up Epsicopalean, those ugly facts about aging and dating, and even being a weatherman in a city "where there is no weather!" His show is hilarious. Catch it wherever he plays and look at our thorough interview @ my blogspot: GRIGWARE INTERVIEWS!

CABARET review - Katherine Malak

On Sunday August 22, petite dynamo Katherine Malak performed her cabaret Wishlist @ Sterling's Upstairs @ Vitello's to thundering ovations. Malak, who gives new meaning to the word dynamic, belted out a bevy of show tunes and quaint songs about the pangs of auditioning and being an actress.
Wishlist comprised all the people this New Yorker has met and worked with during her brief time in LA. She wished them, via a part in her show, a share in her success... like guest stars Kyle Nado, Lisa Marinacci, and Cloie Taylor, and great backup musicians Brent Crayon on piano, Emiliano Almeida on percussion and Michael Donahue on guitar.

Highlights of the fast-moving electric set included: "Raise the Roof" - which really set the tone for the entire evening, a fabulous "Cry Me a River", where she intoned her young dreams of being a showgirl a la Jessica Rabbitt, and a dramatic little three act play about a lover "I'm Not Waiting". There was a gorgeous duet with Nado "All the Wasting Time" from Parade, and an eclectic dueling duet with Marinacci about two friends bitching "Casting Call for a Best Friend": very fun stuff! Taylor did a terrif "Take Me or Leave Me" in duet with Malak and then went wonderfully solo on another Jason Robert Brown song, "Stars and the Moon". Malak also soared with her own wild version of "Crazy" made so famous by Patsy Cline. There was also a great rendition of "Can't Help Loving That Man" and as upbeat finale, the riveting "Just Around the Bend".

Audiences will never tire of Katherine Malak. How could they with her boundless energy and bold, risk-taking delivery? She is an amazing singer and actress that rocks 150%. No encores for this gal; she left us begging for more!

review - A Wither's Tale

CRITIC'S PICK

A Wither's Tale

based on Shakespeare's The Winter's Tale with the music of Bill Withers

conceived & produced by the Troubadour Theater Company

directed by Matt Walker

Falcon Theatre

through September 26

- - - - - - - - - -

I have written many times over that you should always expect the unexpected in a Troubies' production, but with A Wither's Tale they go a giant step beyond. This piece is so radically different in style from their normal parodies, at least the first part. Shakespeare's The Winter's Tale was called a "problematic" play because the first three acts have intense psychological drama and the last two, comedy with a happy ending. It caused critics to relabel it from comedy to 'romance'. Likewise, the Troubies become so deadly serious in the first half of this show that I honestly felt I was watching a first-rate Shakespearean representation of the play - with only an occasional gag or joke afoot to ensure

the Troubies label.

- - - - - - - - - -

Plotwise, in brief, King Leontes (Matt Walker) suspects infidelity from his wife Hermione (Monica Schneider) and his best friend Polixenes (Matt Merchant). He condemns Hermione to prison where she gives birth to a daughter that Leontes refuses to accept as his own. He wants her destroyed, but gives in to Antigonus' (Travis Clark) wishes to save the child. Antigonus braves rough waters and takes the child away and abandons her. Eventually she is found by shepherds and raised as their own. After an Oracle (Lisa Valenzuela) declares that Leontes was mistaken and that Hermione is innocent and completely loyal, Leontes begs forgiveness, but it is too late as both Hermione and son Mamillus have died. Leontes must live alone in repentance and misery. Eighteen years pass and the girl Perdita (Katherine Malak) grows up, falls in love with Polixenes' son Florizel (Brandon Breault) and eventually returns to her father's kingdom to marry and reunite in peace with her repentant father.

- - - - - - - - - -

Matt Walker leads an astounding ensemble and proves once and for all just how intensely versatile an actor he really is. As the jealous King Leontes he delivers a strong and impetuous portrait displaying fantastic dramatic range. His breakdown, that follows the Oracle's proclamation, is painfully real and disturbing. A truly great performance! Walker also plays a clown in the segment where Perdita grows up on a distant island. He is true to comic form here, as he cavorts and carries on with great humorous style. Dynamic versatility is also displayed from Beth Kennedy who plays Paulina, friend to Hermione, very straight out and serious in the first half and then in the second part a toothless Shepherd who discovers the abandoned child. Kennedy, in typical fashion, never disappoints - a wonderful actress, straight or hilarious, as the play demands. Valenzuela also performing double duty as son Mamillus and the Oracle sings beautifully, and introducing the piece 'through a child's eyes' incorporates a great sense of fun and frolic. Valenzuela is another Troubie who delivers the goods as does Mike Sulprizio, more subdued here as servant Camillo. Malak as Perdita is wonderfully nimble and sings divinely. Brandon Breault, Travis Clark, Matt Merchant, Joseph Keane as the Green Eyed Monster, et al ... do terrific work.

- - - - - - - - - -

Wither's hit songs like "Ain't No Sunshine When She's Gone", "Lean On Me", "Just the Two of Us", "Use Me Up" and "A Lovely Day" are all delivered up gleefully with typical Troubie energy and joy. Mike Jespersen's functional set with French doors and red curtains used to uncover various stages of the plot and Sharon McGunigle's colorful period costumes serve quite effectively.

- - - - - - - - - -

Director Walker has well balanced the action, minimizing the humor in the first half and building it up in the second to match the traditional style of the Bard within this play.

This is a stellar evening of theatre with one great surprise that proves ... the Troubies rise to any occasion. The quintessential acting troupe ...they are once again in rare form!

5 out of 5 stars

review - CHESS in Concert

(left to right: Nicci Claspell, Peter Welkin, Blake Ewing, Emily Dykes) (photo credit: Stan Mazin)

CHESS In Concert
music by Benny Anderrson & Bjorn Ulvaeus; lyrics by Tim Rice
book by Richard Nelson
directed by Robert Marra
Musical Theatre of Los Angeles
MET Theatre
remaining performances: Friday, August 20 & Saturday Ausust 21;
next week: Thursday the 27th, Friday the 28th & Saturday the 29th of August at 8 pm

This elegant black & white designed concert version of CHESS enriches the dramatic conflicts of the piece one hundred-fold. Like pawns on the board, the players themselves are manipulated in the game of life and the moment by moment emotional intensity transcends the stage. Robert Marra's expert staging and Tania Possick's exquisite choreography/ballet are riveting, and the entire ensemble connect and explode like a time-bomb.

Never having seen the original show on a vast stage, I cannot imagine it done but in this intimate way. The taut game is a symbol of the political confrontation between the US and machine-like USSR in 1979. The champion American player Freddy (Blake Ewing) is high-strung and prone to outbursts with disturbing results. Deep-seated issues with his past not only cost him the match but also the love of Florence (Nicci Claspell), torn between his loyalty, though neurotic, and the intrigue of his opponent handsome but married Anatoly (Peter Welkin). Florence has always been Freddy's stabilizer, but this time around in the bargaining things change drastically for her. Svetlana, Anotoly's wife (Emily Dykes) is flown into Italy for the match and, witnessing her husband's attraction, can somehow relate to Florence's vulnerability. All four act and sing magnificently. Claspell is a knockout throughout offering what seems an effortless portrayal of a driven but honest woman who gets unduly let down by both lovers. Dykes offers beautiful emotional restraint, Ewing makes the childlike man complex and fascinating at every turn, and Welkin is electric as the Russian pawn who must ultimately do what he is trained to do. Also in terrific support are Gregory North as Molokov, Gil Darnell as the Arbiter, Rich Brunner as the radio commentator Walter, and Christopher Zenner intense as Viigand, the second Russian opponent. Kudos to the other soloists: Michael D'Elia, Kelly Dodson, Aly Fainbarg, Kristen Heitman, Katrina Rennells, Joans Sills, Blake Sterling, Jeff Swanson, Megan Yelaney, and Josie Yount, and to the four ballerinas: Paulina Bracone, Bonnie McMahan, Tania Possick and Betsy Uhler. Greg Haake conducts the wonderful 10-piece orchestra.

Although "I Know Him So Well" was the biggest hit from the show, other enticing numbers from the Anderrson/Ulvaeus/Rice score include the rousing second act opener"One Night in Bangkok", "You and I", "Nobody's Side", "Heaven Help My Heart" and "Pity the Child". Praise to Marra for steadfast direction, and especially for his staging at the top of "The Story of Chess". His sharp intro of all the characters and inventively clean layout of chorus members onstage sets the scene for the evening: a beautifully and most clearly organized program.

Whether you are into the game - which is played center stage on a raised platform - or into the politics or just plain overwhelmed by good theatre that has both fine music and universal drama, CHESS in Concert should satisfy each and every appetite.

5 out of 5 stars

Nicole Ligerman/Patrick Robert Kelly After Performance @ Sterling's

Two performers for the price of one - and both wearing green - makes any cabaret more exciting & fun. I thought it was Saint Patrick's Day! Nicole Ligerman and her college friend Patrick Robert Kelly overflow with personality, as did their show at Sterling's Upstairs @ Vitello's Sunday August 15.

review below!

CABARET review - Nicole Ligerman

On Sunday August 15 funny girl Nicole Ligerman presented her cabaret show The Bitch with the Dog Ruined My Life: Memoirs of a Non-genue to a packed house at Sterling's Upstairs @ Vitello's. Ligerman is most assuredly not an ingenue, but a character lady, and like her idol Barbra Streisand, she struggles and suffers to show the world that she's the greatest star. Her patter was delightful, especially the opening where she sang to a photo on top of the piano, a la Judy Garland on film to Clark Gable: "You Made Me Love You". When she turned the photograph around to face the audience, it was of Margaret Hamilton as the Wicked Witch from The Wizard of Oz. Ligerman proceeded to explain that she isn't crazy about the film, but indeed loves Hamilton, after which she sang a song she claimed was cut from Oz "I'm a Bitch". It was a very funny moment, and, of course, afterwards she pointed out that she had been kidding, that the song was never associated with Oz.
There was a wonderful comic medley in honor of ingenues Non-Genue Suite, which included the perky ingenue "I Feel Pretty", the one who cannot act, Sondheim's drole "I'm Lovely", the Disney girls - all smile and show - "Part of This World" and the aging former ingenue, who isn't really an ingenue anymore but gets stuck in that class "I Enjoy Being a Girl". A wonderfully funny segment, where Ligerman displayed her vast character stylings!
A different segment, proving more versatility, incorporated handsome and talented guest star Patrick Robert Kelly who accompanied her on the ukelele with "Green" and "Rainbow Connection" and then did a lovely medley of love tunes, soloing "My Funny Valentine" and "How Deep Is the Ocean" and dueting with "Love, You Didn't Do Right By Me". Kelly later returned to duet "People Like Us" from Michael John LaChiusa's The Wild Party. Kelly's appealing and most definitely up and coming!
There were tributes to Streisand "I'm the Greatest Star" and "Don't Rain On My Parade". Also, a moment of reckoning where Ligerman found her own true self: "Ding Dong", "Rainbow" and "I Am What I Am" - with terrific musical direction from Matthew Smedal at the piano
throughout the entire set.
Nicole Ligerman is a charming, witty and thoroughly engaging personality with a lovely singing voice. When she returns, I would love to see her tackle more intense character material like "Adelaide's Lament" or "I Never Do Anything Twice" without comparing herself to anyone. Then she will be free to be her own special creation, the very talented Nicole Ligerman.

review - Free Man of Color

CRITIC'S PICK

Free Man of Color

by Charles Smith
directed by Dan Bonnell
Colony Theatre
through September 12

The true story of John Newton Templeton, the fourth African American to earn a college degree in the US, is beautifully and engagingly told in Charles Smith's play Free Man of Color, now onstage at the Colony Theatre. This is thought-provoking material at its finest with three outstanding performances, under Dan Bonnell's caring direction.

The beauty of the play is that it never becomes maudlin or sentimental. If one feels sympathy for Templeton, it is only because he is truly a victim of the establishment. He himself is a nonconformist, who will not do what is expected if it does not make sense. This very brilliant man would not accept a position as missionary in Liberia because he came to the US to be successful here, to be treated with equality. When it is clear to him that the college in Ohio in a deal with the ACS (American Colonization Society) wants him to leave the country, he refuses to do so and stays on to eventually become a prominent teacher of black children. It is of interesting note that the years depicted 1824-1828 are long ahead of the Emancipation Proclamation of 1862, which officially freed slaves in America. Although referred to as a student servant, the whole concept of houseboy/slave is used in relation to Templeton's status. Through Smith's eloquent script, we root for Templeton in his personal struggle to champion his cause for the public good of all black men.

Kareem Ferguson makes John Newton Templeton a man of steadfast conviction and stature, an unforgettable portrait. As the Reverend Wilson, Templeton's mentor and father figure, Frank Ashmore is simply riveting in creating a complex man, stubborn and opinionated, yet mellow on the inside. Kathleen Mary Carthy as Wilson's long-suffering wife Jane is sensational. At first seemingly Templeton's enemy, she little by little unravels, warning him of his future misery and misfortune and thus becoming his trusted friend. Having lost all three of her sons, her deep- seated pain has caused her to be outwardly cold and austere, but vibrant scenes of tender recollection show her to be a woman of real dimension.

Bonnell directs with just the right pacing, not too fast nor slow and David Potts' functional scenic design - that serves exterior and interior venues - with orangy-yellow sky light as backdrop signals the play's spirit of light & hope.

This is a very satisfying evening of theatre - great script, direction and acting - that will stay with you long after you have left the theatre. Smith's literate writing simply glows.
5 out of 5 stars

review - L. A. Tool & Die: Live

RECOMMENDED
L. A. Tool & Die: Live!
A Pre-Condom Comedy
written & directed by Sean Abley
Celebration Theatre
Fridays & Saturdays at 10:30 pm
through September 11

In 1979 Joe Gage penned a gay erotica film entitled L. A. Tool & Die, directed by Tim Kincaid, which depicted openly a certain group of gay men and their sexual escapades in bars, bathrooms, parks and just about anywhere else anonymous sex might occur. It was a time when gay men had burst out of the closet and porno films had plots - believe it or not. Gage Men were hot, real men that could work at the local gas station or factory or live in trailer parks or even right next door. Sean Abley has created a live play with the same men from the film and has succeeded quite well in making the prurient situations cartoonish, campy and darkly humorous, at least well enough to please most gay men who remember those times. It is not a show for the ladies and certainly not for grandma or the kiddies.
There is frontal nudity and simulated sex to tantalize, but perhaps what appeals most is the cast, made up of some really fine actors. Jon Gale is the tall and sexy cowboy Wiley and Thomas Colby-Dog is Hank, a bear construction worker type, two men who meet in a gay bar, are attracted to one another, but do nothing. Wiley is about to leave the Southwestern town bound for LA, with loveable pooch Sam in tow - a hoot! - and Hank follows him in hot pursuit. That touch of the romantic makes the show enjoyable, as this kind of attraction happens in the gay world, but 99% of the time ends before it begins. Thus, a charming premise! On the road to LA, of course both men encounter a plethora of studs or nellies, as the case may be, to satisfy their immediate needs, including Michael Vaccaro, Paul A. Brown, James Jaeger, Tim Hearl, Nathaniel Mathis, and Kevin Held. The six men do miraculous turns as many, many characters including women and are very, very funny. One scene in particular involves Hank watching at least 2 dozen men enter a roadside restroom one by one, all played by the actors in an array of disguises. For women watching in the audience, it may be shocking or incomprehensible to think what is going on inside, but, hey, it happened and still does in the homosexual world, as do the glory holes. Wiley, in another disgustingly funny scene sticks his c--- through a hole in a men's room and puts out a guy's eye on the other side. It's pretty wild stuff.
Abley directs the piece with a very quick pace and gives his actors enough space to strut their stuff. Kevin Held choregraphs a fight scene which in itself is terribly amusing to watch, reminding one of the old cowboy movies of John Wayne or Randolph Scott, where men must be men.
The 70s were a time for gays to come out and play, and that they did - too hard sometimes, as many have payed a horrible price, but that's what separated the men from the boys. Pre-condom indicates before AIDS as it is now vital to use condoms in practicing safe sex.
Some gay men do it while others fantasize about it. Anonymous sex - which may or may not lead to rough trade - is an active part of the gay scene and exhibitionism is enticing and exciting for most, if not to participate in then at least to watch.
Here's a late-nite gay fantasy to watch & relish with a great cast - and often in the buff! Good show (no pun intended)!
4 out of 5 stars
rated: XXX

review - Beach Blanket Babylon

CRITIC'S PICK

Beach Blanket Babylon

originally conceived, written & directed by Steve Silver

directed & choreographed by Kenny Mazlow

Club Fugazi, North Beach, San Francisco

will play: forever......

Steve Silver's Beach Blanket Babylon which took San Francisco by storm in 1974 plays internationally and in 2010 is more of a phenomenon than ever before. In this era of superfast pace and creative madness, it's a perfect fit.
Since camp and over-the-top lunacy define the style of this irreverent musical parody of people - celebrities, politicians and folks of every nationality, creed and color, it is constantly in flux. As the year changes, so do the celebs. The Obamas, Susan Boyle, Lady Gaga, the Jonas Brothers are all currently a vibrant part of it. Musically, BBB has the old standards and rock, pop hits like "Aquarius" or "Goin' to th Chapel", with some reworded like "Defying Gravity" from Wicked becoming "Surviving Gravity" for an aging Madonna. It's pop culture gone wild, as the Teabaggers are on an equal plane with Snow White or Elvis. There are sight gags galore and double entendres! And, speaking of visuals, that inimitable headgear-for which the show is most famous, is not to be believed! Amazing! Take, for example, Tina Turner's awesome layered look, or Whoopi's braids, or Elvis' or Bill Clinton's manes, or Carmen Miranda's Tutti Frutti Hat: as tall as Miranda herself. The finale with the skyline of San Francisco and the wedding cake with the Seven Dwarfs inside on top of performers' heads - cannot be duplicated. Steve Silver designed it and Steve Silver's show it deserves to stay!

This current cast is astounding - all 10 with the greatest sets of pipes one will hear in any show anywhere. Shawna Ferris is an innocent gem as Snow, Renee Lubin awe-inspiring as the Fairy Godmother Glinda, Tammy Nelson, fabe (fabay), most notably with "Be Italian" in the Rome segment, Caitlin McGinty, Jacqui Heck, Paulino Duran, Doug Magpiong, Ryan Rigazzi, Philip Percy Williams - and Curt Branom infectious as King Louis. They all are sensational vocally and versatile in an endless array of quick character and costume changes. There must be close to 100, or so it seems.

Hats off as well to a small but phenomenal orchestra!

BBB - it now has a Boulevard named after it. Someone once said that elements of pop culture will die out, that celebrities at some point will be forgotten. Well, Beach Blanket Babylon shows no signs of retiring, so as long as it runs, they will reign eternal! Crazy, lunatic satire that is uniquely San Francisco in every way! If you're passing through, don't miss it; it's as much a part of San Fran as the Transamerica Pyramid or the Golden Gate Bridge!

5+ out of 5 stars

Beach Blanket Memory

It's been over 30 years since I entered these famous San Francisco portals to BBB. The new show is crazier and more delicious than ever, and what a cast!!!
see review above!

Vicki Lewis & Brad Little After Fanny & Nick

Funny Girl/Fanny Brice - 2 Memories

Long Beach Civic Light Opera presented a wonderful production of the Jule Styne musical from 1964 in 1991 starring Pia Zadora as Fanny Brice. (left: program cover) I saw Barbra do it on Broadway in 1964 - I had just graduated high school - and was blown away by her star power. (above: album cover) Zadora also blew me away with her singing and comedic talent in the 1991 revival, co-starring Kaye Ballard as Mrs. Brice and Adrian Zmed as Nicky Arnstein.

This week the wonderful Vicki Lewis plays Fanny in the California Musical Theatre revival @ Sacramento Music Circus. I can't wait to see it! Funny Girl is rarely done, and with the anticipation of the 2012 Broadway revival directed by Bartlett Sher, Fanny is once again regaining popularity, and everyone is trying to predict who will play her in the new New York show.

review - Funny Girl

CRITIC'S PICK

Funny Girl

book by Isobel Lennart; music by Jule Styne & lyrics by Bob Merrill

directed by Glenn Casale

California Musical Theatre @ Sacramento Music Circus @ Wells Fargo Pavilion, Sacramento

through August 15 only

Funny Girl is rarely mounted anywhere. Seeing the show - somewhat flawed: could have a stronger book - but one that I adore - in Sacramento this week, it dawned on me why. You must have one singularly incredible star performer - one who can act and sing greater than most (the greatest star - please forgive, Mr. Merrill!), and let's face it, there are many talented ladies available, but just not that good, at least not up to the unforgettable Barbra Streisand who originated the part. Vicki Lewis is a powerhouse singer and actress who can be Fanny Brice - young or older, and makes the role totally her own, without calling to mind, for a split second, the lady whose stamp is all over it, including the film - wonderful in itself, but very different from the show. From the moment Lewis makes her first entrance in full-length fur, she is mesmerizing - she can play Brice...and she could play Streisand, she could play Streep, you name the star - Lewis is

the best.

She is joined by a dynamite ensemble - tall, handsome Brad Little as Nicky Arnstein, the versatile Michael Paternostro as magnetic Eddie Ryan, Alix Korey, so good as Mrs Brice, Ron Wisniski superb as the stern, poker-faced Flo Ziegfeld, Helen Geller precious as irrepressibly outspoken Mrs Strakosh - they are all terrific under Glenn Casale's meticulous staging. This is in the round, and the crew are to be commended as well for thier amazing timing in moving set pieces and props down and up aisles with breakneck speed, on cue, before lights come up. The costumes by Marcy Froehlich are beautiful, especially Lewis's, which replicate some of the original dresses almost to the letter.

This is a dynamite evening of theatre. Theatre in the round is equated to summer stock, but this Funny Girl goes way beyond that. Thanks to Glenn Casale and Vicki Lewis, it is undeniably GRANDE.

5 out of 5 stars

review - Opus

CRITIC'S PICK

Opus

by Michael Hollinger

directed by Simon Levy

Fountain Theatre

extended through August 29

Michael Hollinger's brilliant work Opus has been critically and popularly acclaimed since it opened on June 19 @ the Fountain Theatre. What more can be said that has not already been extoled? The story about the fictional Lazara String Quartet could be about any group of artists, not necessarily musical, as its universal message of artistic beauty is in fact the song of life. With an astounding cast and direction, this production is one more classic for the class-A Fountain Theatre.

The vital, pulsating element of this production is the vibrant acting ensemble, composed of Christian Lebano, Cooper Thornton, Gregory G. Giles, Daniel Blinkoff and Jia Doughman. They make the performance as fresh and alive as it must have been two months ago. A special observation about Doughman as Grace and Blinkoff as Dorian. Doughman brings across the insecurity and vulnerability of the newest member of the quartet so well. Moment to moment she is riveting. Blinkoff as the genius violinist denied the chance to show his true potential bursts with emotional fireworks. Sensational work from all five actors!

Levy's direction is impeccable, Frederica Nascimento's set is modern and colorful as it applies to the stringed instruments, and A. Jeffrey Schoenberg's D. C. concert costumes, elegant.

Good performance is ephemeral like life, and the greatest, at best unpredictable. The ideal for a string quartet is that all play in harmony as if "with one bow". But... "you can never be perfect, just closer." Well, this production is about as close as you can get.

5 out of 5 stars

review - Becoming Norman

RECOMMENDED
Becoming Norman
written & performed by Norman P. Dixon
directed by Debra De Liso
musical director Steven Applegate
NoHo Arts Center
through September 12

Telling one's life story to an audience requires unparal-leled bravery. To admit openly that one is gay and to express the fears that go along with it - about coming out to parents, friends and the public - is an even greater act of courage, but also one that becomes quite liberating, as joyously detailed by Norman P. Dixon in his one-man play about growing up Mormon, Becoming Norman, currently playing at the NoHo Arts Center. Through sharing his story, that many will relate to and say, "That's me up there!", this talented man looks ahead to a new life and encourages us to follow suit.
One tremendous help factor throughout Dixon's struggles has been the support of his parents, who, when told about his lifestyle, reaffirmed their love for him. This love has remained a part of his life to this day. Not all gay men have been so blessed.
Without giving away his entire story - you should go and hear it for yourself! - the major obstacle for him to overcome has always been fear. This is a common problem for many; to get to a level of self-acceptance that allows you to go on and conquer the next phase of achievement. After he gave his first concert in public, he closed down through fear of not being good enough. Eventually after venturing out of Utah in a move to Los Angeles, and working a myriad of jobs, including a tour guide at Universal Studios, office work, and private bookstore clerk, Dixon at long last started to believe in his abilities to sing and act and perform as himself. A graduate of Brigham Young University, he was greatly inspired from his youth by the artistry of k. d. lang - whom he later met and assisted in her charity work with Tools for Peace - and empowered by a series of workshops with Rev. James J. Mellon at NoHo Arts Center, which have helped him to become who he is - and of course, the change was all made possible by the love of his new partner of 19 months, Raul.
Dixon peppers the various bridges of discovery in his journey with original songs. He has a lovely voice and is ably accompanied by musical director Steven Applegate. Meticulous set design of Norman's life, with a wallpaper collage of photos covering childhood to the present, musical scores of shows sung in high school, college and beyond, and other personal trinkets of memorabilia is by Lacey Anzelc. Director Debra De Liso gives Dixon plenty of freedom to explore different aspects of his life with excellent pacing throughout.
This is a wonderfully warm, humorous and enriching evening of theatre for gays, straights and beautifully geared to young teenagers who are coping with their fears of coming out. In a condensed version it will be ideally suited to travel to high schools, colleges and other venues of this or any community.
4 out of 5 stars

review - Boys' Life

RECOMMENDED

Boys' Life

by Howard Korder

directed by Dan Velez

Crown City Theatre

through September 12; plays Thursday and Sunday eves at 8 pm in rep

with USS Pinafore

Pre-millenium American dreams got quickly dashed on 9/11/01, but even long before that, back to before the 80s when Howard Korder wrote Boys' Life, hopes/dreams never really sustained teenagers or college-age youth. There has always been confusion about identity - what constitutes happiness as a man and as a woman, and young men, in particular, have sought the escape hatch so as not to confront the issue of growing up. Korder really digs into the pysche of three guys who have been lifelong friends in this play which is given a superlative representation at Crown City Theatre.

One character especially, Jack (Ben Rovner), the sort of leader of the pack, remains childish, inconsiderate and rude into manhood, without the slightest inclination of change. His pal Phil (Jason Karasev) at least feels guilt about his irresponsible behavior and Don (David Rispoli) is the one friend to make a concerted effort to straighten out his life by following through on his impulses of true love and getting married. Along the way, the three smoke pot, make umpteen attempts to get laid, and with all of this immaturity on display, there are more than enough humorously awkward situations with which audience can identify. We laugh because we can see ourselves in our weakest moments and at the same time bemoan the thought of how weakness in our society has increasingly come to replace strength. Korder paints an accurate but sorrowful portrait of life.

This cast is outstanding, with Rovner, Karasev and Rispoli manifesting some wonderful chemistry. Rovner makes Jack likeable at first, then increasingly irritating and despiccable, kind of like a Jack Nicholson character that leeches on, refusing to go away. A fine performance! Rispoli makes Don painfully human especially at his crossroads with Lisa (Tori Ayres Oman, pictured above), and Karasev is great with Phil, funny, but pitifully mixed-up. Oman is terrific as Lisa, as are the other women in the ensemble: Libby Baker as Maggie, Rachel Jackson as Karen and Paton Ashbrook a standout in brief double duty as Don's incredibly freakish one-night stand -one sickly hysterical scene! -and as Jack's faithful wife Carla. Mikhail Roberts (Man) completes the cohesive ensemble.

Velez stages the proceedings with skill and good pace.

This evening is well worth a visit to Crown. Most of the scenes make great acting 'audition' material for young actors. They are so well written with great in-depth exploration of character relationships. One line stays with me: "Nobody should ever need anyone that badly!" We are taught to be independant, but never underestimate the importance of love. Korder simultaneously entertains and makes us think.

4 out of 5 stars

THE MENOPAUSE Crack-Up

Judith E performs her acclaimed one-woman show at Group rep Tuesday and Wednesday August 3 and 4 as a gala benefit, prior to performance @ the Indiana Fringe Festival later this month.

Robin and One Hood

Eric Schnei-der (Robbo) and Jeffrey Schec-ter (Willie) say hello after Robin and the 7 Hoods in San Diego.

review below!