Ann Hampton Callaway Glorious On Stage @ Catalina Jazz Club

Vocally - and humanly - she's one of the best!
review below!

Amy Tolsky Has Fun On and Off Stage

review - On Golden Pond

CRITIC'S PICK
On Golden Pond
by Ernest Thompson
directed by Cameron Watson
Colony Theatre
through August 28

Hardly an easy task to successfully mount Ernest Thompson's heartwarming and funny On Golden Pond with the 1980 film starring Katharine Hepburn, Henry Fonda and Jane Fonda still so vivid in the mind! Well, I'm here to say that the current mounting at the Colony Theatre is of 5 star calibre all the way and not to be missed.

Unlike the movie, the play of course is confined to the interior of the Thayer summer cottage in New Hampshire, but due to John Iacovelli's remarkably detailed set design, Jared A. Sayeg's lighting and Rebecca Kessin's sound design the lake's presence on the other side of the walls is undeniable. It's another character in the play, one that is a constant reminder of our mortality. With summery hats and fishing gear clearly visible, the everpresent sound of the loons and the feel of the mosquitoes, we're in for a summer that most everyone has experienced at one time or another. Somewhere between our teens and old age, we have spent time on a Golden Pond with relatives or friends in a love/hate relationship. Chelsea (Monette Magrath) and her father Norman Thayer, Jr. (Hal Linden) have always been at odds. Ethel, Norman's dutiful wife and Chelsea's supportive and caring mother (Christina Pickles) tries to keep peace. As Norman turns 80, Chelsea makes a rare visit and brings along her newest boyfriend Bill Ray (Jonathan Stewart) and his son Billy (Nicholas Podany), whose newfound bold, aggressive teen angst can only be matched by Norman's bigoted, cantankerous leashing out at life and everyone with whom he comes in contact. But if Norman has become jaded to the ways of life, it only takes a short time with Billy to make him open up and start enjoying life again. Old age and dying are at the core of the piece, but Thompson's incisively funny dialogue, which comes totally out of character, makes one care less about aging and more about living.

The cast is just sensational under Cameron Watson's gentle direction. Linden has so much fun with Norman and is sheer joy to watch. I especially like the spry, feisty physical touches, which emerge when least expected. Pickles makes Ethel completely her own creation and Magrath brings out Chelsea's layers of insecurity without ever going over the top. Podany is perky and likeable as Billy. This part was much more fleshed out onscreen, giving Doug McKeon more opportunity to show three dimensions. With the time alloted to him onstage, Podany has a ball. Stewart is quite amusing as well as the older Bill in his jittery, unsteady encounter with Norman. It is perhaps Jerry Kernion who is most memorable as Charlie, the mailman. With his ever so spot-on perfect New England accent, and original laugh, which repeats itself over and over without ever seeming less than genuine, he makes his character funny and down-to-earth, the hard-working guy that is most often put upon, left behind and the last to find love, not worthy of sympathy but surely our appreciation and compassion.

I love On Golden Pond and Ernest Thompson's gritty New England sense of humor. As he once remarked, the characters are not his family, but they could be. I had forgotten just how really funny the play is. Mind games and all, you've got to love Norman Thayer; he's very much an educated Archie Bunker. Thompson is great at capturing a character's internal chaos at any age, and as Norman learns, the best way to face one's golden years is with a wink and a smile. Bravo to Watson and his terrific cast for mounting a production of which Thompson would be immensely proud.

5 out of 5 stars

review - Agatha Christie's Spider's Web

CRITIC'S PICK
Spider's Web
by Agatha Christie
directed by Bruce Gray
Theatre 40
through August 21

Lovers of mystery find magic in the works of Agatha Christie who not only knows how to weave together detailed clues to a juicy crime but more importantly how to make it into a sophisticated, classy entertainment. Like The Mousetrap, one of the longest running plays in UK theatre history and last season's Black Coffee at Theatre 40, Spider's Web is elaborately organized and amazingly enjoyable from start to finish, especially this production at Theatre 40, which puts director Bruce Gray and Christie together once more. Its large engaging ensemble simply sparkle.

It doesn't seem fair to give away the plot, as that would spoil the enjoyment for future audiences. Instead, I will concentrate with more detail on the cast. Julie Lancaster makes Clarissa Hailsham-Brown magnetically appealing in looks, bright attitude and energetic endeavors. Clarissa's life is so calm in her new environs that she imagines what would happen if she were to find a corpse in her own home... is she more than just wildly imaginative?... Lancaster plays mystery the hilt, like an expert game player who manages to keep one step ahead of the rest. Amy Tolsky as the gardener Miss Peake is sheer heaven on stage. Peake is rambunctious, madly eccentric and an utterly delightful character, and in Tolsky's hands she shines twofold. Ilona Kulinska as Pippa is nothing short of amazing. In her first appearance with Theatre 40 she is a consistent joy to watch. LizAnne Kiegley as Miss Elgin brings comic flair and superb timing to a smaller role, completing the female side of the group. On the male side, David Hunt Stafford is stalwart and gentlemanly as Sir Roland, as is Peter Monroe as Constable Jones. Richard Hoyt Miller brings an elusive charm to Inspector Lord. Grinnell Morris, in a fine straight-forward manner, is particularly good as Jeremy Warrender. You must also keep your eyes glued to Eric Boles as Clarissa's husband Henry and to Umberto Pecorino as the scoundrel Costello. Are they cousins as the program suggests or does the resemblance go deeper? Don't let any of them deceive you, as amongst them lies the culprit.

Jeff G. Rack has designed an elegant set, and director Gray has done a top notch job in keeping the pacing tight and crisp. For mystery fans, Spider's Web is a must see, and in the more than capable hands of the Theatre 40 ensemble, it could not be much better anywhere.

5 out of 5 stars

CD review - Sean McDermott's You're Not Alone

Fans of Broadway tenor Sean McDermott are in for a real treat with the release of his latest album You're Not Alone. McDermott possesses a distinctly beautiful vocal instrument that can soar to the rafters and beyond on standards like Rodgers' and Hammerstein's "Younger Than Springtime" or Streisand's "Piece of Sky" from Yentl. In fact, his previous CDs My Broadway and Piece of Sky concentrated 100% on Broadway/film tunes. You're Not Alone is definitely more contemporary pop, but within the realm of clearly defined musical traditions, boasting mostly original compositions that explore the quest for love and exude the kind of musical style that is ideally suited to McDermott's range and bravura delivery.

Many of the songs are by composer Ivan Koutikov and lyricist Charlie Midnight whose opening title song "You're Not Alone" is a theatrically chilling listening experience. Midnight's lyrics for "Magic of Stars" are yet another example of the purity of catching the dream, seemingly elusive or out of reach at first, but by the final bars within the limits of possibility. McDermott's prowess as a singer captures the hunger and thirst of the soul for something more perfect, more... worth waiting for. And in "Worth the Wait", there it is again, that soulful yearning of body and soul for one special love. Its melancholy strains put me in the mood not unlike that set forth in Streisand's 1975 "Lazy Afternoon". That song stays with me until this day as a reminder of my mother who died at the height of its popularity on the charts. I will never forget her agonizing pain or the haunting tone of that song, and I am able to relate the two. And with "You're Not Alone" and other tunes on McDermott's album, there is that distinctive, melancholy mood conveyed that is at once thoughtful and specifically appealing to the senses. There are also three well-performed traditional pieces: "Danny Boy" - beautifully arranged, especially the first track of it, a "Whiter Shade of Pale" and the very spiritually rousing "You Raise Me Up". "Walking in Memphis" has an obvious personal allure but is a rather unconventional fit with the other songs. The album's true meaning comes through at its best in the aforementioned earlier selections as well as in "One Lifetime's Not Enough" and on Midnight's compelling "Ordinary Man".

I love Sean McDermott's voice and his brave endeavor into the world of contemporary pop. With the music business in more of a precarious state than ever, any change on the part of an artist - to attempt to enhance his repertoire and to reach out to the feelings of a broader audience is surely to be lauded. You're Not Alone expresses the struggles and joy of an ordinary man. As a singer, McDermott, anything but ordinary, is like fine wine. He simply gets better and better.

To purchase the CD, visit:
http://www.seanmcdermott.com/

Dee Wallace Radiates Bright Light

Dee Wallace's newest book Bright Light is out and selling.

Look for our interview soon on my Interview BLOG!

Kristin Towers-Rowles Makes Big Splash @ Sterling's

review below!

I Left My Heart Cast Find Inspiration in Tony Bennett

CABARET review - Ann Hampton Callaway

Ann Hampton Callaway
With Christian Jacob on piano, Kevin Axt on bass and Ray Brinker on drums


Ann Hampton Callaway jokes about her Diva of America status in the music world, but it is a well known fact that this lady is a singer's singer. Like Barbara Cook in the world of theatre, although many, many years her junior, Callaway is the top in the world of jazz/pop, and all singers flock to hear her perform. Her meticulously clear phrasing, magnificent range, ability to scat and overall great vocal instrument make her a fantastic night club singer and recording artist. In her set at Catalina Jazz Club July 28-31, Callaway had a rather short list of songs, but what she did to enhance each and every tune was nothing less than remarkable.


Her astounding trio Christian Jacob on piano, Kevin Axt on bass and Ray Brinker on drums opened the 80-minute set with a rousing rendition of "Time After Time", after which Callaway crooned "In a Mellow Tone". What followed were three songs in honor of her idols: Billie Holliday ("God Bless the Child"), Sarah Vaughn ("Misty") and Ella Fitzgerald "How High the Moon". Her exact impersonations of the vocal stylings of the first two are truly amazing, but she only did portions of each song, giving Ella and "...Moon" the most loving attention, without trying to impersonate, just making the song her very own. There followed Antonio Carlos Jobim's "Wave" and a sexy seductive "All of Me" sung deliciously to an audience member Callaway referred to as her ex-husband. It's a wonderfully funny bit as she introduces herself to his gay partner as his ex-wife.


Her newest CD Boom, recorded live at Birdland with her sister Liz Callaway, got promoted via two songs The Righteous Brothers "You've Lost That Lovin' Feelin" - simply sensational - and Carol King's splendid "You've Got a Friend". Callaway noted that King was really what brought her and Liz together vocally, as their musical interests had followed different paths until they reveled in their mutual love of King. Callaway next essayed perhaps one the most beautiful arrangements of Harold Arlen's "Over the Rainbow" I have ever heard, from her previous album At Last. No stranger to Broadway, having starred in Swing, Callaway closed with a delicious rendition of "Ain't Misbehavin", which brought her fine bassist Kevin Axt front and center. Her Improv set served as encore. She fielded words and phrases from the audience and sat at the piano for fifteen minutes, creating a musical composition on the spot using every word and phrase offered to her. Amazing! Try putting carmageddon, debt ceiling, beso, and pastrami in the same tune; Callaway took what seemed an impossible task and turned it into a delightfully entertaining segment.


Ann Hampton Callaway has it all: beauty, talent and a very special warmth and personality that must be experienced live, up close. Her fans adore her, and it is easy to see why. Catch her wherever she performs, and that will include a live concert of Boom with her sister Liz next March at Pepperdine University.
In the meantime, visit her website for info on the new CD.
www.annhamptoncallaway.com

NEWS: Anything Goes

Starring my choice for Best Leading Actress in a Musical (Fanny Brice in Funny Girl, 2010 @ Sacramento Music Circus) Vicki Lewis as Reno Sweeney @ SMC July 26-31. Costarring another LA theatre favorite Jason Graae.

CABARET review - Kristin Towers-Rowles

On Sunday July 24, actress/singer Kristin Towers-Rowles debuted her one-woman cabaret A Lovely Lineage at Sterling's Upstairs @ Vitello's to resounding success. The amazing singer, who is the grand daughter of legendary MGM musical star Katharine Grayson and Broadway veteran Johnnie Johnston, saluted them both as well as her musical comedy performing parents Patty and Robert Towers. Although the young descendant of American show business royalty has a stupendous background, her life has not been that rosy. Playing a role onstage in a show called Veggie Tales, Towers-Rowles popped a disc in her back from wearing a 50-pound costume and was told she would never appear on stage again. She made a near complete recovery and although she still is in pain, exclaims, "If I have to hurt, I might as well hurt on stage." It is this unsinkable brave spirit that is present in her beautiful singing voice, in her glowing personality and overall captivating aura. She has an infectious sense of humor as well.

With great musical director Joe Symon at the piano and providing background vocals and Mike Deutsch on drums, Towers-Rowles glided through a 50-minute set that included: a cute parody of "Broadway Baby" called "Hollywood Baby" to set the appropriate tone, the funny "Vanilla Ice Cream" from She Loves Me, that suits her vocal prowess so very well, the ever beloved "Popular" from Wicked, "He Plays the Violin" from 1776, Sondheim's meaningful "Move On" from Sunday in the Park with George, a beautiful song by Maury Yeston "New Words" and as encore Sondheim's delightful "Lovely". She showed great comedic purpose with "Shroeder" from You're a Good Man, Charlie Brown, feigning a playful seduction of Symon around the piano. The medley in honor of Grayson included: "Make Believe", "Can't Help Loving That Man", "I Hate Men" and "You Are Love". In salute to her grandfather she ably performed a 40s rendition of "Unchained Melody".

It is difficult to argue with real talent and Kristin Towers-Rowles has it in spades. She has the gift of song from Kathryn Grayson and all the other ingredients so important for success that have been lovingly passed on to her by A Lovely Lineage. May she continue to use them well and prosper!

review - I Left My Heart

                                                CRITIC'S PICK

I Left My Heart: 

A Salute to the Music of Tony Bennett

created by David Grapes & Todd Olson

directed by David Grapes

Laguna Playhouse, Laguna Beach

through August 21

A couple of years ago a winning salute to Frank Sinatra called My Way: A Musical Tribute to Frank Sinatra by David Grapes and Todd Olson was on stage at the Laguna Playhouse. It has gone on successfully to hundreds of productions worldwide. Now the same duo of Grapes and Olson present I Left My Heart: A Salute to the Music of Tony Bennett at the Laguna Playhouse through August 21. I liked the Sinatra piece a lot; I loved the latest one tributing Tony Bennett. Maybe because Sinatra has received many tributes and Tony Bennett, none - and as the boys say, "It's high time. Long overdue!" Important to remember that this is not a Bennett impersonation nor are the arrangements necessarily exactly like Bennett's; it is a loving salute to his music. Ingenious Vince Di Mura is once again musical director of this stylish little theatrical concert featuring the talents of three terrific actors/singers, who make the show shine even brighter.

These three Danny Gurwin, Rob Sutton and Dan Callaway not only have fantastic voices but loads of charisma and exuberance to keep the show rolling forward with spark and flare. Gurwin is a born MC, so he delivers most of the anecdotes about Bennett's music and philosophy. Sutton has all the good looks and style of a Broadway leading man and Callaway' delivery is astounding. He blew me away with "That Old Black Magic", "Come Rain or Come Shine"and "Fly Me to the Moon". Bennett, as pointed out in the show, thought of himself as a jazz singer first and foremost and believed firmly that the harder you worked, the luckier you would become. Good old fashioned advice for a man now 86, who demolished the generation gap by winning plaudits for his MTV Unplugged album and special at a time when rap and hip hop have been outnumbering classic standards in airplay. When asked to record Janis Joplan, Bennett asked Count Basie if he should switch styles. "No!" ,he offered, "Why change an apple?" The boys capture Bennett's easy going style and generosity of spirit that have made him the top living vocalist.

Sinatra was known as a womanizer and very complicated; Bennett has always exuded very traditional values; he's a pacifist with grounded ideas. Both men: what genius! Whereas Grapes' and Olson's piece My Way shows the complexity of Sinatra through his music, I Left My Heart presents the simpler, far less complex personality that is Tony Bennett. But Bennett's music, like Sinatra's, is the best there is. Highlights of the show include: "Steppin' Out With My Baby", "Boulevard of Broken Dreams", "Stranger in Paradise", "Best Is Yet to Come", "Embraceable You" "Puttin' on the Ritz" and those glorious movie hits like "The Days of Wine and Roses", "As Time Goes By", "The Shadow of Your Smile" and "Love Story (Where Do I Begin?)". Two lesser known hits "You Must Believe in Spring" by the Bergmans, Michel LeGrand and Louis R.M. Demy Jacques and "A Child Is Born" by Thaddeus Jones and Alec Wilden are unbelievably beautiful with lyrics of substance, which perhaps prevented them from becoming instant overnight hits.

Vince Di Mura at the piano, Ernie Nunez on bass, Darrel Gardner on brass, and Richard "Drew" Hemwall on drums rock the theatre and scenic and costume design by Bruce Goodrich are simplistic and elegant. Grapes' direction is superb as the boys and musicians - all  musicians actually - blend together expertly and render with panache.

See this little show and you will not be disappointed! On an entertainment scale of 1-10, it's a 10+.

It supercedes my rating, but...

5 out of 5 stars

review - The Sound of Music

CRITIC'S PICK

The Sound of Music

book by Howard Lindsay & Russell Crouse

music y Richard Rodgers; lyrics by Oscar Hammerstein II

directed by Lewis Wilkenfeld

Cabrillo Music Theatre, Thousand Oaks Civic Arts Plaza
through July 31

Perhaps the best known musical of all time - and perhaps the best - Rodgers' and Hammerstein's The Sound of Music has remained a family favorite since the 50s. Number one, the score is to die for; secondly, the book is dramatically fulfilling with a real life family being torn asunder by the ravages of fascism. Touches of real intertwined humor add to the appeal. Cabrillo Music Theatre, under the skillful eye of Lewis Wilkenfeld, is once again reviving the show, and the production is thoroughly worth your while, if for no other reason than to catch Shannon Warne's superior performance as Maria and for some truly glorious singing.

Warne totally submerges herself in the role and not only captivates Captain von Trapp (Tom Schmid) and his seven children, but everyone who watches and listens to the music emanating from her heart. Schmid is less harsh than other Georg von Trapps, making him more of a lost soul whose unhappiness is due to the absence of a strong and loving wife and mother. Michael G. Hawkins repeats his charming performance as Max Detweiler, and Laura Cable, although seemingly a bit too young for Elsa Schraeder, does envelop her sophistication and sings beautifully. Marilyn Anderson is a gem as The Mother Abbess reducing all to tears with her gorgeous rendition of "Climb Every Mountain". Needless to say all seven actors playing the von Trapp children can act, sing and move exceedingly well with or without that infernal whistle. They are: Alison Woods as Leisl, Michael Kennedy as Friedrich, Lyrissa Leininger as Louisa, Mason Purece as Kurt, Audrey Miller as Brigitta, Natalie Esposito as Marta and Kristina Van Horst as little Gretl. Tyler Matthew Burk is handsome, but a tad stiff as Rolf, and David Gilchrist and Gloria Bennett more than fulfill their housekeeping duties as Franz the butler and Frau Schmidt respectively. Farley Cadena, Karen Sonnenschein, and Becca Cornelius provide fun and mischief as the other Sisters of the Abbey.

Most everyone by now knows the plotline of The Sound of Music. The von Trapp family and their courageous escape from Nazi occupied Austria is legend. It's a timeless story filled with hope, spiritual fervor and love, so lacking in our world today. Cabrillo Music Theatre with Lewis Wilkenfeld at the helm puts a loving, heartfelt spin on the proceedings and pulls up another winner.

5 out of 5 stars

(photo credit: Ed Krieger)

review - Hunter Davis Christmas Special

The Hunter Davis Christmas Special

created /performed by Hunter Davis & Francisco Rodriguez

Elephant Stages

July 21-24 only

When I was first informed that a Christmas Special would be presented on stage in July, my reaction was: "Yeah!" If you cannot guess, I love Christmas. Hunter Davis? My first reaction: Who the hell is Hunter Davis? Anyone unknown with the unmitigated gall to put his name in the title of a show has got balls, and I don't mean Christmas ornaments...and he obviously thinks he's good enough to have his name in the title! We go to see an Andy Williams Christmas Special or a Vicki Carr Christmas Special, because we respect their bona fide talent and know what to expect. But - and pardon my repetition - Hunter Davis? I don't know him and he's performing in an Equity waiver theatre, to boot. With this kind of pot luck, if I go, I really deserve to be disappointed. Nonetheless, I weathered the storm - the heat of July -  made reservations to go, and did not expect much. Boy, was I pleasantly surprised with the talent on the Elephant Stage Thursday July 21 on the opening night of The Hunter Davis Christmas Special!  

Much of it was OK funny; some of it, drop dead funny! The two guys who created it - Hunter Davis and Francisco Rodriguez - miles of chutzpah, but justifiably big, big talent!

What makes this Texas boy -Davis, that is - so lovable is a genuine down-home, boyish quality that is fresh and vibrant, sort of like Conan O'Brien, when he first began his career. He opened the show with some comments about wanting to honor his grandfather's local Christmas talent shows, but that the one we were about to see - being in July - would not have anything at all to do with Christmas. You know, of course, with such contradictions, that the lad is talking out of the side of his mouth, and before you had a chance to blink, there was a British caroler at the door - on his knees, to make him appear like Tiny Tim - begging to sing "Silent Night". Even with an ix-nay, he sang it and made several silly appearances throughout the two hour show. The set was a crumpled mess, but replete with Christmas tree, gaily wrapped packages, a fake fireplace for Santa's entrance, and even a cheesy wintry scene on art class paper to give the effect of an exterior through the living room window. The opening segment where Davis attempts to justify his presence and get his footing with the audience and the unwanted entrance of Rodriguez - his dear lifelong friend that he has quarreled with and broken up with for good; in fact, he has been barred from the set - goes on much too long. It needs cutting, and the whole play should be a one act to make it fuller and consistently enjoyable.

As is, Davis and Rodriguez have remarkable chemistry - like Laurel and Hardy, Seinfeld and Alexander or the Belushi Brothers - and other talent in the cast: Joseph Cheatham (a mammoth Peanut), Thomas Harvey (caroler), J. Louis Reid (Santa, Grandpa), the poker faced security guard (uncredited) and especially Fred Jones as Professor Scorpion in a Tonight Show segment spoofing Johnny Carson (Davis) and Ed McMahon (Rodriguez) with Scorpion's "aminals" is hysterically funny. The spirit of Christmas Present (also Jones) as a puppet named Sludgy who just cannot come up to the grandeur of Frosty the Snowman - He's melting into slush! - is also a funny bit.

Shorten the show and bring it back! There's a lot of talent here that LA casting people should look into - namely Davis, Rodriguez and Jones! It's like a Saturday Night Live show - at its high points! In the meantime, visit the Hunter Davis link below on Facebook for a very funny video with an elf scene, which, most unfortunately, was cut from this LA production. It's cute and endearing fun, as most of this show has the potential to be!

http://www.facebook.com/hunterdavis

Lesli Margherita's All Hail the Queen to Play New York

http://cabaret.broadwayworld.com/videoplay.php?colid=257297

Freda Payne Sings Her Heart Out

@ Catalina Jazz Club

review below!

Jamie Rose & Denise Crosby Star in Revisiting Wildfire

review below!

news - Los Americans - a winner!

I have many actor friends who have done web series, but have never watched one until now. My first - Los Americans - with 7 episodes so far - is a big winner. I watched all 7 episodes in rapid succession and was blown away by the acting and boldness of the subject matter. With the humor of Desperate Housewives and the seriousness of real honest-to-goodness drama, Los Americans has it all. Esai Morales, Yvonne de la Rosa and a favorite character actress of mine, Lupe Ontiveros are superb, and the rest of the ensemble are equally wonderful. If on TV, they would be nominated for a pack of Emmy Awards. I cannot praise Ontiveros enough for her great work as the alcoholic grandma. Very moving!
Don't miss episode 8 this week July 14!

esai morales

lupe ontiveros

http://pic.tv/losamericans/video/family-heirloom/

review - Freda Payne @ Catalina Jazz Club

There are singers...and then there are great singers, the best singers...like soul, R&B legend Freda Payne. This lady is not only a sensational vocalist but on top of that, intelligent, warm and beautiful. Her "Band of Gold" was a # 1 Bestseller and gold record back in 1970, but what many do not realize is that Freda Payne can scat and sing Ella...Fitzgerald, that is, Sarah Vaughn, Dinah Washington...and Lena Horne. Payne's a great pop vocalist, yes, but it is in these areas of jazz and the unforgettable standards of the Great American Songbook where she truly excels. In her hour, forty-five minute set at the Catalina Jazz Club on Sunday evening July 17, she payed a glowing tribute to Ella, Sarah and Lena, showing the way Freda is now, wisely leaving her own hit tunes as encores and memories of what she used to be.

Backed by three virtuoso musicians: Bill Cunliffe on piano, Jake Reed on drums and Chris Colongilo on bass, Payne's highlights included: a rarely heard scat opening of "Lost in Love", a fabulous medley to salute her idol Lena Horne : "Love", "Stormy Weather" and "The Lady Is a Tramp", Billy Strayhorn's irresistible "Lush Life", Ella's hits: "Sweet Georgia Brown", "Mr. Paganini", "Honey Suckle Rose", "Mack the Knife", a too sexy for her dress rendition of Cole Porter's "Too Darn Hot" - proving what a scintillating hot mama she still is -, gorgeous ballads: "Someone To Watch Over Me", "Spring Can Really Hang You Up", "Do You Still Dream About Me?", a swinging "Duke's Place" in honor of Duke Ellington and a dynamite "St. Louis Blues" in honor of Dinah Washington. At the end she tributed Motown and Holland.Dozier.Holland with "How Sweet It Is", "Bring the Boys Home" and "Band of Gold". She also added a surprise, unrehearsed "Miss Otis Regrets" and a few bars of her hit "Cherish".

What a spectacular evening of song to cap off carmageddon, or as Payne called it "Car heaven!"! Not only was the show fantastic, but to make it even more memorable Freda's friend, legendary blues singer Linda Hopkins was in the audience and shouted from her seat "Freda, you are singing your heart out! I love you.", to which Payne humbly replied, "It's the only thing I know how to do. I love you too." Freda Payne is one of a dying breed of sophisticated artists who has the chops to perform any kind of music in the best way possible. Don't miss her as she tours worldwide! She's still HOT! It is my fervent prayer that she record this loving tribute to these elegant ladies of song!

Two singles due out soon:
"Free Me From My Freedom"      and in the UK a duet with Sir Cliff Richard on his forthcoming album of duets:
"Saving a Life" performed on the BBC's Loose Women that may be viewed on youtube:
http://www.youtube.com/watch?v=ZUdzpz_yZao

and for all things Freda, visit:
www.fredapayne.com

(bottom photo credit: Stan Mazin)

review - Revisiting Wildfire

RECOMMENDED
Revisiting Wildfire
by Kari Floren
directed by Eve Brandstein
Odyssey Theatre
through July 31

Gal pals love/hate, hug/spar with equal measure...sometimes simultaneously. It's not a game we're talking about, but true friendship: being yourself in the presence of your best friend, sometimes stepping on toes, or other times, giving gifts... confiding deep desires, sharing secrets; at all costs, going beyond the call of duty...plus one further... in Kari Floren's Revisiting Wildfire now onstage as a guest production at the Odyssey Theatre...(we must include) never abandoning your ideals and personal happiness for the sake of the other's. There's too much at stake and in the last analysis, you are number ONE. Some will not agree.

Pam (Denise Crosby) and Theresa (Jamie Rose) have been friends since college and through the years, through thick and thin, have stood by each other. Now as Theresa is turning 52, Pam pays her a surprise visit, but Theresa is not pleased. She's lost her job, is miserable about her future in New York City, and opts for Nebraska...to live in a cabin and save the horse made famous in the 1975 song "Wildfire" by Michael Martin Murphey and Larry Cansler. She's a cause lady who goes to extremes...giving the outward appearance of having lost it. Pam, who has come all the way from Cleveland, Ohio is instantly concerned for her overall mental health. Pam is not without problems of her own; there are ulterior motives for this visit. To make a long story short, both women are in need of some TLC, and over the course of 80 minutes, they dole it out to each other as they arduously try to maneuver the obstacles.

The positive side of Kari Floren's writing is her ability to take a serious issue and make it really funny. It's similar to Neil Simon's The Odd Couple, where Felix tries to commit suicide in the opening scene, but gradually comes to terms with his solitary life because of the support of his friend Oscar, whose own turmoil only adds more chaotic fuel to the fire. Revisiting Wildfire, however, is definitely a girl rather than a guy thing. Women will find solace, comfort and a lot of laughs within each gal's dilemma - which I refuse to divulge. You must see the play to appreciate them. One thing I will bring out: a cocaine scene suggests the right therapeutic mood, but somehow it never goes anywhere, cutting off in mid-stream. Floren may wish to rework it, as resultant wild nostalgic memories might add more colors and dimension to the relationship and the conflicts at hand.

Both Crosby and Rose excel at every turn. Rose's Theresa is so focused on turning her life around and making a difference that the audience accepts her fanatical, erratic behavior kind of in the way that they accept Don Quixote's idealistic quest to change mankind. Better to move along in a crazed condition than just sit in a corner and rot! Pam's problems are more grounded and prone to sympathy, but Crosby never allows Pam to become a basket case. She maintains control. Both actresses get the chance to be dramatically and comedically moving under Eve Brandstein's skilled and finely paced direction.

Set design by Elisha Schaefer of Theresa's neat two-bedroom apartment in NYC is spot-on convincing, and Kathryn Poppen's costumes suit both ladies well, especially the pretty tops and dress for Ms. Crosby.

In the end, there are bound to be some like me who may want more compromise, more selflessness. The idea of both living separate, solitary lives miles apart seems cold...exciting, perhaps, but cold. I'm old fashioned that way...and a man to boot! But...it's definitely now with its insistence on change. And if that entails brandishing one's ideals and forging ahead in a positive manner, RW is gutsy and unquestionably worthwhile.

4 out of 5 stars

review - Shrek The Musical

CRITIC'S PICK
Shrek the Musical
book & lyrics by David Lindsay-Abaire
music by Jeanine Tesori
directed by Jason Moore & Rob Ashford
Pantages Theatre
through July 31


Never having seen any of the Shrek films, I come totally unbiased - green - to this material. One thing I can say for sure, I love fairy tales and any re-imagining of them, provided the characters remain true to form. In Shrek the Musical, the updating of traditional icons like Pinocchio, the Pied Piper, Wicked Witch, Sugar Plum Fairy, Three Pigs, and Three Blind Mice, to name but a few, is quite appealing stuff - and as to newly arrived Shrek, his sidekick the Donkey, Princess Fiona, Lord Farquaad... and Gingy Puppet ...they are sheer delight! Now at the Pantages through July 31, Shrek is a fun, inspirational and imaginative romp for children young and old.

One cannot dismiss a comparison to Beauty and the Beast, but Shrek's ending where beautiful does not necessarily mean pretty takes it a giant step away from perfection. This update is bound to please those who crave a more realistic, believable flavor. Ogres deserve happiness as much as anyone else, so why shouldn't Princess Fiona be on an equal plane with Cinderella, Snow White and Rapunzel? And why shouldn't Shrek have his crack at Prince Charming? This is a cartoon about the underdog and those with more grounded - even nastier - habits get their turn in the spotlight.

Under the dual direction of Jason Moore and Rob Ashford the touring cast all shine. Eric Peterson makes a heartwarming and cuddly Shrek. Only one flaw of note: when he sings, he starts so low-key, it is not easy to hear the lyrics of the first few bars of his solo numbers. Otherwise, it is a performance of great dimension.
Alan Mingo, Jr. as Donkey is loaded with pizazz and devilish charm, and Haven Burton is comically and vocally scrumptious as Fiona. David F. M. Vaughn as Farquaad tears up the scenery every time he's on stage. Following him is a tall order, if you know what I mean! Carrie Compere sizzles as the mesmerizing voice of the Dragon, and Blakeley Slaybaugh makes his moments count as Pinocchio. At times the show is reminiscent of Monty Python's Spamalot in its silliness, as, for example, in the "Travel Song" where the cow jumps over the moon, but its overall drive and tone are most definitely American. Disney could not have done it better, and no fairy tale or kids' story is spared satirically; I thought I even caught a sentence right out of the film Babe: "That'll do ...  that'll do!"

Tim Hatley's scenic and costume design are at their flashiest with "The Ballad of Farquaad", Josh Prince's choreography dazzles as in "Freak Flag", and Jeanine Tesori and David Lindsay-Abaire have created a score that is bright, happy and pure fun.

From start to finish Shrek the Musical is high on heart and entertainment - an unqualified charmer. So why find fault? Even a gingerbread cookie sings, dances and delivers the goods. Now that's imagination! It's got my vote.
Don't miss it!

5 out of 5 stars

review - The Wedding Singer

CRITIC'S PICK
The Wedding Singer
book by Chad Beguelin and Tim Herlihy (based on the New Line Cinema film by Tim Herlihy)
music by Matthew Sklar & lyrics by Chad Beguelin
directed by Larry Raben
Carpenter Performing Arts Center, Long Beach
through July 24

Fans of the 1998 film The Wedding Singer, which proved an unqualified hit for its stars Adam Sandler and Drew Barrymore, will relish seeing the quirky story revisited on the big stage of the Carpenter Center in Long Beach. In 2006 The Wedding Singer was turned into a Broadway musical with the identical Ridgefield, New Jersey characters, but with some alterations in plotline. What counts most is the upbeat 80s humor, which the stage version retains in spades, as well as unlimited heart. MTW (Musical Theatre West)'s regional premiere does the show proud under Larry Raben's dynamite direction and sporting a rollicking cast.

In the 80s small town America was enveloped by the pressures of city living and people welcomed the beginnings of a more advanced technology as we know it. Big time corporations replaced small businesses, and making money, nailing the American dream were everyone's goals. Such is the case in Ridgefield, New Jersey in 1985 where The Wedding Singer takes place. If you're a singer in a small band like Robbie Hart (Ciaran McCarthy), your chances of getting the girl - in this case Julia Sullivan (Renee Brna) - go up in smoke, particularly when wealthy, successful businessmen like Glen Guglia (Derek Keeling) vie for their hand in marriage. Every girl wants a home, family and security, so Glen comes up a winner and  Robbie, a big time loser. Robbie lives in the basement of his Grandma Rosie's (Mary Jo Catlett) house, and on top of having no money, is dumped by his first girlfriend Linda (Kelli Provart) via a Dear John letter on the day of their wedding. Robbie is literally in the dumpster and waitress Julia, who has had eyes for him from the start, tries to lift his spirits. Her sexy friend Holly (Jenna Coker-Jones) dates him, but to disastrous results. Robbie's eyes stay focused on Julia and he will do just about anything to win her over, which entails, at least in his mind, changing his lifestyle, so he vows to climb the corporate ladder assisted by Glen - turning Julia off ... so more disastrous results. Of course, there's a happy ending, but not without a lot of fast maneuvering on Robbie's part, which involves a chase to Las Vegas after Julia and Glen to stop their wedding and a round or two with all kinds of Vegas impersonators. It's a silly romp, but a rewardingly entertaining one.

 McCarthy is a charmer as Robbie and Brna wholesome and adorable as Julia. And the supporting cast are all equally terrific under Raben's slick and fast paced direction. Catlett is delicious as Rosie. She's spunky, a completely with it grandma -she has the lingo down pat and even does some rap to boot! Provart and Coker-Jones are both screamingly, in-your-face funny. Coker-Jones has an indomitable display of comic aplomb, and Provart has all the sensual moves of  an Ann-Margret and an Eartha Kitt combined. Hold onto your armrests! Keeling makes Guglia appropriately egotistical and obnoxious. Nick Bernardi and Matthew J. Vargo as band members Sammy and George respectively are simply scene-stealers, especially Vargo as the gay George, whose long hair and feminine makeup set him alluringly and intriguingly apart from the onslaught.

Tracy Lore does nicely as Angie, Julia's supportive mother.

Spencer Liff's choreography is dazzling throughout and much of the music by Matthew Sklar and Chad Beguelin, upbeat and appealing. The entire look of the piece - costumes, set and lighting- are 80s perfect.

The charm of The Wedding Singer comes mainly from its characters and how they eventually come out on top, beating the odds and finding true happiness. With its inimitable energy and spark, it will sometimes remind you of musical gems from the past like Bye, Bye Birdie and Grease, or the heat of Saturday Night Fever, but  it does find its very own niche, making its own kind of memorable music.

5 out of 5 stars

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