theatre review- A YEAR WITH FROG AND TOAD - YouthWorks / Theater Works - May 8

Click here to read my complete review (highlights below) at TalkinBroadway.com

Skyler Washburn and Tyler Lewis
(photo: Wade Moran)

"Theater Works' Youth Works theatre group is closing their 2014/2015 season with a superb production of A Year with Frog and Toad. The musical adaptation of the popular children's books by Arnold Lobel follows one year in the lives of best friends Frog and Toad as they do various things to enjoy the seasons together. They plant flowers in the spring, go swimming at the local pond in the summer, rake leaves, tell scary stories on a stormy fall evening, and go sledding in the winter. Youth Works' excellent young cast, made up mainly of high school aged kids, combine with colorful creative elements to make this a fun-filled production for children of all ages....As Frog and Toad, Tyler Lewis and Skyler Washburn are splendid. Both are charming and energetic performers with clear and strong singing voices...Washburn brings a sense of frenzy to the always worrisome and insecure Toad and has a great deadpan delivery of his humorous lines...Lewis has just as much fun as Frog, instilling the character with a deep sense of kindness. While the rest of the cast is quite good, Karson Cook is very funny and an audience favorite as the very slow-moving snail and Kendra Goodenberger is charming as the young Frog...Director Chris Hamby knows how to get clear, distinct performances from each of his actors, even those with the smallest parts...Choreographer Paul Pedersen provides some fun ballets and scene change dances as well as an upbeat and touching tap dance for the two leads. Ken Goodenberger's musical direction achieves some stunning choral harmonies across the large cast....Creative elements are vibrant and colorful....The benefits of having a good friend are at the heart of both Lobel's original books and this musical adaptation. Youth Works' production of A Year with Frog and Toad is charming fun, perfect for children and adults of all ages. "

theatre review - LITTLE WOMEN, THE MUSICAL - Brelby Theatre Company - May 3

Click here to read my complete review (highlights below) at TalkinBroadway.com

Mia Passarella, Alexandra Utpadel, Mary Jane McCloskey, Lydia McCloskey, and April Rideout
(photo: Shelby Maticic)

"At the center of the story of Little Women is a strong, determined family that bands together through thick and thin. The same could be said of the Brelby Theatre Company who just opened a great production of the musical version of this literary classic. Brelby has their own resident company of actors who continually appear in many of their productions. This steadfast group comes together time and time again, along with a few actors new to Brelby, to create some of the most inventive theatre in the Phoenix theatre scene. They may not have elaborate sets and budgets, but the theatre they create is challenging, moving and almost always thrilling....While Allan Knee's book for the musical makes a few small changes to the famous novel, and obviously can't include every detail from it, the musical amounts to a fairly accurate representation of the major events of the novel and the end result is a joyous, uplifting experience. Not every song in the score, with lyrics by Mindi Dickstein and music by Jason Howland, is a winner, but there are plenty of varied pieces of music, many rousing ensemble numbers for the March clan and several soaring numbers for Jo....Alexandra Utpadel is splendid as Jo, giving the character an urgency and energy that is infectious...perfectly show how she is full of fire. Her vocals are just as good, instilling each song with a clear meaning as well as perfect tone, control, and power that sends the songs soaring. It's an excellent performance....Mary Jane McCloskey is touching as Marmee... and McCloskey's rich voice brings out the emotions beneath the lyrics, especially her moving act two "Days of Plenty." As the rest of the March's, April Rideout, Lydia McCloskey, and Mia Passarella are all excellent as Meg, Beth, and Amy. While Rideout doesn't get much to do as the oldest sister, she imparts a nice sense of romance in her portrayal. McCloskey brings a sweetness to Beth, as well as a closeness to the relationship she has with her sisters and her mother. Passarella is hilarious as the youngest sister Amy. She is jealous of Jo, and overly dramatic; as the youngest of the group, she also changes the most from young girl to young woman, and Passarella shows the changes in Amy expertly....Shelby Maticic stages the entire production effectively, achieving exceptional portrayals from her cast. With just a few small set pieces, Brian Maticic's set design is extremely minimal, with several pieces of wooden boards of different lengths set toward the back of the stage to depict the rising peak of the attic of the March house, where Jo goes to write. While it may not be the best design to depict the various locations of the story, it never detracts from the action and actually makes the importance of the March house, and the family within, always present throughout. William Gratza's costumes, on the other hand, are anything but minimal, with impressive, beautiful period dresses and appropriate suits for the men.
Little Women is an extremely well-known story and while the musical doesn't add anything new to this popular coming of age tale and might feel a bit episodic or melodramatic, since it mainly only includes the highlights from Alcott's novel, it still is a moving emotional journey of these young women. Brelby's production is simple, but that works to its advantage to get straight to the core of this one family's story of joys and heartbreak."

theatre review - CAT ON A HOT TIN ROOF - Mesa Community College - May 2, 2015

the MCC cast of Cat on a Hot Tin Roof
(photo: Tom McCoy / Mesa Community College)

"Having just celebrated its 60th anniversary, Tennessee Williams' Pulitzer Prize winning drama Cat on a Hot Tin Roof still resonates today as a cautionary tale of how a web of deceit can fracture family relationships. With a crackling cast and superb direction, Mesa Community College's production is, even with a few small shortcomings, a great production of this classic play. It vividly gets to the core of this story of sexual tension, death and, ultimately, survival....follows a wealthy Southern family headed by Big Daddy...is unaware that he is dying of cancer, though most of his family knows and because of that knowledge have all gathered to celebrate his 65th birthday. While his oldest son Gooper maneuvers to gain control of the family estate, youngest son Brick, who is constantly drinking to forget his past, also has plenty of present problems with his sultry and sexually frustrated wife Maggie. The summer heat outside smolders while the family fireworks burn and pop inside....As the brooding, ex-athlete Brick, Jesse Kinser makes it painfully obvious that he is drinking to numb the pain of his past, a past that includes the possibility that he and his former teammate, the recently deceased Skipper, were more than just best friends. Marissa Salazar plays Brick's wife Maggie, and she has the appropriate shades of strength, determination and desire for Brick, even though she is suspicious of what went on between him and Skipper. The combination of a perfect script and two very good performances makes us feel pity for both Brick and especially Maggie and her unsuccessful efforts to seduce her uninterested husband, which leaves her feeling like a "cat on a hot tin roof." Billy Alewyn is perfect as Big Daddy..showing us that the seamlessly uncaring Big Daddy does actually care about a few things, especially when it concerns his son Brick..It is a beautiful performance. Pam Darveaux is just as good as Big Mama...Darveaux's display of Big Mama's wide range of emotions is natural and effective, as are her dealings with her husband and her children which are extremely realistic....Jared Kitch and Dolores E. Mendoza play Gooper and his wife Mae, and both fill their characters with greed and disdain for the attention that Brick and Maggie receive from Big Daddy and Big Mamma. Mendoza is a firecracker, vicious in the insults she flings at those around her, yet displaying her Southern charms when required....Director James Rio achieves excellent performances from all six of his leads...with the pacing perfect throughout, allowing the intensity, emotion, and ultimately the honesty of the characters to shine through. However, there are a few small quibbles, though none of them offset the winning end result or the fever pitch of the drama. Some of the supporting performances are weak, and some of the accents leave a bit to be desired. We never get the sense that Brick is getting any drunker throughout the evening, even though he has consumed a large quantity of alcohol. Also, while Rio has Salazar moving constantly across the stage, like a cat, especially in the act one scene that focuses mainly on Brick and Maggie, the wood floor of the stage and the high heels that Salazar wears cause a continual noise that, combined with Salazar's thick southern accent and the fact that none of the cast are mic'd, occasionally means dialogue gets lost in the large auditorium....Ezekiel E. Barkman's scenic design is sublime, giving the feeling of a large bedroom on an even larger plantation yet having an openness that gives the impression that no secrets can ever be truly concealed within the room. ...Cat on a Hot Tin Roof is a classic drama, with themes, situations and conflicts that are universal and still relevant today. Even with a few small shortcomings, with the combination of a gifted cast, skilled direction, and evocative creative elements, Mesa Community College's production sizzles with passion and greed." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - A WEEKEND WITH PABLO PICASSO - Arizona Theatre Company - May 2, 2015

Herbert Siguenza
Photo: Darren Scott / Arizona Theatre Company

"... A Weekend with Pablo Picasso...While the play itself is a disjointed affair, the larger than life persona that Siguenza brings to the famous artist is a joy to experience....Over the course of the 90-minute play, Siguenza's Picasso teaches us about art, life and love, we watch him create and we learn a little about the man himself....While the majority of the "lessons" we are given are about art, Siguenza also weaves into the play details about Picasso's life. We get snippets about the influence that politics had on both him and his paintings, how a vow he made with God when his sister was dying could have stopped him from painting all together, and how the many women he loved in his lifetime took a toll on him as well. While Siguenza interweaves these details effectively into the piece, they don't have much of a payoff and seem to exist to just check off a list of facts that he wants us to know about the artist. ...comments only scratch the surface of these serious subjects, with no additional information stated before moving on to the next item on the list. It is because of this lax structure and focus that, while we feel like we have spent a weekend with Picasso, we never clearly understand who the man is beyond seeing his playfulness and his attention to his craft....what helps A Weekend with Pablo Picasso become an interesting theatrical piece is that Siguenza paints several pieces throughout the play. While some are only brief sketches, the speed at which he paints, the joy of seeing the art of creation unfold on stage, and the sheer exuberance Siguenza has in playing Picasso, help to bring the play to life.Victoria Petrovich has created a stream of interesting projections, including pieces of artwork, newsreel footage, photographs, and even a letter that help to make Picasso's larger than life personality explode across the stage....Picasso's belief that you paint what you feel and not what you see is at the center of A Weekend with Pablo Picasso. Unfortunately, we don't quite feel much from the play since Siguenza only scratches the surface of Picasso's life. While the play is considerably disjointed and wanders all over the place, Siguenza's lively take on Picasso, how he demonstrates how the artist lived life to its fullest, and his ability to create art in front of our eyes helps offset some of the play's shortcomings and brings Picasso's statement that "life and possibilities are everywhere" vibrantly to life." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - GREATER TUNA - The Palms Theatre - April 30, 2015

Alan Craig and Devon Nickel
(photo: Toni Kallen)

"Greater Tuna...allows us in less than two hours to meet twenty of the residents of Tuna, Texas, the third smallest town in the state. Old and young, male and female, they represent a group of mostly charming yet small-minded people, who are firm with their beliefs and set in their ways. The fun of the play is that all twenty are played by two men. The production at the Palms Theatre has two expert actors, Alan Craig and Devon Nickel, both skilled in their abilities to make each character unique, with a distinct voice and mannerisms that bring out the sweet satirical nuances of the play.  The show is set around radio station OKKK, with many of the characters either working for the station, calling in to the show, advertising on it, or listening to it. While there isn't much of a plot, there is a continual stream of new and interesting characters, many of whom you end up caring about. The other beauty of the play is that it intertwines the characters with references in the dialogue to other townspeople you've already met or will meet later. Characters come back and go throughout, so it isn't just a string of monologues with characters you never seen again....The result is a sweet homage to life in a small, rural town that at times is also a biting satire.  Craig has performed this part before and it clearly shows, with his effective portrayals of each character...While this is Nickel's first time acting in this play, he is just as good, throwing himself into each role with a senseless abandonment....While Greater Tuna is more of a "slice of life" play that lacks a more in-depth plot as well as an ending that wraps up the events with a clearer message, it still amounts to a fun-filled parade of crazy small-town characters. The Palms production is full of love and laughs and has two actors who expertly bring the inhabitants of Tuna to vibrant life." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - END OF THE RAINBOW - Phoenix Theatre - May 1, 2015

Jeannie Shubitz and Jeff Kennedy
(Photo: Erin Evangeline Photography)

"Peter Quilter's recent Broadway play End of the Rainbow makes its Arizona debut in a fine production from Phoenix Theatre with a crackerjack performance by Jeannie Shubitz as Judy Garland. The play provides a private view into several weeks toward the end of Garland's life. It also has at its core one of those performances that will stick with you for days, if not years, in Shubitz's stellar portrayal of this legendary lady...While the play isn't perfect, and has a few too many contrived situations that seem to only be present to provide conflict, it is an intriguing expose into what life must have been like for a star of Garland's caliber, who suffered from years of addiction....While not much private footage of Garland from the mid 1960s is available, there are several concert videos and recordings that show Garland's frenetic behavior. As most people know, she was addicted to pills and alcohol, allegedly stemming from her teen years working in Hollywood. In End of the Rainbow, Garland is portrayed as more of a happy addict, someone who yearns to live a simple life but also has the burning desire to be the center of the party....Jeannie Shubitz perfectly portrays the idea of Garland being pulled in these two different directions and is spot-on in the several performance moments throughout the show. With a fairly accurate accent, her voice, speech patterns and mannerisms bring Judy to life on stage. She also gets the power, phrasing, and control in Garland's well documented singing voice perfectly right, which makes it eerily reminiscent of Garland's....all comes together in a stellar, virtual tour de force performance. Shubitz shows us both the rawness and beauty behind this well-known and well-loved woman and also expertly shows the frenzied, nervous, frantic, and frightened woman, the demons that haunt her, and the impact of what years of alcohol and pills have done to her...She perfectly captures the way that Garland owned the stage, the way she would fling the microphone cord around and almost get tripped by it, and how she connected with the audience—an audience who never knew if Judy was going to have an emotional melt down on stage or soar to new heights. Shubitz masterly shows us the trooper who knows the show must go on but also the scared girl who just wants to be left alone. She throws herself into every element of the role with fearless abandonment. I have no idea how she can manage to perform this role several times a week, as she deserves an endurance medal just for getting through a single performance....Director Karla Koskinen expertly stages the action, making the fireworks pop in the many fiery hotel scenes...  it is the quiet scenes that have even more of an impact. The scenes in which Garland softly pleads with Mickey and says "don't give up on me," or, suffering from the side effects of taking too many pills, she finds the determination to throw them away, have just as much resonance as the powerhouse performance numbers...While it isn't a perfect play, the way Quilter effectively weaves in two of Garland’s best known songs, "The Man That Got Away" and "Over the Rainbow," at key moments, helps with the shortcomings. Even though there may be some problems with the play itself, this is a production to see for Shubitz's amazing performance, one you won't forget for a long time after the curtain comes down." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - THE THREE JAVELINAS - Childsplay - April 26, 2015

Tommy Strawser, D. Scott Withers, and Molly Lajoie
(photo: Tim Trumbule)

Click here for more information on this production, that runs through May 24th

"Having the desire to go after your dreams while also understanding the importance of staying close to your family is the message at the center of the charming new musical The Three Javelinas, receiving its world premiere at Childsplay... Based on two of Susan Lowell's books, which in turn were based on the classic fairy tale of "The Three Little Pigs,"a colorful, upbeat musical with a tuneful score and, as usual with Childsplay, a very talented cast... Josefina and her brothers José and Juan are a group of traveling troubadours, who perform their musical selections at various saloons. Josefina dreams of becoming a ballerina, so she plans to head to Hoggywood to pursue her dreams. Juan has dreams of his own of doing something with his ability to draw. But the always joking José is happy with his life and wants the three to remain together as a performing trio. This conflict sets up a dilemma for the siblings, should Josefina and Juan pursue their dreams or stick with the family? While that seems like enough plot with a good message for a musical geared to a family, the fact that the three siblings are javelinas, and there just happens to be a coyote on the prowl, allows adaptor Jenny Millinger to expertly combine Lowell's two books, and the famous fable of the "Three Little Pigs," into a fun and engaging musical with a message.  With a combination of country flavored tunes, mariachi themes and rockabilly licks, along with a continuous nod to the southwest in the arrangements and even a bit of Broadway razzle dazzle in the way of a big tap number, the score by Todd Hulet is varied and tuneful. While there may not be any songs you remember later, the numbers are fun and the lyrics by Millinger are cute. ..a few things in the book could be tighter, especially in that it may be just a bit long to completely hold the attention of younger audience members. However, there is a sweetness and charm to the show that elevates the whole affair, even with a few shortcomings, into a winning musical. ...could still use a few tweaks in the story to tighten it up a bit and clarify a few small things and the score could possibly stand to either lose a song or two or have a more toe tapping memorable number. But even with those few shortcoming, The Three Javelinas is still a fun family friendly musical with a joy and clarity to its message that shows children of all ages that you can pursue your dreams while still remaining faithful to your family." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - SHREK THE MUSICAL - Desert Stages Theatre - April 25, 2015

Brandy Reed and Geoffrey Goorin
photo: Heather Butcher

"The animated movie Shrek was a huge hit when it was released in 2001, Shrek was also turned into a big Broadway musical in 2008. Unfortunately, the musical adaptation didn't fare quite as well, running just over a year. It has a fun score and a witty book by Pulitzer Prize winning playwright David Lindsay-Abaire, who also wrote the zany lyrics. Desert Stages in Scottsdale is presenting a production with a talented cast that results in a fun-filled experience. While Jeanine Tesori's music is fun and varied and Lindsay-Abaire's lyrics are creative, a few of the songs are a bit ho-hum and some of Lindsay-Abaire's jokes could be a better. Director Cambrian James has cast a large group of talented actors to bring the familiar characters to life. Geoffrey Goorin has strong, powerful vocals and the right balance of charm and menace as Shrek. Brandy Reed's Fiona is a combination of sweet, zany and feisty all rolled into one.  Shrek's supporting cast actually get most of the best jokes in the show, and DST is lucky to have James D. Gish as Lord Farquaad and Reginald Graham as Donkey. Graham is perfect as the non-stop talking Donkey, with a wicked comic delivery, expert facial expressions, and a winning singing voice. Gish has an amazing strong and crystal clear voice and perfect comic timing; he turns the part of the extremely short Farquaad into a complete hoot. The fact that he performs almost the entire time on his knees only adds to the hilarity of the performance. In smaller parts, Sky Donovan as Pinocchio and Harley Barton as Gingy bring a nice amount of zing to their roles, and Sonia Rodriguez Wood's voice soars to the rafters as the voice of Dragon. Katie Brown and Madeline Alfano provide clear vocals as young and teen Fiona. James does a good job of staging the action in DST's in the round space. He also provides a good amount of fun, varied, and creative choreography and also manages to keep his extremely large cast moving fluidly in the scenes where they are all on stage together. However, as usual in this theatre, the lack of any real set pieces is a detriment, especially in a fantasy musical like Shrek that has a real need for the audience to see the imaginary settings of the show.  Aurelie Flores' costume designs are a non-stop parade of color and fantasy and Stephanie Wright and Jennifer Brecker have crafted a spectacular puppet design for Dragon.  Shrek may not be a perfect musical, but it has numerous comical moments, many that are utterly hilarious, some upbeat songs, and good lyrics. While the Desert Stages production may lack a bit of the fantasy elements needed for this show, due to their in-the-round stage, the closeness of the actors to the audience and a winning cast, good direction, and excellent costumes make this Shrek entertaining and completely enjoyable." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - THE TOMKAT PROJECT - Stray Cat Theatre - April 24, 2015

Brady Weber, Chris Mascarelli, Brandi Bigley,
Chanel Bragg and Tim Shawver
(photo: John Groseclose)

"The Tomkat Project follows the crazy courtship, marriage, and divorce of Tom Cruise and Katie Holmes. While not everything about Tomkat is successful, it is a humorous play, with several laugh out loud moments, and Stray Cat has assembled a small and very talented cast who play the dozens of characters involved in the Cruise and Holmes story with chameleon like grace. Playwright Brandon Ogborn has crafted an interesting comedy that follows the relationship from its strange beginning to its even stranger end, the media obsession, and the parade of crazy characters who were involved. He also includes the many bizarre situations and interviews that happened during that time and his play has a nice payoff in the second act.  Ogborn wrote the play based on facts, rumors, theories, lies, "and, when appropriate, Wikipedia." Ogborn is also a character in the play, serving as the narrator, and his play lays out the many mysteries surrounding the Cruise/Holmes relationship, the potential role that Scientology played in it, and the erratic behavior that Cruise exhibited during their time together. While the majority of the play is made up, there are many actual conversations reenacted when a sign is held up that reads: "This dialogue is verbatim." These parts include the many notorious interviews that happened throughout the TomKat craze. We relive Cruise's disastrous press interviews, including his TV interview with Matt Lauer where he debates Brooke Shields' use of drugs for post-partum depression and calls Lauer "glib." The infamous couch jumping interview with Oprah Winfrey, where he professes his love for Katie, is a comical highlight. Each of these reenactments are hilarious and cringe worthy, knowing that the idiocy we are seeing actually happened.  And while the first act is humorous, Ogborn turns the tables in act two with the appearance of Vanity Fair writer Maureen Orth who wrote a scathing article on Michael Jackson as well as one painting Holmes as the victim in her relationship with Cruise. Ogborn ponders the question: what if Katie Holmes is the villain in the story? Was she the one being used or the opportunist out to further her career? Was Cruise simply naïve and being manipulated by The Church of Scientology to further the Church's best interests? This twist, and the debates Ogborn has with Orth, and replays of scenes we've already witnessed but now with the victim roles reversed, elevate the play into a thought-provoking commentary and a cautionary tale about not believing everything we read and about just how far from the truth celebrity gossip might be. However, while there are many funny parts, Ogborn doesn't quite write as comical as he could, with some of the set-ups for the wackier moments not having as funny as a payoff as they should.  Director Louis Farber stages the proceedings with a fast pace and a cast of seven who are exceptional. Chris Mascarelli has a fairly good handle on Cruise's famous mannerisms and way of speaking, and actually makes you feel sorry for him. Brandi Bigley has Holmes' signature mannerisms down pat, from her constant need to touch and often move her hair to how she sometimes talks out of the side of her mouth in a somewhat quiet way. The rest of the cast vividly play dozens of characters. David Chorley is brilliant as the conniving, manipulative Scientology front man David Miscavige. Tim Shawver is just as good as Katie's confused dad, who is determined to get her away from Cruise. Kellie Dunlap morphs with a refined ease between Katie's mom and the relentless Orth. Chanel Bragg is a hoot as Oprah...and has a blast as Cruise's male lawyer. The TomKat Project ponders many "what if?" questions in our wacky world of celebrity fascination. Ogborn's play may not answer the many questions that are raised into the TomKat relationship, and could be funnier than it is, but it is an interesting study and an exposé of how the media can both help and destroy a celebrity. The ending is comically sweet, with the audio from an actual conversation between Winfrey and Cruise played out over the speakers in the theatre, in which Winfrey states "This is unbelievable," and Cruise responds, "I know, I know." While Winfrey is speaking about the view from Cruise's Colorado home it could just as easily apply to the entire TomKat history and Ogborn's in-depth, well-researched analysis of it and Stray Cat's crackerjack cast." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - PUMP BOYS AND DINETTES - The Palms Theatre - April 23, 2015

the cast of Pump Boys and Dinettes
(photo: Mike Benedetto)

"Set in a small town in North Carolina, Pump Boys and Dinettes is a fun-filled show with a folksy charm set against a backdrop of country, pop, and gospel tunes. While there is little to the plot or story, it takes you back to a simpler time and the laid-back ways of the South where the talk centers on dating, drinking, fishing and the local shopping mall. Currently at The Palms Theatre, there is also plenty of toe-tapping and hand-clapping songs, and an energetic cast led by the stellar voiced Rob Watson.  The musical tells the story of the men who work at a gas station and auto body shop on a quiet spot on Highway 57 and the two sisters who run the diner on the other side of the highway. The energetic songs tell about the characters' experiences, romantic encounters, their love of fishing and their grandma, work and the need to get away for a vacation. It is a slice of life show, with minimal plot, but full of charm and funny jokes and characters. The added impact of all five of the male actors being very capable musicians elevates the musical into much more than just the sum of its parts.  Director David Simmons is an actor and musician so he understands the demands of being able to effectively do both at the same time, and he has assembled a very talented cast, including many Palms regulars. Rob Watson is Jim, the main narrator of the show, and his excellent voice is used to great effect throughout, especially on the a capella "Fisherman's Prayer." Jim is part owner of the Pump Boys gas station, and Watson brings a keen sense of the easygoing, laid-back lifestyle to his performance. Danny Karapetian is L. M., Jim's partner in the shop, and the two portray a realistic working relationship of friends who constantly joke with each other. Karapetian plays the piano well and sweetly sings a couple of the show's ballads, including the one hit song that came out of this show, "The Night Dolly Parton Was Almost Mine." Jim's fishing buddy Jackson is played by John Thomas Hays who is a skilled guitarist and vocalist. His solo of "Mona" is a highlight. The spunky, eager, and always ready to please Prudie Cupp and her sister Rhetta Cupp, who serve up homemade pies at their Double Cupp Diner, are played by Caitlin Newman and Kira Galindo. These two actresses have an abundance of sass and exceptionally strong voices that really makes their songs and interactions with the "boys" and the audience pop. Sure, Pump Boys and Dinettes is hokey, and a show that some people who like more traditional musicals might not quite enjoy, but it is also a fun show with songs and a setting that are nostalgic. Part musical theatre, part country-rock concert, the Palms Production has an enthusiastic cast who are also gifted musicians. While it is a short show, running just over 90 minutes, it is energetic, full of down to earth characters and down-home fun." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

Click here for more information on this production that runs through May 16th

theatre review - BUYER & CELLAR - Phoenix Theatre - April 22, 2015

Toby Yatso
(Photo: Erin Evangeline Photography)

"Jonathan Tolins' one man play Buyer & Cellar takes a brief passage in a design book written by megastar Barbra Streisand and turns them into a humorous and touching 100 minutes of pure joy. The play had a healthy Off-Broadway run, and Phoenix Theatre presents the Arizona premiere of the comedy in a tightly directed production with a spirited performance by Toby Yatso.  The book Streisand wrote is called "My Passion for Design," which goes into elaborate detail about the making of her palatial Malibu estate. Buried in the middle of the book is a mention of the "shopping mall" she had built in the basement of her barn to house her vast collection of collectibles. Tolins used those few sentences as a springboard to fabricate the tale of struggling, out of work actor Alex More who ends up getting a job managing the series of stores.  At first Alex is unsure of what to do in his new job, so he patiently cleans and organizes the items, waiting for Streisand to show up to look at her belongings. When she finally makes her way down into the basement, and after looking around for a few minutes at the many items she has collected throughout her life, she comments to More, "you have nice things." The look that More gives her and the laughs that come from the audience make you realize two things. First, that Tolins has found a perfect tale to portray the eccentricities of a celebrity like Streisand, but one that also shows her vulnerability, loneliness and insecurities. And second, that Yatso's skilled acting abilities are a perfect match for the six characters in the play, with each role receiving a refined sense of individuality.  Tolins has written fully fleshed out characters of both More and Streisand that dive well below the superficial level of their shared interest of her "belongings" and into the past and present of each character. His dialogue is direct and clear and concise, especially what he has written for Streisand to say. He is able to take the public knowledge of her and create an evening that is both funny and emotional. Tolins has many plot points build throughout the play and there is also a bit about a throw pillow that has a nice pay off as well as a hilarious sequence involving a coupon.  Yatso is More but he also plays all the other characters, including his boyfriend, Streisand's housekeeper, and Streisand herself. Every one of these characters gets their own personal voice, style, and mannerisms and Yatso is completely natural in the way that he easily navigates between them, especially in the numerous conversations they have with each other. Yatso's channeling of Streisand is more than just a simple impression or imitation. While his take on Barbra may border a bit too close to the line of caricature, especially with his overly thick Brooklyn accent, he still manages a lot with just a simple facial expression, a dramatic pause between sentences, the specific pronunciation of a word, and his continually moving hand that sweeps Streisand's imaginary long hair off his forehead with Barbra's infamous long fingernails. In doing so, he fully embodies her and at the end of the evening it feels like she was there on stage and we got a glimpse into the mind of this mega celebrity.  Director Ron May does an exceptional job of not only getting such an amazing performance out of Yatso, but also in his ability to stage the entire play on a set with just a few chairs and a table to portray multiple locations. The only downside is that there are numerous and slightly lengthy musical interludes between a few scenes that stop the momentum of the play. Buyer & Cellar is a touching yet rollicking good time with an amazing performance by Yatso at the center. While it may run about five or 10 minutes too long, with a few similar situations repeated to get the point across that really don't have to be, it is still effective. It doesn't mock or ridicule Streisand, but instead paints her as an extremely wealthy, yet somewhat lonely person who just happens to have a lot of stuff that she wants to have on display to see. If you think of all of the things you might own that are packed up in boxes in your basement, it does seem much more logical to have them on display, even if that means you have to build a mall in your basement like Streisand did." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - YOU SAY TOMATO I SAY SHUT UP! - Herbeger Theater Center - January 8

"a humorous and heartfelt look into romance, love, parenting, and the love/hate relationship within relationships. There are numerous laugh out loud moments in the witty script. But just as many times when you'll find yourself identifying with the less humorous situations and life lessons that the characters have encountered.  Annabelle Gurwitch and Jeff Kahn have found a way to not only portray some of their very personal experiences on stage but have them solidly connect with the audience. While it might be a "wart's and all" view of relationships, it is also an honest, very funny and realistic view that anyone will relate to." - Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - NANA'S NAUGHTY KNICKERS - The Palms Theatre - January 4

Louise Keeton and Sherry Konjura

"With a game cast and a humorous script, Nana provides a pleasant theatrical experience with a few laugh out loud moments and a lot of chuckles. Nana has its charms and the Palms production does have a winning cast.  Sherry Konjura's direction is skillful, not allowing too much of the shtick to play too broad, with a wink and nod to the audience. While you may know most of what is going to happen from the predictable script, there are still a few surprises in store as well an abundance of charm and good performances in the Palms production of Nana's Naughty Knickers." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)





Photo Credit: Toni Kallen Photography 

theatre review - MURDER FOR TWO - Arizona Theatre Company - January 3

"The 95-minute whodunit is likable enough, but not much more. A brilliant turn from co-creator Joe Kinosian as all of the suspects in the show is the major reason to see this production. But, overall, it's a bit of a letdown in how the frantic nature of the musical and the corny jokes, eccentric characters and convoluted ending don't add up to much when the 'who' in the whodunit is unmasked." -Gil Benbrook, Talkin' Broadway (click here to read complete review)

theatre review - THE PRODUCERS - Scottsdale Musical Theater Company - January 2

"Scottsdale Musical Theater Company struck gold with their recent production of the Mel Brooks musical juggernaut The Producers. Not only did they have superb leads and a rousing twenty-plus piece orchestra but also the luxury of fairly elaborate sets, costumes and backdrops, all of which were used for a recent tour of the show and other professional productions. The end result was a hilarious production with almost all top notch aspects."  - Gil Benbrook, Talkin' Broadway (Click here to read complete review)