theatre review - LUCKY STIFF - Arizona Broadway Theatre - August 28, 2015

the cast of Lucky Stiff
photo: Arizona Broadway Theatre

Click here for more information on this production that runs through September 20th.

"Wacky, zany, convoluted and charming are just a few adjectives to describe the quirky musical Lucky Stiff. Originally premiering Off Broadway in 1988, this show was the first collaboration of lyricist and book writer Lynn Ahrens and composer Stephen Flaherty who would later go on to write many well-known shows, including winning a Tony for their score for Ragtime. While Lucky Stiff isn’t as near as accomplished a work as some of their later shows, it still results in a delightful musical with a few slapstick, farcical moments and some charming and witty songs. Arizona Broadway Theatre’s production has a talented cast and confident direction by Evan Pappas, a man who has firm ties to both Flaherty and Ahrens, as well as this musical....The score is smart, with clever lyrics and tuneful music, and features a nice range of songs...While the convoluted book includes several plot points that are never fully realized or clearly resolved, it does feature a bevy of comical characters and situations.  Director Evan Pappas... is well acquainted with the material as well as has worked directly with the composers in the past. He does a nice job in ensuring that his cast doesn’t oversell the comic moments, guaranteeing the charm underneath the main characters isn’t lost. And he also stages two superb moments in the second act – the farcical gem “Him, Them, It, Her” which is full of well-choreographed, non-stop slamming doors and “Welcome Back, Mr. Witherspoon,” a hilarious nightmare sequence that features the entire cast.  Pappas also manages to get clear comical performances from his cast, including fine work from Seth Tucker and Trisha Hart Ditsworth, as Harry and Annabel, who both embody their parts with a combination of quirkiness and innocence under their assured exterior. They both have lovely, clear and strong singing voices with Ditsworth’s warm voice delivering solidly on the nicely understated comical ballad “Times Like This.”  With humorous body language, a thick New Jersey accent and even thicker glasses, Abigail Raye is comically delicious as the over the top, near-sighted Rita. Her big, powerful voice make Rita’s songs soar with humorous flair. ...Creative elements are bright and fun with Kara Thomson’s set design nicely expanding this originally very small show for the large ABT stage with a multi-functional Monte Carlo hotel set that works nicely to portray the many scenes in the hotel ...Lucky Stiff has its flaws, but it is lively and fun, and ABT’s production has skilled direction and a cast that throws themselves into their roles with gleeful abandonment."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - EVITA - Tuscany Theatre Company - August 21, 2015

Javier Stefano De Vita and Allyson Igielski
Photo: Lisa Webb / Southwest Shots Photography

"Andrew Lloyd Webber and Tim Rice's musical Evita is a fairly well-known show that follows the story of a real life woman's rise to power and fame. Tuscany Theatre Company in Gilbert recently closed their two week run of this show with an energetic production that featured a capable cast and good direction with very fluid staging and lively choreography. Evita follows the real story of Eva Duarte, a poor girl in Argentina who rose to power and fame in the 1940s by calculating, scheming and even sleeping her way to the top. She would eventually marry Juan Peron, who at the time they met was a Colonel but who would be elected as Argentina's President, making Eva Argentina's first lady. Narrated by Che, a young man who has no respect for Eva and Peron's devious and sometimes illegal ways behind their rise to power, Evita is an interesting history lesson about a young poor woman who gets caught up in the struggle for fame and success. Director Andrea McFeely assembled a more than capable cast for this production. Allyson Igielsk was quite good as Eva. It is a difficult part to play, requiring a transformation from gangly teenage girl to calculating, assured woman along with the skill to pull off some intricate dance steps and the ability to demonstrate Eva's declining health. With just a few wig and costume changes and good acting and vocal skills, Igielsk pulled it off, even managing her way quite well through the parts of the score that are extremely rangy, sometimes requiring Eva to scream or screech her lyrics. Her scrappy take on the part also allowed us to see that there was still some roughness present in Eva even as she ascended to power. Javier Stefano De Vita was just about perfect as Che... McFeely's staging incorporated Che into many scenes as either a participant or an onlooker, and De Vita had the appropriate facial expressions and body language to demonstrate the seething frustration and even humor he saw at the events unfolding around him. The role of Peron doesn't have a lot of layers but Chris Chavez created an effective portrayal, including showing Peron as a romantic, caring person. Also, both De Vita's and Chavez' Latin American accents added a nice touch of authenticity to this extremely large cast of almost all white American actors....McFeely’s blocking on the fairly small stage was quite good. Her exceptional take on “Perone's Latest Flame” was perfectly staged with succinct dance movements from the whole company. She crafted an energetic "And the Money Kept Rolling In" and, with assured music direction from Karli Giles Kemper, delivered some lovely choral work from the large children's choir as well as the ensemble in the finale...Corrinne Mann’s choreography was varied, energetic and upbeat with Latin inspired movement and an emphasis on the tango...Evita is a pretty good musical, albeit one with a few shortcomings...Though the book has several weaknesses, making us connect the dots between scenes one too many times to fill in the gaps due to no major dialogue being present. The show also doesn't have the strongest ending; we are simply told what happened to Evita's body but nothing about Peron’s fate....Tuscany Theatre Company's production featured a talented cast, excellent direction and showed the passion, power and romance not only behind the story of both Eva and Peron's rise to power but the people of Argentina as well."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - WICKED National Tour: ASU/Gammage - August 27

Alyssa Fox and Carrie St. Louis
Photo: Joan Marcus

highlights from my review at TalkinBroadway.com - click here to read the complete review

"The Broadway musical Wicked is a phenomenon. About to celebrate its 12th anniversary on Broadway and still running in London, the show has launched two National Tours and there have been successful productions in numerous cities around the world...The national tour of the popular musical just opened at ASU/Gammage for a six week run, the third time the show has come to the Phoenix area, and this tour boasts a superb cast and creative elements that deliver an energetic and emotionally fulfilling experience.  Telling the back story of the Wicked Witch of the West and how she got to be that way and given that name, the musical is based on the bestselling novel of the same name by Gregory Maguire. While the main theme and characters of the musical are the same as the novel, there are many changes that book writer Winnie Holzman and composer Stephen Schwartz made to make the story and characters more accessible and as a result created a show that so many people fell in love with. The way that Holzman and Schwartz were also able to connect this version of the story to things we all know and love from the movie The Wizard of Oz also adds another layer to the storytelling that includes many fun surprises. Schwartz’ score is full of high energy and tuneful showstoppers. There are many twists and turns in the story, so no spoiler alerts for those who haven’t seen it, but the basic plot overview follows Elphaba and Galinda, from the time they meet at college to their later years when Elphaba has become the Wicked Witch of the West and Galinda has become Glinda the Good Witch of the North. But, to quote a line from the show, was Elphaba "born wicked, or did she have wickedness thrust upon her?" ...The current tour cast includes Alyssa Fox as Elphaba and Carrie St. Louis as Galinda, both of whom completely instill the characters with the drive and power that the original Broadway leads Idina Menzel and Kristin Chenoweth did as well. They both embody their parts with ease, making them original, though St. Louis is a bit wackier than actresses I’ve seen in the part before, though she does have impeccable comic timing. They are also both very good singers, with St. Louis hitting some glorious high notes and Burns a powerhouse who belts out her big solos with a roar, including the showstopper "Defying Gravity" that she delivers with ease. The two form a great, believable partnership and make the characters their own....On opening night at Gammage, understudy and Phoenix native Beka Burnham was on for Liana Hunt as Nessarose, Elphaba’s sister. Burnham is a 2014 graduate from the Boston Conservatory who just celebrated her one year anniversary on the tour and the first time she saw Wicked was here on the Gammage stage. So it was nice to see a local girl in one of the main parts in the show and, even at such a young age, delivering an accomplished, nuanced portrayal. The production boasts... exceptional production aspects almost identical to Broadway with just a few small modifications in the physical aspect of the show to allow it to easily tour. This is the first time I’ve seen a tour of this show, having seen the musical numerous times on Broadway, so it’s nice to see that audiences outside of New York City get a production that is on par with the one on Broadway and that the cast is as good as ones I’ve seen in New York...."

theatre review - GYPSY - Scottsdale Musical Theatre Company - August 20, 2015

Sarah Cassidy, Terry Gadaire and Debra Qualtire
Photo: Zachary Youmans

Click here for more information on this production that runs through Sunday August 23rd.

"Widely regarded as one of the greatest musicals, Gypsy is receiving a fairly good production from Scottsdale Musical Theater Company. This backstage story of the mother of all stage mothers and the creation of infamous stripper Gypsy Rose Lee has leads who create realistic characters and strong direction. It is a solid production of this beloved musical....the main focus of Gypsy is on Lee's mother, Rose, and her desperate attempt to turn her two daughters (June and Louise) into stars. Set in the tacky worlds of the touring vaudeville circuit of the 1920s and the raunchier burlesque environs of the 30s, we equally admire, love, pity and also cringe at this determined, delusional stage mother who pokes, prods and pushes her daughters and will do anything to make her children famous, but deep down hungers for the limelight herself. It is also a cautionary tale of the desperate desire and drive for fame....Director David Hock has assembled a talented cast, led by Debra Qualtire as Rose and Sarah Cassidy as Gypsy Rose Lee. Qualtire delivers a fairly nuanced performance...While I wish she displayed a few more moments of true terrifying force and showed us more clearly how Rose ultimately turns into a broken down woman, and a few times on opening night she stumbled and paused a few times in her line delivery, it still results in a nuanced performance of this show biz trouper who won’t let anything, or anyone, get in her way. Qualtire also has a warm, strong voice, delivering lively versions of her songs, including a strong “Rose’s Turn” that is only missing a moment of ferocity and insanity to make it truly heartbreaking....Sarah Cassidy does a skillful job in portraying Louise’s transition from the shy, mousy and quiet “tom boy” in the background to the calculating, manipulative and bawdy woman, who learns to use sex, or sexual innuendo, to her advantage....Terry Gadaire is Herbie, Rose’s lover and the girl’s agent, and he is fantastic, instilling the character with a deep amount of warmth, even as he is continually manipulated by the woman he simply loves and just wants to marry...Gadaire...delivers a stirring, affecting performance....Hock keeps the show grounded in reality, only rarely dipping into caricature or camp. He also doesn’t skirt the emotional issues at the core, and ensures the dialogue scenes are as skillfully delivered as the many show stopping musical numbers. His actors have excellent chemistry with each other, and also deliver realistic characters, all of which is a testament to Hock’s directorial skills. However, he does rush the very end of “Rose's Turn,” with Louise coming on too quickly, so a key moment doesn’t quite resonate and the long transitions between scenes will hopefully be faster once the cast and crew get more performances under their belts. Hock also should reel in a couple of the ensemble members who are overacting.... Kevin Hayward’s music direction is assured and he also conducts the large orchestra with skilled playing throughout including an overture that is played with gusto..."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - SOUTH PACIFIC - Don Bluth Front Row Theatre - August 15, 2015

Rick Davis and Lauren Koeritzer
photo: Lori Kunzelman

Click here for more information on this production that runs through Sept. 19th.

"With well-known tunes and memorable characters, there is a reason that the musicals of Richard Rodgers and Oscar Hammerstein II are not only popular but considered classics. Along with the unforgettable songs, Rodgers and Hammerstein also wisely incorporated social issues into most of their shows, and their South Pacific, which is receiving a lovely, intimate production from Don Bluth Front Row Theatre, tackles such topics as prejudice and the politics of war in a succinct yet forward way....centered on the relationship between Emile de Becque, a sophisticated middle aged planter with a complicated past and the younger Ensign Nellie Forbush, a nurse from Little Rock, Arkansas, who describes herself as a “hick.” ...David Rodgers is perfect as Emile. His forceful, clear voice does justice to his songs, including a lush, romantic "Some Enchanted Evening" and a passionate "This Nearly Was Mine." ...Lauren Koeritzer has the most range to play as Nellie..She hits all of the notes appropriately (both musically and dramatically)....The romance between Emile and Nellie isn’t the only one present in the show, with the loud mouth, animated Bloody Mary (a superb Ginger Muth Tanaka) conspiring to find a man for her daughter Liat (the poised and demure Jacqui Notorio) from the many US military men she comes in contact with. Mary thinks she has found him in the handsome Lt. Joseph Cable (Rob Dominguez) but, like the main romance in the musical, finds that all doesn’t go as planned. Tanaka is a charmer in the role, bringing this assured and cunning business woman to life in a very large and vibrant way, and Dominguez delivers a straight forward approach to the part of the smart, rich Lieutenant with his two solos, a romantic “Younger than Springtime” and the biting “You’ve Got to be Carefully Taught,” hitting all the right marks....Gary Caswell directs with simplicity, letting the words and lyrics speak for themselves, something that really comes across well in the intimacy of the small theatre....The small theatre means that the vast expanse of Emile’s plantation and the beach that is supposed to be full of military personnel can’t really be portrayed, since there is no room for an elaborate set design. However, a lovely backdrop painting by Don Bluth helps to evoke the romantic call of the islands. ..With a small but talented cast, solid direction and fine creative aspects, the production of South Pacific at Don Bluth Front Row Theatre is a sturdy, pleasant production of this groundbreaking musical that has plenty of show stopping moments but also doesn’t skirt the social issues at the core."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT - Valley Youth Theatre - August 14, 2015

Payton Bioletto and Nathan Sheppard
photo: Barry Smith

Click here for more information on this production that runs through August 30th.

One of the first collaborations between composer Andrew Lloyd Webber and lyricist Tim Rice, Joseph and the Amazing Technicolor Dreamcoat features a mix of fun musical styles from rock to country and calypso as well as plenty of spirited, clever lyric rhymes. ...Led by a talented group of young adults and with fun direction and energetic choreography, Valley Youth Theatre's production is even better than the national tour production that was recently in town.  The family friendly musical is based on the Old Testament story of Joseph, a dreamer who has a beautiful coat his father Jacob gave him which makes his eleven brothers jealous. Since Joseph is Jacob's favorite son, the brothers decide to sell Jacob to not only get rid of him, but also to prevent Joseph's dream of ruling over them not come true. While the plot is very thin, the musical features a score with a number of infectious musical hooks and motifs by Lloyd Webber that you'll be humming for days after seeing the show...Valley Youth Theatre has assembled an impressive cast, led by Nathan Sheppard and Payton Bioletto as Joseph and the Narrator, respectively. Both not only have clear and strong vocals but also exude charm and joy as well as bring a high level of excitement to their roles. Sheppard's voice soars in his solos while Bioletto gets the chance to add a few personal touches to her many songs. Bioletto also has many moments with the large youth choir, and the ease she has with them as well as her ability to let them shine in their moments in the spotlight are true signs of a professional. In the supporting cast, Jack Rose gyrates his way through the hugely popular role of the Pharaoh, with the combination of swiveling hips and Elvis vocal style a delight. The rest of the cast, playing Joseph's eleven brothers, his father Jacob, and the many ensemble roles, all have fun with their parts.  Director Bobb Cooper has staged a flowing production with constant movement and good use of the entire Herberger stage, including the nice touch of having the children's chorus use the two second level boxes on the sides of the stage. Choreographer Lucas Coatney's exuberant, and always changing, dance routines combine seamlessly with Cooper's direction. ...Karol Cooper's costumes are excellent, featuring a non-stop parade of fun pieces, including a stellar finale "coat" for Joseph. Michael Eddy's vibrant light design is just as outstanding, with what appear to be hundreds of lights above the stage that are always changing, moving, and washing the stage in an abundance of color. ...While the plot of Joseph and the Amazing Technicolor Dreamcoat is as thin as can be, the infectious melodies and youthful charm of the young cast overcome many of the shortcomings of the piece. The family-friendly production also has some lessons that anyone can benefit from hearing, along with several songs that you'll be humming for days. VYT's production has an abundance of humor, exceptional leads, and results in a fun, infectious production. -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - MURDER BALLAD - A/C Theatre Company - August 7, 2015

Marshall Glass, Cassie Chilton, Kim Richards and Miguel Jackson
Photos by: CJ Mascarelli

Click here for more information on this production that runs through August 22nd.

"...A/C Theatre Company's first show, the Valley premiere of the 2012/2013 Off-Broadway musical Murder Ballad is a worthy debut production as this rock-centric show is a far cry from the usual commercial, well-known titles that tend to be done year after year by every company in town. While the musical itself isn't perfect, A/C's production is a worthy presentation, with a talented cast, atmospheric creative elements, and a smoking hot band....The 80-minute piece is sung-through with enough plot incorporated into the lyrics to not be confusing. However, the main problem with Murder Ballad is that the story is slight, familiar, and less than exciting. Fortunately, the score, with book and lyrics by Julia Jordan and music and lyrics by Juliana Nash, has a number of repetitive hooks and themes, a few of which you'll probably be remembering afterwards, which help detract somewhat from the slim plot.  A/C's cast is talented, led by Kim Richard as Sara. Richard has a powerful voice and the right look to make Sara at home in both of the worlds she finds herself in. ...Marshall Glass instills Michael with a mixture of nerdy, hipster, and boyish gestures that make it easy to see why Sara falls for him. Glass also has a nice chemistry with Richard, making you believe Michael loves Sara, and you also feel sorry for Michael once Sara finds herself being drawn to her past with Tom. Glass shows Michael's emotions on his face and the several fights he has with Richard's Sara are quite realistic and emotional...Cassie Chilton does a fairly good "rocker chick" impression as the Narrator, with wails and a husky, smoky delivery as she guides us through the ups and downs of the story.... As Tom, Miguel Jackson unfortunately has the least amount of range to play, though his solo "You Belong to Me" shows you exactly the type of forceful and seductive person Tom is ...Director Tim Shawver uses just about every area of the space to stage the action. Greg Hynes' vibrant set design is a seedy, dive bar with a large pool table at the center. While the set is static, Shawver manages to effectively portray the various locales of the story, even using the pool table as a stand in for the bed in Sara and Michael's apartment. While most of Shawver's staging works well, especially a crackerjack moment toward the end of the piece with all four characters moving in unison around the pool table, there is one bit toward the beginning, with Sara and Tom fumbling their way around the various set pieces, that is just clunky. With the four-piece band playing Justin Levine's orchestrations exceptionally well, Mark 4Man's music direction is simply superb. Daniel Davisson's lighting is excellent, always following the constantly moving characters and changing locations with ease, with the added bonus of some great floor mounted lighting that ups the intensity of several scenes....While Murder Ballad may not be the most original musical out there, it does have an interesting idea, with an intriguing plot point of just who will be the one murdered. It also has an intense score with rock hooks and memorable themes. Even though the end may be a bit underwhelming due to the slight and somewhat basic story, A/C Theatre Company's production is full of passion with a good cast, solid direction, theatrically rich creative aspects, and a superb band."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - BUDDY, THE BUDDY HOLLY STORY - Fountain Hills Theater - August 2, 2015

Jack Lambert (center) with Javone Patton andEnrique D. Lara
Photo: Carol Carroll / Fountain Hills Theater

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

 "Buddy - the Buddy Holly Story is a slim musical biography that tells the story of the legendary rocker from his rise to fame at the age of 21 to his untimely death, just two years later, in 1959. While Alan Janes' book is slight, hearing over a dozen of Holly's hits plus other well-known tunes from the era, played by some exceptionally gifted musicians, results in a rocking good time, and Fountain Hills Theater's production is a winner with a stellar performance from Jack Lambert as Holly.  The musical follows Holly from his teen years in Lubbock, Texas, where he preferred to play rock over country, through the recording of his many hit songs with producer Norman Petty. It also briefly touches on the tragic plane crash that took his life after his meteoric rise to the top of the charts. That accident, forever immortalized in the song "American Pie" and dubbed "The Day the Music Died," as it also took the lives of fellow rockers Ritchie Valens and J.P. Richardson (The Big Bopper), doesn't overshadow the upbeat nature of the story but adds a touching footnote on just how short Holly's life was...While Jack Lambert may not quite have Holly's signature gangly frame and dorky looks, he perfectly exhibits the lovable, infectious intensity and rambunctious traits Holly was known for and that were captured on his appearances on "The Ed Sullivan Show." Lambert also delivers an almost perfect mimicry of Holly's trademark singing style, full of vocal hiccups and a soulful energy. His guitar skills are impressive as well, including a superbly played, and sung, second act solo of "True Love Ways." Lambert also exudes a huge dose of charm and spontaneity that, when combined with everything else he brings to the part, makes you feel like you've gone back in time to witness first-hand the rise of this legendary rocker....Sky Donovan a firecracker as Valens, singing a rousing version of "La Bamba," and Bill Bennett exceptionally joyful as the Big Bopper. Buddy doesn't dig too deep into Holly's past or his musical influences and also doesn't give much stage time to the behind the scenes drama, focusing solely on the creation of the music. This is all fine, but it means the supporting cast mainly portray two-dimensional characters...Under Hill's adept direction, the production rocks and rolls from start to finish but also affords several sweet moments that allow us to grasp Holly's connection with his fellow band members as well as his wife. ...Jay Melberg is to be commended for his skilled musical direction, especially since all of the actors play their own instruments, and play them very well.  Simply not just a biography of Holly, but more a tribute, Buddy - the Buddy Holly Story is a crowd-pleasing jukebox musical that does a good job in recreating the excitement around the early days of rock and roll. While you may not learn everything there is to know about Holly, the musical explodes into a full out concert, with the entire cast providing the musical accompaniment and singing backup, that has both the cast and the audience rocking out. The combination of that concert finale and Lambert's wonderful portrayal of Holly turn Fountain Hills Theater's production of Buddy - the Buddy Holly Story into a bolt of rock 'n' roll lightning."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - BEYOND MUSKETEERS: UTOPIA LOST - Brelby Theatre Company - July 22, 2015

Cody Goulder, David Magadan, Mia Pasarella, and Anabel Olguin
Photo: Brelby Theatre Company

Click here for more information on this production that runs through July 26th.

"...Beyond Musketeers: Utopia Lost is a reimagined and updated adaptation of Alexandre Dumas' classic tale "The Three Musketeers." This version, the end result of Brelby Theatre Company's 2015 Writers Circle, resets the story in a dystopian future. The kick-ass production is full of witty dialogue and almost nonstop, well executed fight scenes, with a talented cast and smart writing that paints each character as a distinct individual with a vibrant personality....The script keeps intact most of the characters, plot points, and themes of the novel, while changing the setting to a future world that somewhat resembles a cross between the settings of Mad Max and The Hunger Games. That it all works splendidly is due to both director Brian Maticic and the writers, who never let the action turn to camp while allowing each of the characters to be fully fleshed out and interesting. The play bogs down just a bit in act two but still manages to be a fun frolic punctuated with skilled and precise fight choreography. David Magadan has the right combination of youthful exuberance and optimism to make Dartagnon a character you can easily root for. As the continually sparing, bickering, and joking Musketeers, Cody Goulder, Mia Pasarella, and Anabel Olguin as Athos, Porthos, and Aramis, respectively, are splendid, giving the sense that they’ve know each other, and fought beside each other, for years. Pasarella is an absolute bad ass as Porthos, who is not only incredibly strong, but a wisecracking, sensual, butt-kicking lesbian. Pasarella has a firmly rooted take on this highly likable female character. Olguin is just as feisty as Pasarella yet also the level-headed one in group, instilling Aramis with a keen sense of justice. Goulder does a fine job of creating an introspective man with a secret. All four form a team that lives and breathes the famous motto of "one for all and all for one."...the action-packed fight sequences...include many varied combat modes, from sword fighting to gun play and even hand to hand. ...With a high body count, well defined characters, and dialogue that crackles with realism and wit, Brelby's adaptation is a fine, new, and updated addition. Add in a very good cast, sharp direction, and some intense fight sequences and you have a splendid futuristic retelling of this classic tale. "-Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - THE CRUCIBLE - Desert Foothills Theater - July 19, 2015

Brad Cashman and Kelly Hajek
Photo: Jeremy Andorfer 

Click here for more information on this production that runs through July 26th.

"The cast of Desert Foothills Theater's Youth Advanced Drama Project is presenting a terrific production of Arthur Miller's classic 1953 play The Crucible, the end result of their summer intensive training. Miller's semi-fictionalized story of the Salem, Massachusetts, witch trials of the 1690s was his response to the era of McCarthyism..The profound similarities between the Salem witchcraft trials and the McCarthy witch hunt are very apparent and Miller's drama is a stunning exposé into the aftermath of what can happen when fear outweighs facts. ...When Reverend Samuel Parris's daughter Betty is afflicted by a strange illness, it doesn't take long for a group of young girls to start spreading rumors throughout Salem that it is due to witchcraft. The girls have been caught dancing naked in the woods, with the slave Tituba chanting around a pot, so they need some explanation to cover their actions. Caught up in the accusations and lies is John Proctor, a farmer who once had an affair with the leader of the young accusers, Abigail...With superstition outweighing facts, and the only two routes for those accused being to either confess or be hanged, it shows how the scheming of a group of young girls, or any group of adamant people, can snowball into a frightening outcome that still resonates today....Scott Johnson has assembled a cast who embody their parts with as much conviction as the young girls of Salem did with their accusations. Brad Cashman is passionate, strong, emotional, and heartbreaking as Proctor. Kelly Hajek is equally as good in the smaller part of his wife. As the two main teenage girls whose desperation turns to the downfall of others, Jamie Bornscheuer and Ashley Shirley are full of fire and deceit as Abigail and Proctor's housekeeper, Mary Warren, respectively. When Shirley matter of factly states "It's God's work that we do," in reference to the allegations they are making, with a steadfast gleam in her eyes, it clearly shows not only how scary the situation is but that she also actually believes what she is saying....While Miller's play was originally staged in the period of the Salem witch trials, DFT's production updates the setting to the times of the McCarthy trials, which doesn't really add much to the proceedings, but doesn't detract either, and it does nicely tie the two infamous events together. Johnson's direction is clear with good use of the entire small space. He also incorporates sound and light at appropriate times that combine with the intimate venue to elevate the emotional aspects of the drama to a fever pitch, adding to the impact of the script and this production...Just as powerful today as I have to believe it was when it first premiered during the McCarthy era, The Crucible at Desert Foothills Theater is a worthy production of a stunning piece of literature.' -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - HAIR - Scottsdale Desert Stages Theatre - July 12, 2015

the cast of Hair
photo: Heather Butcher

Click here for more information on this production that runs through August 9th.

"The rock musical Hair exploded into a cultural phenomenon in the late 1960s. The dozens of varied rock tunes set among a story of free love, drugs, and teenagers who are protesting the Vietnam War hit a nerve and the show went on to a healthy run on Broadway, in London, and around the world. While the musical is a moving piece of theatre, the story itself is slight and somewhat confusing. Desert Stages Theatre's production of this musical classic is solid and, with clear direction and an expert cast, fairly successful in offsetting some of the show's shortcomings. DST also fortunately doesn't try to update the time period to make it more relevant, keeping it firmly rooted in the turbulent Vietnam era of the late 1960s....Hair focuses steadily on a tribe of hippies and the journey of a young man named Claude. It is mainly a series of musical vignettes featuring songs that introduce the characters, with only minimal dialogue to give a few plot points to connect the dots between the relationships the leads share. But even with the spare book, the main plot is fairly easy to follow: Claude is caught up between the pull of his uptight parents, who want to send him off to the army, as they think it will make a man out of him, and the three-way relationship he shares with the crazy, radical Berger, the leader of the "Tribe," and the highly political Sheila. Torn between his allegiance and love for the Tribe and doing what his parents want, Claude makes a decision that ultimately sets his unfortunate future in motion.... the virtually non-stop, memorable music washing over you and the enthusiasm of the Desert Stages cast help to offset the show's several shortfalls in terms of plot and character development....Director Samuel E. Wilkes has found an energetic troupe of actors to bring the tribe to vibrant life, full of passion and love but also not afraid to portray the harsh realities of the period. Anthony Chavez brings a heightened, yet almost peaceful, sensitivity to Claude...Colin Ross is full of life as the crazy and wildly charismatic Berger...Alanna Kalbfleisch adeptly portrays Sheila, the radical protestor who struggles with the love she has for both of these men....Her warm vocals make "Easy To Be Hard" both beautiful and heartfelt....There isn't a vocal misstep among the ensemble members of the free spirited Tribe. ..Wilkes' exuberant direction makes excellent use of DST's in the round staging, providing a heightened sense of intimacy in the small space without having the actors get directly in the faces of the audience. Wilkes has not only honed meaningful performances from his cast but creatively stages the songs and scenes in neverending and always changing movement. ...Nicole L. Olson's choreography is period centric yet still feels fresh. Mark 4man's expert musical direction includes an abundance of memorable moments...Tamara Treat's costumes are a non-stop parade of flower power, tie died designs that combine expertly with Jacob Hamilton's period perfect hair and make-up designs. Matt Stetler's beautiful lighting design include many highlights, especially the non-stop light show during "Three Five Zero Zero."...Almost fifty years after it first premiered, Hair could be perceived today as just a nostalgic period piece, yet DST's passionate production proves that the journey of Claude and the members of the Tribe still resonates today. While Hair's book may be slightly confusing, and DST's production can't solve every problem with the show, it still results in a moving and uplifting piece of theatre. Chock full of memorable tunes and vibrant performances, DST's production is also beautifully directed with moving, impressive performances."  -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - TARZAN - Hale Centre Theatre - July 11, 2015

Curtis Lunt and Emily Giauque Evans
photo: Nick Woodward-Shaw

"While Disney had phenomenal success adapting The Lion King to the stage, their hit movie Tarzan didn't fare as well, running just a little over a year in New York. Edgar Rice Burroughs' famous story of a boy who loves and is loved by his ape family but soon becomes aware that he is different and doesn't quite fit in seems perfect fodder for a musical. While Hale Centre Theatre's fun-filled family production is a winner, with a strong cast and gorgeous production elements, the score and story are a bit slow going in places...the musical has a new book by David Henry Hwang and includes the five songs that Phil Collins wrote for the movie plus nine new ones he composed for the stage production. Shipwrecked and with his parents killed, the baby Tarzan ends up being raised by a gorilla couple. While Kerchak feels no bond with the human boy, his wife Kala immediately connects with him and brings him up into adulthood. However, when an expedition arrives in the jungle, Tarzan discovers humans and wrestles with identity issues when he realizes that he isn't a gorilla. He also discovers new strange feelings whenever he's around the English woman named Jane...Hwang's book is a little wooden at times and the added songs are ballad heavy, which combine to slow the show down and make it seem slightly padded...Even with the drawbacks of the script and score, director and choreographer Cambrian James instills plenty of energy in the Hale production, with vibrant choreography and some impressive gorilla-like movements by the ensemble and the actors playing Kala and Kerchak...As Tarzan, Curtis Lunt has the appropriate athletic physique, impressive vocals and inquisitive nature to be both physically imposing and playfully agile....Emily Giauque Evans' Jane has a heightened sense of enthusiasm, with her expressive eyes widening and glowing at the new discoveries she finds in the jungle....Lunt and Evans make a winning couple and their act two love duet "For the First Time" is expertly sung...Carrie Klofach brings a huge amount of heart to Kala, creating many poignant moments that instill the relationships Kala has with Tarzan and Kerchak with a sense of realism. Klofach meaningfully displays the deep bond, care, and connection of a loving mother in a very touching way. Ben Mason brings a fine sternness to the role of Kerchak while also being slightly ferocious, without being too scary for younger audience members, and is commanding as the leader of the tribe. Mason and Klofach make their duet "Sure as Sun Turns to Moon" heartfelt and genuine. ...Hale's production elements are excellent. The scenic design...creates an immersive experience, with the lush green flora and fauna of the jungle surrounding you on all sides. ..Mary Atkinson's new (costume) designs plus her coordination of the existing outfits is impressive. Jeff A. Davis' lighting designs are always superb and his Tarzan creations, which paint the lush and dark tones of the jungle in stunning swatches of color and shadow, are some of his best...While Hale's production can't do much to eliminate the few slow-going scenes and songs, it still manages to evoke plenty of poignancy in the high flying and fun adventure. And while Burroughs' tale and the Disney film are mainly known as a love story between Tarzan and Jane, Hale does an excellent job of capturing the strong and touching mother-son bond at the center of the story." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - LEGALLY BLONDE - Arizona Broadway Theatre - July 10, 2015

Leanne Smith and the Legally Blonde cast
photo: Arizona Broadway Theatre

Click here for more information on this production that runs through August 9th

"The 2001 film comedy Legally Blonde, starring Reese Witherspoon, was a sleeper hit at the box office. The story follows the very blonde and very likable Elle Woods who follows her boyfriend to Harvard Law School after he jilts her, in an attempt to win him back. In 2007 the film was turned into a big Broadway musical with an infectious score by Laurence O'Keefe and Nell Benjamin. Arizona Broadway Theatre's production is a non-stop joy...While Elle may not be "serious" enough for her boyfriend Warner to consider her marriage material, she gets support from her sorority sisters, her Harvard teaching assistant Emmett, and the slightly wacky beautician Paulette whom she befriends in Boston. With their help, Elle works through her setbacks and relishes her triumphs, and along the way realizes she's a lot smarter than she thought she was. She also ends up helping all of those close to her with their own personal issues. Hach's hilarious book and O'Keefe and Benjamin's witty, varied music and lyrics create a fun, upbeat story of empowerment and being true to yourself.
... Leanne Smith effectively brings Elle to vibrant life and allows us to see and understand her foibles while adding some comedy to her more tragic moments and plenty of heart to her triumphs. Smith also has a rich, soaring voice that makes the most of the sharp lyrics in the score. It is a multi-faceted take on the part that succeeds very well....As Emmett, Jesse Michels might be a little too handsome to play the romantic underdog, but he still manages a nice transformation from the frumpy TA to the man who lets Elle see who she truly can be. Michels also has a clear, strong voice. Abigail Raye is a hoot as Paulette. With a decent Boston accent and a kooky way of delivering a line she wrings the humor out of her scenes but also brings plenty of charm to her songs, with her powerful pipes sending her solo "Ireland" soaring to the rafters....In the supporting cast, Glen North makes Warner an egotistical snob who also learns a few lessons, and North adds some dimension to Warner to make him likable, even if at first we don't care for him. As the slimy law professor Callahan, Jesse Berger has plenty of snark and smarm beneath his well-tailored suit and his deep vocals really bring a smoothness to Callahan's songs. Lynzee Jaye Paul 4man brings plenty of spark to the workout video star and accused murderess Brooke Wyndham, and Trisha Ditsworth gets some laughs with her well-timed line delivery as the lesbian-feminist Enid Hoops. Sarah Ambrose as Warner's new girlfriend Vivienne has the right amount of coldness in her initial dealings with Elle, yet lets us warm to her just as she sees that Elle is smarter than she originally thought. Ambrose also gets to wail during the curtain call. Adam Shaff brings plenty of heat as the hunky UPS delivery man who warms Paulette's heart, and Kara Krichman, Carly Grossman, and Gabriella Whiting add plenty of spark and sass as Elle's "Greek chorus" of sorority sisters....Director/choreographer Carl Rajotte has not only found a great cast composed of a mix of both local and regional performers who all work well together to bring out the humor and heart of the story, but his swift direction keeps the show moving at such a fast clip that the musical's somewhat overstuffed plot never gets in the way. Rajotte's choreography is superb, with always changing dance steps that feature plenty of comical moments...While, unlike most ABT shows, the sets, costumes and props for this production are rentals, they are great designs and work well with Tim Monson's vibrant lighting design. ...With fluid direction, a really solid cast and bright, and colorful creative elements, ABT's Legally Blonde is a fun, infectious production full of heart and humor." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - BIG FISH - Actor's Youth Theatre - June 24

Miles Johnson, India Rose Chudnow and Jonah Carlson
Photo: Lisa Webb / Southwest Shots Photography

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

"Turning a movie into a Broadway musical doesn't always meet with success. One recent show that didn't fare well in its musical transfer was Big Fish...the whimsical musical follows the story of traveling salesman Edward Bloom and brings to life the tall tales he'd often tell his son. It's a shame that the show only managed a three month run in New York, as the score by Andrew Lippa has many memorable tunes and John August's book paints some notable characters. With an extremely talented cast of teenagers who are able to successfully portray both the emotional and comical moments in the story, The Actor's Youth Theatre's Arizona-premiere production proves that a show that might have flopped on Broadway can be a success in regional theatres....The AYT cast is just about perfect, with Jonah Carlson excellent as Edward. Instilling the part with an assured take on a matter of fact "everyman," Carlson not only has you believing in Edward's seemingly imaginary tales but makes you care for him as well. His acting and singing abilities are top notch. As Will, Miles Johnson allows us to understand why he is agitated and has just about had enough of his father's tales, without making the frustration and skepticism appear as anger. This is important to make us care for him, which we do. ...Sidne Phillips is stunning as Edward's wife Sandra. She clearly projects Sandra's love for her husband and son...Phillips is also a smashing dancer and singer. Her delivery of "I Don't Need a House" is beautiful...Directors Julie Clement and Marcus Ellsworth do an exceptional job ensuring that the whimsy of the piece doesn't overpower the serious moments, but also let plenty of humor come naturally from the actors and staging. They paint some memorable moments in their lively staging and also make effective use of the center aisle in the theatre for a few key entrances and exits. Choreography from the trio of Ellsworth, Kristen Malarkey, and Corinne Mann is lively and original, including a superb "Little Lamb from Alabama" dance. ...While the main themes of the musical—love your family and live life to its fullest—may not be new, and the second act does bog down a bit, the important message of realizing that every person you meet is unique and that everyone can be the hero of their own story is something all of us could take to heart. On Broadway, Big Fish was a big musical, with large set pieces and elaborate special effects. Perhaps Actor's Youth Theatre's small budget production, which doesn't allow the spectacle to overtake the story, is how this musical needs to be seen. It lets the imagination and messages of Edward Bloom spring beautifully to life. The success of this production and the fact that the company's next show, Bonnie and Clyde, is another Broadway flop musical shows they aren't afraid to take challenges, not just keep producing the same family friendly shows over and over again, and proves why AYT is one of the best youth theatres in the Valley."

theatre review - MONTY PYTHON'S SPAMALOT - Paradise Valley Community College - June 19

the cast of Spamalot

Photo by Tiffany Marie Bolock

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

"Written by the zany Monty Python comedy team...the hit 1975 movie Monty Python and The Holy Grail humorously told of King Arthur's quest for the Holy Grail. Almost 30 years after the film premiered, Idle created a musical version of the movie with John Du Prez called Spamalot. ...Paradise Valley Community College just opened their production of this musical comedy and their terrific cast, clear direction, and fine creative elements culminate in a charming and funny production....The plot is fairly basic. King Arthur forms the Knights of the Round Table and with Lancelot, Galahad, Robin and his trusty knave Patsy along for the ride, plus some assistance from the mysterious Lady of the Lake, they go on the search for the Holy Grail. ...The PVCC cast is definitely game for the challenge they have before them, with lots of them playing multiple parts and, under the solid guidance of director Andrea Robertson, ensuring the comic bits land effectively. At just 21, Philip Amerine may be on the young side to play the hapless leader King Arthur, but his make-up and acting choices make him appear much older and he is appropriately stoic and regal in the part...Brenda Goodenberger as the Lady in the Lake...has a lovely, commanding and beautiful voice that has a wide, versatile range and is full of power. Idle and Du Prez wrote several very good songs for the character...and Goodenberger knocks them all out of the park...Christian Boden is having a blast as Patsy...His perfectly agitated expressions and silly faces show Patsy's frustration with his place as Arthur's servant. But he also instills Patsy with a huge dose of warmth that effectively demonstrates his devotion to his beloved King. It is a delightfully silly performance. The men who play Arthur's three main knights are all gifted comics and are having a blast playing these parts. Tyler Lewis is a gem as the self-absorbed, vain and narcissistic Galahad. Lewis has great comic timing and a fantastic voice as well. His duet with Goodenberger of "The Song that Goes Like This" is a showstopper. Sky Donovan is hilarious as the not exactly brave Robin, with perfectly clear diction and a rousing delivery of his big solo "You Won't Succeed on Broadway." Sixteen-year-old Scott Snedden is charming as the somewhat sexually confused Lancelot; his disco coming out moment is a highlight. All of the supporting parts have well-executed comedic timing. The rest of the ensemble does very well with the comic parts and the zany songs, and they chew every possible piece of scenery they can find along the way....Robertson makes the series of vignettes seem cohesive and keeps the show moving along at a fast pace...Ken Goodenberger's musical direction achieves pleasant harmonies from the large cast and his conducting skills are exceptional, achieving a sensational sound from the fourteen-piece orchestra....Spoof and satire run rampant in this show and the cast knows how to play both lowbrow and highbrow humor just fine. With a spirited cast, simple yet effective creative touches and proficient comical direction, PVCC's Spamalot amounts to silly fun."