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."

theatre review - RUMORS - Desert Stages Theatre - June 14

the cast of Rumors

photo credit: Wade Moran

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

"From The Odd Couple to Brighton Beach Memoirs, Neil Simon has written many classic comedies, but his 1988 Rumors was his first attempt at writing a comedy modeled after a traditional farce. The story of four wealthy couples caught up in chaos and confusion has an abundance of humor, and Desert Stages' production makes for a fun-filled time with a winning cast and fast-paced direction....
It's the 10th wedding anniversary of wealthy Charlie Brock...and his wife Myra. They've invited some of their well to do friends over to celebrate, but there is one small problem: it seems someone has shot Charlie in the head. Fortunately, the bullet only graced his earlobe and he has fallen asleep in his upstairs bedroom after taking some Valium. But was it an attempted suicide or a botched murder? And why have Myra and all of the kitchen staff disappeared? ...Co-directors Virginia Olivieri and Gary Zaro have cast a good group of actors that form a well-oiled ensemble. While not everyone is as gifted in creating a fully fleshed out character...they all end up creating fairly believable characters and do a fine job of delivering the jokes with ease in this virtually nonstop laugh fest....The best of the bunch is the crackerjack team of Tim Fiscus and Amy Garland who play Lenny, Charlie's accountant, and his wife Claire. Fiscus whips himself up into a fever pitch, throwing himself into the numerous physical comedy moments that elicit plenty of laughs. Garland's comical line delivery combined with her sarcastic, agitated looks and gestures are priceless. They form a very realistic and believable couple, as do Wade Moran and Heidi Carpenter as Ken and Chris, the first couple to arrive. Moran does a great job making Ken an energetic, agitated, and expressive mess, and is a hoot when he partially loses his hearing. Carpenter is a gem as the confused wife who can't quite remember who she has told the truth to and who she hasn't. Carpenter and Garland also make you believe they've been good friends for a very long time....Olivieri and Zaro have done a very good job of ensuring that the pacing never lags, that their actors deliver the jokes with ease, and that the requisite timing of the farce, with the entrances and exits of the cast members through the synchronized opening and closing of the five doors on stage, are perfectly timed....While Rumors may have been Simon's first attempt at writing a farce, the end result of nonstop hijinks, crazy characters, wild situations, and plenty of laughter shows how gifted a comedy writer he is. DST's production is a lot of fun, with solid direction, effective creative touches and a good cast that includes an exceptional comedic performance by Tim Fiscus and effective work by Amy Garland, Wade Moran and Heidi Carpenter."

theatre review - ANGELS IN AMERICA: PERESTROIKA - Nearly Naked Theatre - June 13

Drew Swaine and Raheem De'Angelo

Photo: Laura Durant / Nearly Naked Theatre

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

"Perestroika, the second part of Tony Kushner's two-part play Angels in America, is about hope, change, compassion, and making a leap into the unknown. Set in the mid to late 1980s, Kushner's Tony winning play follows the characters he so brilliantly created in the first part, Millennium Approaches, as they navigate their way through the fallout of the AIDS epidemic and the changing moral, political, and social views of that decade. While Perestroika is more complex than Millennium Approaches it also has less plot and character development and ends up somewhat overstuffed with an excessive amount of interwoven theories, including one that relates all of our pain to God's abandonment, that don't always make sense. However, even with the play's shortcomings and a few small quibbles, Nearly Naked Theatre's decision to perform both parts of Angels in repertory culminates in a rich theatrical experience....Director Damon Dering's cast has grown in their roles since their debut of Millennium last week. As Prior, Drew Swaine is simply stellar in the part...The sense of compassion and honesty that KatiBelle Collins brings to Hannah is very moving. Mike Largent allows us to see the sadness and passion that Louis feels, and the scene in which he and Collins, as Ethel Rosenberg, deliver the Kaddish for Cohn is deeply touching....Vickie Hall effectively displays the clarity that Harper encounters through her Valium-induced haze...Raheem De'Angelo's instills Belize with a strength and dignity...Pat Russel's Cohn is less nasty than before, which makes sense as he is close to death...One of my major complaints with Perestroika is that Kushner doesn't quite seem to know what to do with Joe, which means that Thomas Hicks has less of a character arc to play than the rest of the characters, though he still manages to show us the small changes that Joe makes. Brandi Bigley makes for a forceful Angel as well as a caring and matter of fact nurse....Dering does a good job in keeping his actors focused, even with the multiple characters some play, and keeps the over three hour play moving along, but even he can't do much to help with a few of Kushner's scenes that seem unnecessary or overly long. ...While Perestroika isn't quite as good a play as the first part, it concludes with a rewarding ending with most of the characters experiencing a feeling of self-awareness as well as forgiveness. While seeing Angels in America today doesn't have quite the emotional impact it did back when it first premiered in the early 1990s, Nearly Naked Theatre's production is admirable, with a good cast, clear direction, and fine creative elements. At the very end of Perestroika, Prior speaks to the audience and delivers a message of hope, repeating the statement the Angel said to him: "the great work begins." Even though it's been over 20 years since I first heard that call to action, it remains as moving today as it did then."

concert review - ALFIE BOE with the Phoenix Symphony Orchestra - June 5, 2015

"Who knew that inside the English tenor opera singer turned musical theatre recording artist, and PBS pledge drive star Alfie Boe was a comedian and budding rocker? ... Boe was in town recently for a concert performance with the Phoenix Symphony Orchestra and while, at first, he may not have been a household name to everyone in the audience, the combination of his infectious rapport with humorous patter, a wide range of song styles that included classic rock tunes, and his astounding vocal abilities made his name one that no one who saw him will soon forget.

The concert was split into two equally perfect halves, with the first act focusing on musical theatre and the second showing off Boe's and the orchestra's abilities to perform opera and rock songs. Boe was actually a replacement for an ailing Colm Wilkinson who had originally rescheduled his concerts only to then have to cancel them. (Having Boe sub for Wilkinson made sense, since Wilkinson originated the part of Valjean in Les Misérables.)

The concert started off with a superb medley of songs from that musical, showing off the sublime skills of the orchestra as they played the sweeping motifs from the well-known score, then Boe delivered two back to back powerhouse songs from the show. "Who Am I?" is a song that Boe has sung many times and he perfectly got across the meaning of the lyrics and hit the passionate notes required. "Bring Him Home" is probably the one song that people have heard Boe sing more than any other, and hearing him sing the song live was an emotional experience that brought the audience to its feet....On "Wheels of a Dream" from Ragtime, his voice fit perfectly with the lyrics. It was nice that the arrangement for this song was very close to the original Broadway one, yet the fullness of the Phoenix Symphony Orchestra provided a richness that you'd never hear in a production of this show with a much smaller group of musicians...The Symphony delivered a romantic "Carousel Waltz" from the Rodgers and Hammerstein musical that was full of nuance and was followed by Boe singing a stirring version of that show's "You'll Never Walk Alone." ...Act two contained both classical and rock songs, including several traditional Italian and Spanish folk songs that featured some impeccable violin solos by Magdalena Martinic-Jercic. The orchestra also delivered superb suites from two operas, Carmen and Cavalleria Rusticana. Three rock songs ended the act with Boe belting out powerhouse versions of two Pete Townshend songs from the classic Who rock opera Quadrophenia, "I'm One" and "Love Reign O'er," which he also performs on a recording ("Classic Quadrophenia") that was just released this week. Snow Patrol's "Run" was the final number with Boe's voice blending beautifully with the superb arrangement of this pop hit. Boe came back and delivered a stunning a capella version of "Danny Boy" as his encore, which ended the evening on a perfect note.

Conductor David Hattner, who was making his first appearance with the Symphony, did a exceptional job of conducting the wide range of musical styles and had a touching connection with both Boe and the orchestra. The sound at Symphony Hall is so superb that you can clearly hear not only the solo moments but also the contribution that each instrument makes to the whole...." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - INTO THE WOODS - Valley Youth Theatre - June 12, 2015

Carly Copp, Michael Schulz, and Ally Lansdowne
Photo courtesy GAPMar.com

"Stephen Sondheim and James Lapine's Into the Woods is one of the cleverest musicals ever written, as well as one of the most difficult to pull off successfully....Valley Youth Theatre just opened a solid production of the musical, and the fact that the cast is composed of all teenagers shows just how stellar of an achievement that is.  Sondheim's score, which includes some of his most intricate and humorous rhyme schemes, and Lapine's book come together effortlessly in a show that has just as many comical moments as it does reflective ones. The two have seamlessly woven together familiar fairy tales that we all grew up with into a musical where the stories of Jack and the Beanstalk, Cinderella, Little Red Riding Hood, and Rapunzel all interconnect with each other....The large ensemble cast is just about perfect. Michael Schulz make a charming Baker, with a sensible delivery of his lines and a lovely voice. His solo "No More" is especially touching. As his wife, Ally Lansdowne has a warm, exceptional voice and manages to bring plenty of spark to her comic lines but shows the conflicted side of her character as well. Tatum Dial makes a sweet yet sensible Cinderella, delivering a clear as a bell version of her solo song "On the Steps of the Palace."...As the Witch, Carly Copp brings the right blend of menace and comedy. She appears appropriately agitated at the humans she has to deal with and also looks quite stunning once her character experiences a transformation. Sam Primack makes for a stellar Jack. He brings a keen sense of exuberance to the part and delivers every one of his lines with the right level of care and understanding to ensure the comic ones pop and the serious ones have meaning. His excellent voice delivers an exceptional "Giants in the Sky." Alex Kirby is perfectly sweet and sassy as Little Red Riding Hood, yet also displays hints of grown-up feelings and understanding once she encounters the Wolf....Producing Artistic Director Bobb Cooper delivers clear direction of this fast-paced musical. He also ensures that his cast doesn't simply copy the recent film character portrayals or the performances of the original Broadway cast, both of which are easily available on video, instead offering some nice original performances of their own. Sondheim's score has many overlapping and intricate parts and Cooper and the cast manage their way through the score without a single hiccup, which is a huge achievement. None of the fast-paced songs are slowed down, something a less accomplished cast might resort to doing, which allows for a swift telling of the story. ...While the set is a rental from 3D Theatricals...,Tom Buderwitz's design is spectacular and shows that sometimes renting an existing set from another company, instead of building one yourself, can provide excellent results. The combination of the impressive set with the colorful and exceptional costumes from Karol Cooper, remarkable lighting from Mike Eddy, and Almir Lejlic's clear sound design make this production one that any professional theatre in town would be proud to present....With some of Sondheim's brightest gems, including the ballads "No One is Alone," and "Children Will Listen," Into the Woods is a show that also has important lessons and messages underneath the comical exterior. Even with a cast of teenagers, the Valley Youth Theatre production is able to get those messages across. With just a very few shortcomings, the combination of a very good cast, clear direction, and impressive sets, costumes, lighting and sound, make this Into the Woods an enchanting production of a most creative and ingenious musical." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - DOUBT - Mesa Encore Theatre - June 7, 2015

Shari Watts and Anne-Lise Koyabe
photo: Pam Pershing

"John Patrick Shanley's 2005 Pulitzer Prize-winning play Doubt has...superb characters with crackerjack dialogue and...every element necessary to deliver a hit drama, especially if your cast is up to the challenges of the script, which is just about perfect. Mesa Encore Theatre's production succeeds on all counts....This cautionary tale about the impact of gossip...shows two sides to a story set in 1964 at a parochial school in the Bronx..When head principal Sister Aloysius learns from novice Sister James that the charismatic Father Flynn has had private meetings and conversations with a young student named Donald Miller, she is convinced that he is molesting Donald. Yet Flynn claims he has done nothing wrong and is only protecting the boy, as Miller is the sole African-American student at the school and is isolated due to his race...Shanley's script will most likely have you not only changing your mind more than once during the show, but also discussing and debating it on your ride home as well....Mesa Encore Theatre has found an exceptionally gifted cast to play the four parts in the play, led by Shari Watts as Sister Aloysius...shows us how Aloysius' firm, steadfast beliefs are possibly behind not only her stilted view of the world but also her unrelenting determination to take Flynn down, even if she has no actual proof of her accusations. But what if she is right? Watts perfectly shows us how Aloysius is trying to protect the children while also making us realize that perhaps she is really just trying to protect her own beliefs in the Catholic religion. This is the fourth show I've seen Watts in over the past 18 months and she never fails to portray the realism behind the character. Her Aloysius is perfect....Marshall Glass' charisma, good looks and measured, easy delivery of Flynn's lines allows us, at first, to side with him. ..Glass' ability to win us over, numerous times throughout the play, works perfectly in how Shanley has crafted his play as a battle, with the audience constantly switching from side to side. Like Watts, Glass is delivering an excellent performance....In the smaller role of Sister James, Jamie Hendricks has the appropriate mousy disposition of the young nun, who is just trying to do what's right for her students...As Mrs. Muller, Anne-Lise Koyabe is delivering a heartbreaking take on this troubled mother....Kent Burnham has directed a production that will have you pondering the ideas of truth and consequences. He has a solid understanding of the material and elicits not only excellent performances from his cast but also an overall winning production. ..."What do you do when you are not sure?" is a question that Flynn poses in his first sermon in the play. It is something we can all take as a lesson when considering a subject that isn't cut and dried, with an answer that is beyond the shadow of a doubt. Mesa Encore Theatre's Doubt smolders, and Shanley's philosophical battle of the wills is not to be missed." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - ANGELS IN AMERICA: MILLENNIUM APPROACHES - Nearly Naked Theatre - June 6, 2015

Drew Swaine
Photo: Laura Durant

"Arguably the most impressive new American play of the past twenty five years, Tony Kushner's two part-opus Angels in America won armfuls of awards, including two Tonys for Best Play and the Pulitzer Prize for Drama. Kushner's play focuses on the AIDS epidemic...and is full of nuanced and layered, yet seriously flawed characters who allow us to see both the hope and hypocrisy that exists in the world...that requires a small cast able to each pull off multiple parts with assured devotion along with firm, clear direction to let the piece soar, and Damon Dering's Nearly Naked Theatre has taken on that task and succeeded... Dering has managed to achieve an intimate and moving production of this masterpiece....Dealing with stress, strain and the realities of life, and set across a wide range of topics that touch upon religion and politics, Kushner has crafted an interconnected story of two couples in turmoil, the Mormon husband and wife Joe and Harper and the gay couple Louis and Prior. With the subtitle of "A Gay Fantasia on National Themes," the play shows the impact of HIV as well as the hypocrisy of the conservative Republicans during the AIDS crisis, via a fictionalized version of the real life, closeted, and ultra-Republican lawyer Roy Cohn, a Joseph McCarthy protégé who ends up contracting HIV and having some connection to the two couples. While it is a long play, it is never boring, and Kushner's characters are fully fleshed out and realistic with plenty of warts, yet they also exhibit many traits that allow us to root for them. Kushner's dialogue crackles and he knows how to write great scenes...that explode with passion and fireworks....Dering has a clear sense in his direction, managing to get solid portrayals from the entire cast. He also has a firm grasp on how the exceptional, mystical moments of the play build out of the ordinary. ...Drew Swaine embodies Prior, the protagonist of the piece, with a strong sense of pride, commitment, and conviction, but also exhibits a soulful vulnerability underneath.Vickie Hall perfectly captures the absolute mess of a woman that Harper is but with a clear portrayal on how fragile she is as well. Mike Largent has a good grasp on Louis..yet he could portray a touch more of the emotional mess that Louis should be and the guilt he feels for leaving Prior. We see the longing he has...but don't quite get the pain he should feel as well. Thomas Hicks is quiet and subdued, which works well for the confused and questioning Joe...As Cohn, Pat Russel isn't quite as biting, malicious, and terrifying as Ron Liebman and F. Murray Abraham, who played the part on Broadway, or even Al Pacino, who appeared in the HBO version. Instead he comes across more as a slimy, quiet, manipulating individual who has sudden outbursts of rage. But it manages to work, for the most part...KatiBelle Collins is superb in several smaller parts, some of which are male roles...Brandi Bigley also plays several parts, all with skill...As Belize,...Raheem De'Angelo infuses the character...with an all knowing power...The small Hormel Theatre stage...allows a heightened sense of intimacy in how Dering stages most of the action just a few feet from the front row of the audience...though the staging of the Angel's arrival is a bit of a letdown and doesn't quite have the impact it should....It's impossible to do justice in a few paragraphs to this play's significance and how it brought the AIDS crisis to the forefront of the arts world, even more so than plays like The Normal Heart did before. It also continued the importance of plays centered on gay characters. If you've seen the play before, you will find much to like and admire in Nearly Naked Theatre's production. If you've never seen this show before, you owe it to yourself to experience it, and Dering is presenting a solid production of Kushner's opus. Also, when I first saw Angels on Broadway back in 1993, Kushner was still writing Part II so we had to wait almost six months before the second part opened to find out how the intricate and mesmerizing story ends. Fortunately for theatregoers in Phoenix, you only have to wait a few days." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

concert review - OLIVER! in concert - Phoenix Symphony Orchestra and Phoenix Theatre - May 29, 2015

"Phoenix Theatre and Phoenix Symphony Orchestra recently came together for another musical theatre collaboration. This time the selection was Oliver! and hearing Lionel Bart's score, with so many well-known songs, played by the huge, skilled orchestra and sung by a gifted cast, was simply glorious....The combination of Phoenix Theatre's Artistic Director Michael Barnard's skilled direction and (Tito) Muñoz's crisp conducting resulted in a touching production of this classic musical and was a perfect way to close out Muñoz's inaugural season with the Symphony....The concert included the majority of the Tony winning score, with the exclusion of just one minor song, and the wonderful performances of D. Scott Withers and Yolanda London. Withers was Fagin and London portrayed Nancy... hearing London's glorious and powerful voice wrapped around the music and lyrics of "As Long As He Needs Me," "I'd Do Anything," and "It's a Fine Life," along with her firm connection to the lyrics, was a joy. The combination of London's strong portrayal and the rich, nuanced and well thought out performance of Withers more than made up for some of the shortcomings of the evening. As Oliver, Vincent Jacovo was appropriately sweet and naive and able to hit some lovely notes in his solo "Where is Love?" Asher Angel as Dodger was also charming, displaying plenty of realistic street smarts along with a nice singing voice....(Chris) Eriksen was effective at getting the menace of Bill Sykes across. (David) Simmons' rich, deep voice was simply lovely, especially during "Boy For Sale" and he also got a chance to show his comic abilities as the bumbling Dr. Grimwig. (Toby) Yatso and (Kate E.) Cook provided some nice humorous bits, with Yatso's long legs put to good use in a highly choreographed "That's Your Funeral." But Yatso also added a lovely emotional touch of caring and tenderness as Brownlowe. Cook, Johanna Carlisle and several ensemble members provided extremely lovely solos during the "Who Will Buy?" sequence. The hardworking ensemble played multiple parts with ease and the dozen children in the cast delivered some gorgeous harmonies as well as meaningful and well directed performances.While most concert performances of big musicals with large casts like Oliver! aren't fortunate enough to have fully fleshed out production values and huge ensembles, this wasn't exactly the case with this concert presentation. The use of dozens of period costumes was effective in portraying the numerous characters in the musical as were a few small set elements to evoke Fagin's lair, the orphanage, and the homes of Brownlowe and the Sowerberrys...Barnard's choreography for the many ensemble numbers was quite elaborate and added a rousing and varied amount of dance steps delivered expertly by the cast. ...Even with the shortcomings of the abbreviated plot and some of the staging, Barnard's direction of the talented cast and Muñoz's expert conducting of the orchestra led to a winning and touching production of this musical. The score of Oliver! has so many well-known and well-loved songs that hearing them delivered by an exceptional cast, headed by Withers and London, and played by such a grand, masterful orchestra, more than made up for any of the very few drawbacks of the night...." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)

theatre review - A CHORUS LINE - Mesa Encore Theatre - May 24, 2015

Audrey Sullivan and Jean-Paoul Clemente (right side) 
and Cast
Photo: Ryan Roberts

"A Chorus Line is one of the most well-known and beloved musicals of all time..that requires a large, multi-talented cast who can act, sing, and dance their asses off. Mesa Encore Theatre's production of this classic musical is quite good, with a cast that delivers and the end result is a winning production of a musical that still resonates today, forty years after it first premiered.... portrays an audition set in 1975 for the dancing chorus of a Broadway show. The people auditioning are mainly veteran dancers in their 20s through early 30s. The show ends with Zach, the director/choreographer, picking the eight dancers who will be in his show....But before the eight are picked, Zach asks the dancers to talk about their lives...What the dancers reveal about their lives has a universality to it and that is why I believe the show is still meaningful today—in some way, each of us has something in common with at least one, if not many of the dancers on the stage...The production at Mesa Encore Theatre is a little rough around the edges in terms of the cast, who are relatively young; a few just graduated high school and one talented cast member is only 14....A Chorus Line is a show about people who've lived and have learned life lessons along the way, which is kind of hard to fully get across if you're only 18....But these shortcomings are never enough to be a detriment to the overall enjoyment of the production....Jean-Paoul Clemente is Zach, the director/choreographer. While Clemente pulls off the look and demeanor of a slightly egotistic creative type, some of his line readings lack determination as does his brief dancing with the cast. Fortunately, he is very good in his two dialogue-heavy dramatic scenes, one with Zach's former lover Cassie, and the other with the somewhat introverted and shy Paul. Alan Khoutakoun as Paul has the show's best dramatic moment when he talks about realizing he is gay, finding himself, and about his father finally calling him "my son."...Khoutakoun is excellent, giving the monologue an exceptional delivery and making that moment in the show both beautiful and heartbreaking. Audrey Sullivan has the right amount of determination as Cassie...though her big solo dance number seems to lack a little sizzle. Fortunately, her dramatic confrontation with Zach more than compensates for the less than stellar "Music and the Mirror" number, with both Sullivan and Clemente excellent in this confrontational scene....Jacqui Notorio is superb as Sheila...Her sassy, biting line delivery and knowing glances let us know exactly what she's been through in her life...As Diana Morales, Megan Rose projects a clear sense of determination and understanding in her story and song about the acting teacher who underestimated her skills, "Nothing," as well as very nice vocals in her solo part of "What I Did for Love." Riane Roberts is a hoot as Val, the girl who realized a little plastic surgery was what was needed in order to improve her job prospects....Peter J. Hill's direction is clear, providing fluid transitions throughout as well as expert acting from the majority of the cast. Noel Irick's choreography is only somewhat similar to Bennett's original dance steps, but with some nice added original touches that really work...A Chorus Line is about the passion one has for something, which is a feeling everyone can relate to. MET's production, with just a few very small quibbles, is moving, touching, buoyant, and joyful. Although the cast is on the young side, the end result is a success, as the roughness and young age of some of the actors is offset by the sheer energy, excitement, and talent they all display." -Gil Benbrook, Talkin' Broadway (click here to read the complete review)