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Monthly Archives: November 2010

2010 December Bay Area Theatre Guide

30 Nov

And just like that, we are into the holiday season and this, of course, brings us some holiday and family-friendly shows! Several Bay Area theatres have already begun their runs of their holiday shows and several are opening the first weekend of December. In any event, you have plenty of great theatre to choose from.

I started my holiday season off right, with Every Christmas Story Ever Told at San Jose Stage Company. This is a hilarious off-beat comedy show that is an updated look at every Christmas story ever told… It’s hysterical and should not be missed, especially if you are tired of A Christmas Carol and It’s a Wonderful Life.

Every Christmas Story Ever Told at San Jose Stage Company – Join Stage for this fast-moving, irreverent comedy that takes holiday cheer to the extreme! Every Christmas Story Ever Told is a fond and furious look at the holiday classics and traditions we all remember. From Frosty to Rudolph and the Grinch to It’s A Wonderful Life, no pop culture holiday icon is spared in this whirlwind of holiday merriment.

Make sure you get a ticket to see this! It’s fantastic!

Be sure to enter The Broadway Critic’s ticket giveaway and win two tickets! Back by popular demand!

4 out of 5 stars

Website | Get Tickets

Shrek, The Musical – Orpheum Theatre (San Francisco) – Shrek, The Musical, based on the Oscar-winning DreamWorks film that started it all, brings the hilarious story of everyone’s favorite ogre to life on stage.

In a faraway kingdom turned upside down, things get ugly when an unseemly ogre – not a handsome prince – shows up to rescue a feisty princess. Throw in a donkey who won’t shut up, a bad guy with a SHORT temper, a cookie with an attitude and over a dozen other fairy tale misfits, and you’ve got the kind of mess that calls for a real hero. Luckily, there’s one on hand… and his name is Shrek.

I saw this on Broadway (on kid’s night) and I can 100% say that it’s totally kid-friendly. While, adults can enjoy this musical as well, I felt it should have been performed/showcased/premiered at some type of theme park instead. I hear they’ve updated a few scenes (most notably the horrible dragon scene) and I look forward to seeing the changes.

If you are thinking about going up to San Francisco with your family this holiday season, make sure you get tickets to Shrek. Your kids will thank me! You can see this show at the Orpheum Theatre from December 1st, 2010 to January 2nd, 2011.

Website | Get Tickets

The Broadway Critic’s Theatre Review: Shrek @ Orpheum Theatre (SHNSF), 1 out of 5 stars

The Composer is Dead at Berkeley Rep – The show must go on? But the actor is mute, the director is crying, the dancer is lazy—and the composer is dead! This holiday season, Berkeley Rep presents a deliciously silly world premiere from beloved Bay Area artists. Lemony Snicket’s The Composer is Dead features text by bestselling author Lemony Snicket and a score by (living) composer Nathaniel Stookey.

Did you check out the tracks and videos that I previously posted. If not, go here.

I’m very interested to see how this translates to the stage. It runs till January 9th, 2011.

Website | Get Tickets

The Broadway Critic’s Theatre Review: The Composer is Dead @ Berkeley Rep, 1.5 out of 5 stars

Backwards in High Heels at San Jose Rep – I’ve been looking forward to this show for awhile now. I recently interviewed the musical director, Tim Robertson and I gave away five pairs of tickets as well!

This intimate musical dances its way through Ginger’s life with unforgettable music, show-stopping dance numbers and a captivating story that chronicles her journey from hometown to Hollywood and from one love affair to another. Funny, moving and a visual feast, Backwards In High Heels is a toe-tapping, swirling, gliding account of her ambitious public and private life.

It runs until December 19th, 2010.

Website | Get Tickets

The Broadway Critic’s Review – Backwards in High Heels – The Ginger Musical @ SJ Rep, 2.5 out of 5 stars

A Christmas Memory at Theatreworks – WORLD PREMIERE - Sure to delight the entire family, Truman Capote’s enchanting masterpiece springs to life in this big-hearted musical treat. A wistful memoir of cherished youth, it chronicles the 1930s friendship of a shy boy and his eccentric aunt—misfits who launch kites, haunt speakeasies, and mail fruitcakes to everyone from Jean Harlow to President Roosevelt!

The music is by Larry Grossman (Snoopy!), lyrics by Carol Hall (Best Little Whorehouse in Texas) and the book by Duane Poole (Make Someone Happy). It’s a world premiere and I’ve heard it’s full of Christmas cheer. I’ll be checking this one out on opening night, December 4th, 2010. It closes on December 26th, 2010.

Website | Get Tickets

Hairspray at San Jose Children’s Musical Theatre (Marquee Production): Hairspray delighted audiences by sweeping them away to 1960′s Baltimore, where the 50′s are out — and change is in the air. Loveable plus-size heroine, Tracy Turnblad, has a passion for dancing, and wins a spot on the local TV dance program, “The Corny Collins Show.” Overnight she finds herself transformed from outsider to teen celebrity. Can a larger-than-life adolescent manage to vanquish the program’s reigning princess, integrate the television show, and find true love (singing and dancing all the while, of course!) without mussing her hair?

This will be my first production at SJCMT and I’m looking forward to seeing Hairspray because the last time I saw it, I had a standing-room ticket on Broadway (and it was a long 2 1/2 hours).

With only nine performances, you will want to make sure you schedule this one in!

Website | Get Tickets

On My Radar:

  • A Christmas Carol at ACT (San Francisco) – The Bay Area’s favorite holiday tradition returns to A.C.T. with a sparkling, music-infused production of A Christmas Carol. Featuring mean ol’ Scrooge, adorable Tiny Tim, those deliciously spooky Christmas ghosts, and a multigenerational cast of dozens, A Christmas Carol is a celebration of goodwill that you’ll never forget. Website
  • Coraline at SF Playhouse – Poor bored Coraline. She’s left to rattle ’round her perpetually distracted, workaholic parents’ house all by her lonesome. This is the West Coast premiere of Coraline. This doesn’t close until January 15th, 2011. Website | Get Tickets
  • White Christmas at West Valley Light Opera: The dazzling score features well-known standards including “Blue Skies”, “Sisters”, “I Love A Piano” and the perennial favorite, “White Christmas”. An uplifting musical, enjoyable for the entire family, it arrives in time to guarantee that Saratoga will have an unusual “White Christmas” this year.  Website
  • A Tuna Christmas at Bus Barn Stage Company: It’s Christmas Eve in tiny Tuna Texas, and a gallery of 22 zany citizens lives’ intersect as they attempt to celebrate with their tradition Yuletide activities. Website

Until next month…

Did I miss anything?

 
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Posted by on 11/30/2010 in Bay Area Theatre, Preview

 

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Listening to Glee: “Special Education” – Season 2, Episode #9

29 Nov

New Directions heads to the big Sectionals competition to go head-to-head against the Warblers and the Hipsters. While trouble brews between some of the young couples, Emma and Carl (guest star Stamos) grow closer in the all-new “Special Education” episode of GLEE airing Tuesday, Nov. 30 (8:00-9:01 PM ET/PT) on FOX.
Special Education Track-list:
“Don’t Cry For Me Argentina” (from Evita) – Rachel

“Don’t Cry For Me Argentina” (from Evita) – Kurt

“The Living Years” (Mike and the Mechanics) – The Warren Township Continuing Education Program Hipsters

“Hey, Soul Sister” (Train) – The Dalton Academy Warblers

“(I’ve Had The) Time of My Life” (Bill Medley & Jennifer Warnes) – New Directions

“Valerie” (Amy Winehouse) – New Directions

“Dog Days Are Over” (Florence and the Machine) – New Directions

Music Available on iTunes 11/30. For episodic photos and more information on this episode of GLEE, please visit:
http://www.foxflash.com/div.php/main/page?aID=1z2z2z268

For more info on GLEE The Music visit: http://www.gleethemusic.com

 
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Posted by on 11/29/2010 in Glee, Music

 

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Ticket Giveaway: “Every Christmas Story Ever Told” @ SJ Stage

29 Nov

Photo by Dave Lepori

Photo by Dave Lepori

Photo by Dave Lepori

Photo by Dave Lepori

Join San Jose Stage Company for this fast-moving, irreverent comedy that takes holiday cheer to the extreme! Every Christmas Story Ever Told is a fond and furious look at the holiday classics and traditions we all remember. From Frosty to Rudolph and the Grinch to It’s A Wonderful Life, no pop culture holiday icon is spared in this whirlwind of holiday merriment.

How to enter to win two tickets to see “Every Christmas Story Ever Told” at San Jose Stage Company:

Tickets are for December 1st, 2nd, 8th, 9th, 15th or 16th – winner can choose from any of those dates.

  • Comment, tweet or Facebook us and tell us your the title of your favorite Christmas story.

Winner will be chosen on Wednesday, December 1st, 2010. You’ll be contacted in whatever way you entered!

 
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Posted by on 11/29/2010 in Bay Area Theatre, Ticket Giveaway

 

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1st Preview of “Spiderman: Turn off the Dark”

29 Nov

Since I wasn’t able to check out the first preview of “Spiderman: Turn Off the Dark”, I had a guest writer, Sean O’Conner, write up his experience on the, already infamous, first preview. Keep in mind, it’s a first preview and many thing will change before opening on January 11th, 2011.

It’s finally happened. Spider Man: Turn Off the Dark has finally played a public performance on Broadway. This production has faced many challenges on its journey to this evening. Many in the theatrical community, including myself, doubted whether or not this Julie Taymor production would ever open in New York. I’m glad to report that spectacular, innovative and interesting things are happening at Broadway’s newly renamed Foxwoods Theatre. Spider Man does not officially open until January 11th, 2011 and much fine tuning needs to be done before then. The show is far from perfect but it sure is a lot of fun! This is easily the most ambitious theatrical endeavor I have ever witnessed both in spectacle and story, but Taymor is very close to a finished product that could become the event of the season.

The book by Taymor and Glen Berger is surprisingly complex. Most of America already knows the story of everyman high school geek Peter Parker (played by the attractive Reeve Carney) who is bitten by a special spider and wakes up the following morning with superpowers. Taymor and Berger go a little deeper and add some new twists to the classic original story which opens the show. Spider Man must then face his most famous foe, Dr. Norman Osborn aka the Green Goblin (Patrick Page) and an array of other villains all while trying to win the heart of classmate Mary Jane Watson (Jennifer Damiano) The story could use some clarity, trimming and a much better ending but overall it’s entertaining and  surprising. It’s far from just the feature film onstage with music added.

The score by U2’s Bono and The Edge is currently the weakest aspect of the production. Creating a full fledged musical score is quite a bit different than writing a collection of songs for an album. It’s clear these rock legends are a bit out of their comfort zone. The songs all had a very bland, almost muffled, feel to them. They seem  disconnected from the rest of the action and rarely further the plot or give the audience any information about the characters. The song “D.I.Y. World”  in Act 1 is currently the worst offender. It would maybe be wise to edit the score to become similar to a film’s soundtrack since it already feels like it’s trying to be that anyway. Since Spider Man feels like more of an “event” than a “musical” I don’t think the wonky score will end up hurting it like it might another show. Lets put it this way, the show won’t close because of this problem, but the Tony Award for best score will definitely not be going to Bono and The Edge.

The cast, led by Carney, is solid all around. Patrick Page stole Act 1 with his piano number, “I’ll Take Manhattan” (aided by a clever ad-lib in response to some technical difficulties). I was sad his character didn’t have much stage time nor a great death scene in Act 2. I wanted to see Spider Man defeat or at least DEAL with the Goblin. As the ending stands now, The Goblin remains loose to terrorize the world.  Jennifer Damiano does a fine job with the little material she’s given as Mary Jane Watson. She definitely continues to prove she’s a special talent with her crystalline vocals. I had expected Mary Jane to be the musical’s leading lady. That honor goes to the character “Arachne”, played by Natalie Mendoza, who ends up carrying a great deal of the second act. Her character is involved in the shows most dazzling effects and she is given the most challenging vocal part. Mendoza managed to tackle her difficult part while flying around the theatre the entire show. She was airborne more than Spider Man himself! (Poor Natalie was stuck in the air for 10 minutes during a hold, and the stage manager went on the god mic and asked the audience to give her a hand for “hanging in there”.) I wish they would expand Isabel Keating’s role as Aunt May. Her veteran presence graced the show with a major touch of class and professionalism.

The real reason to attend Spider Man: Turn Off the Dark is to witness the magical and original stage craft, but we all already knew that. The flying sequences are truly remarkable. I imagine the spectacle will be enough to get an audience in building. The sets by George Tsypin and costumes by Eiko Ishioka are the stuff of theatre legend. You can see the money on the stage and it will take your breath away. Since I was a young boy in the theatre I have always appreciated good stage craft and would frequently imagine special effects in my head. Taymor has done nothing but turn her ultimate dreams into reality, and for that she deserves our respect and praise. Well done Julie!


 
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Posted by on 11/29/2010 in Broadway, Theatre Review

 

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Theatre Review: “The Color Purple” @ Broadway San Jose,

26 Nov

Judging from the audience members at The Color Purple, Oprah knew exactly what she was doing when she became one of the lead producers on Broadway for this musical based upon the novel by Alice Walker.  Or was it the other way around? Once, Oprah became a producer, her audience-base and main demographic (middle-aged women) flocked to this musical. Either way, if you are a fan of Oprah, then I suggest this musical is for you.

The show is a success. It recouped its 11-million dollar investment on Broadway within the first year and has since made over 100 million dollars to date. Not bad for a musical thats main thematic material deals directly with incest, rape, teenage pregnancy, spousal abuse, family separation, a forbidden homosexual relationship, abandonment and adultery. (The only thing we’re missing is drug abuse.) But if you are familiar with Walker’s book and the subsequent Steven Spielberg movie, then you already knew all of this. Yet, the tag line suggests it’s a musical “all about hope and the healing power of love.” You need a lot of hope and love to overcome the horrible life events that Celie (Dayna Jarae Dantzler) has to go through. Even at an old age, when Celie’s reacquainted with her long-lost sister Nettie (Traci Allen), I still don’t feel totally cleansed of it all.

As Ben Brantley pointed out in his original review of The Color Purple in The New York Times, he states, “So much plot, so many years, so many characters to cover in less than three hours. Or, as one of the many vibrant heroines sings, prettily papering over a gap of eight years, ‘So many winters gray and summers blue.’” I tend to agree. The musical follows Celie from her second pregnancy at 14-years old to her sixty’s – over 40 years of life and hardship. It’s a lot to take in at any level. Brantley felt the redeeming quality was the performers, “…this show is blessed with a surfeit of performing talent.”  This second national non-equity tour has some incredible talent but it’s all a bit underwhelming when comparing it to the original cast of performers like: LaChanze (Tony Award winner), Saycon Sengbloh (Fela!), Brandon Victor Dixon (The Scottsboro Boys) and even the Celie replacement with American Idol winner, Fantasia Barrino. (Fantasia’s understudy is a huge star as well. Montego Glover was recently nominated for a Tony for her leading role in the Tony-winning Best Musical, Memphis.) The first national tour boasted a cast of major talent too. It featured Bay Area born LaToya London (American Idol) and Michelle Williams (Destiny’s Child) starring in the leading roles. I’m thinking that for this particular show, the cast has to have, as Eva Peron sings in Evita, some “star-quality”.

While, everyone in the cast was talented and had beautiful voices, there was something missing from it all. It didn’t sparkle.

Taprena Augustine (Shug Avery) performs “Push Da Button”

The only character who shined through all of the dark material was Shug Avery (Taprena Augustine). Her Billie Holiday inspired performance was incredible. Whenever she was on stage, she demanded my attention and it was easily attained.

The music, written by three composers: Brenda Russell, Allee Willis, and Stephen Bray, features gospel, jazz, pop and the blues but only a few songs stood out. The first song is a gospel-inspired joyous praise called, “Huckleberry Pie, Mysterious Ways”. It’s fantastic. It tells us to, “make a joyful noise unto the Lord,” and I can’t think of a better song to start the show with. The end of the first act, in Mister’s house, Shug and Celie explore their newfound love for each other in the top-40 inspired duet, “What About Love”. The show ends with “The Color Purple” where Celie thanks Mister and Shug for orchestrating the reunion of her children and sister, and God, for the safe return of her family. It’s a heart-warming R&B/Gospel inspired song that wraps up the injustice of the last forty years with an “American Idol” finale type of song where it tries to be emotionally manipulative at the highest level. While the score is generally good, it didn’t inspire either.

Every once in a while, I’ll see a show that doesn’t resonate at all with me and unfortunately, this was it. The show obviously resonates with someone as thousands of people have flocked to see it, but not with me and I’m okay with that. But, it doesn’t mean, you shouldn’t try it out yourself. Theatre has a way of affecting people so differently, depending on life circumstance, the current mood your in and your current likes and dislikes. With this particular emotionally-driven show, I’m interested in your thoughts.

How did The Color Purple affect you?

—

Listen to the Broadway Original Cast Recording:

“Huckleberry Pie, Mysterious Ways”

“What About Love”

“The Color Purple”

 
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Posted by on 11/26/2010 in Bay Area Theatre, Theatre Review

 

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Listening to Glee: “FURT” – Season 2, Episode #8

23 Nov

Sue’s “Nazi-hunting” mother, Doris (guest star Carol Burnett) shows up in Lima to check in on her girls. Meanwhile, Kurt makes an important decision after getting pushed to his breaking point, and Rachel and Finn take a big step in the all-new “Furt” episode of GLEE airing Tuesday, Nov. 23 (8:00-9:01 PM ET/PT) on FOX.

Furt Track-list:

“Ohio” (from Wonderful Town) – Jane Lynch & Carol Burnett

“Marry You” (Bruno Mars) – New Directions

“Sway” (Michael Buble) – Matthew Morrison

“Just the Way You Are” (Bruno Mars) – New Directions

Music Available on iTunes 11/23

For episodic photos and more information on this episode of GLEE, please visit
http://www.foxflash.com/div.php/main/page?aID=1z2z2z268

For more info on GLEE The Music visit:http://www.gleethemusic.com

 
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Posted by on 11/23/2010 in Glee, Music

 

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Interview with Tim Robertson – Musical Director of “Backwards in High Heels” @ SJ Rep

23 Nov

Hopefully, everyone is getting excited to see the Regional Premiere of “Backwards in High Heels – The Ginger Musical” at San Jose Rep. I had the opportunity to get some inside information from the musical director, Tim Robertson.

For more information on the show, please go to http://www.sjrep.com

—

1. First off, how did you get involved with this production and how long have you been working on “Backwards in High Heels”?

Believe it or not, I sent a resume to Michael Donald Edwards, the artistic director of Asolo Repertory Theatre in Sarasota.  That is where this show was first being produced.  I had often wanted to work at Asolo Rep and my parents have a house in nearby Bradenton so I was very familiar with the area.  Miracle of miracles, I actually got a response from Mr. Edwards asking me to schedule an interview and I got the job! That was before it was going to be a co-production with the the other theatres but when I found out that the show was going to carry on after Sarasota, I was more than happy to stay on board.

2. Since this a brand-new musical, have you been on the side of developing the music or have you mainly worked just with the actors/musicians on learning & polishing the music?

The show itself was already pretty well structured when I started.  It had already been staged at quite a few other regional theatres before the production at Asolo Rep so there was not too much restructuring to be done on the score — only some minor tweaking and adjustments to suit the choreography or underscoring or scene shifts.

3. What’s your favorite part about working on “Backwards in High Heels”? Least favorite?

My favorite part of this show is working with such a talented cast and working with live musicians. So many theatres, in an effort to reduce expenses, choose to cut the musicians first.  It is really disheartening to me to know that there are theatre companies that would choose to use pre-recorded tracks rather than live musicians.

 

My least favorite part of working on a show like this is the amount of time I spend away from home.  While it is definitely exciting to be working on a great production it is very easy to get homesick when you are out of town for weeks or even months at a time.

Tim Robertson, Musical Director

4. This is a co-production with Arizona Theatre Company, Asolo Repertory Theatre and The Cleveland Play House — how do the shows differ from theatre to theatre? Or do you strictly keep everything the same?

There might be some slight changes from theatre to theatre in order to accommodate the difference in the actual theatre spaces. If the stage dimensions vary or there are sightline concerns for the audience but the show pretty much stays the same. There might also be some changes made for pacing or perhaps a line of dialogue might be rewritten but nothing major changes with the show from theatre to theatre.

5. What ways have the show changed since your last production?

Again, no major changes will be made to the show between Arizona and San Jose — just some fine tunings so the show will be best suited for the theatre at San Jose Rep.

6. Is the cast the same from theatre to theatre?

We lost two of the original cast members from the production at Asolo Rep.  When the show show closed at the end of May there was a period of three months before we resumed in Arizona. That is a long time to try to keep a cast together while the show is not performing but since the show resumed in Arizona the cast will remain the same for the rest of the tour.

7. How long have you been on the road so far? And, where do you call home?

I have been with this show since it started rehearsals in April. We rehearsed for the first two weeks in New York then we moved down to Sarasota to finish rehearsals and get the show on stage. I was with the show in both Tucson and Phoenix with the Arizona Theatre Company for September and October and then San Jose for November and December.  I will also be with the show in Cleveland in January. Right now home for me is just outside of Boston although I am in the process of moving to Bar Harbor, Maine.  So when I finish the run in San Jose I will be living in a new place!

8. Any shows/theatres that you are dying to work on/with?

BOTH of those lists would be way too long but I will say that I am always excited to work in a new city and I am very happy to be here in San Jose. Having lived in San Francisco for over 7 years I have lots of friends and family in the area, so while this is the first time I have worked in san jose, it is nice to be in familiar surroundings.

 
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Posted by on 11/23/2010 in Bay Area Theatre, Interview, Preview

 

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Ticket Giveaway: “The Color Purple” at Broadway San Jose, 11/23/10

19 Nov

The Color Purple is a soul-stirring musical based on the classic Pulitzer Prize-winning novel by Alice Walker and the moving film by Steven Spielberg. It is the unforgettable and inspiring story of a woman named Celie, who finds her unique voice in the world. Nominated for eleven Tony Awards. The Color Purple is capturing the hearts of young and old, and uniting audiences in a community of joy.

Luckily, for you, The Broadway Critic is giving away two tickets to one lucky winner!

How to enter to win two tickets to see “The Color Purple” at Broadway San Jose on opening night, Tuesday November 23rd, 2010:

  • Comment, tweet or Facebook us and tell why you want to see this.

A winner will be chosen on Monday, November 22nd, 2010. They will be notified by way of entry (through email, Twitter or Facebook).

Broadway San Jose’s Website | Get Tickets

 
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Posted by on 11/19/2010 in Bay Area Theatre, Ticket Giveaway

 

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Theatre Review: “Company” @ Jewel Theatre Company, 11/12/10

18 Nov

With a cast as talented as this, it’s not hard to enjoy Company at Jewel Theatre Company. There are several seasoned Bay Area theatre veterans including: Diana Torres Koss, Lee Ann Payne, Mike Cymanski, Diahanna Davidson and Hector S. Quintana. There are also several other stand-out performances in this production. Company is only running for two weeks, so clear your schedule this weekend and take a night out in beautiful Santa Cruz and catch one of Sondheim’s best musicals.

There were several moments that were fantastic, but here’s just a few of my favorites:

  • In the first scene, featuring Harry (Hector S. Quintana) and Sarah (Diahanna Davidson), hilarity ensues after Bobby (Mike Cymanski) brings over brownies and burbon. Apparently, Harry is sober (not really) and Sarah is dieting (but secretly binges). Davidson easily takes over this scene with priceless facial expressions and manic behavior that would make anyone laugh. I was almost in tears.
  • “Sorry-Grateful”, sung by the married men in the bunch, was one of the more poignant moments in the show. It’s a touching beautiful song that sounded wonderful. It was sung by David (Matt Bariletti), Harry (Hector S. Quintana), and Larry (Scott MacDiarmid).
  • In one of the next scenes, Bobby brings over some marijuana when he visits his friends: David (Matt Bariletti) and Jenny (Tenaya Hurst). Jenny, being a total square, tries to let go and enjoy the evening, but is so up-tight that she eventually rushes off to bed. Hurst brings an elegant poise with some underlying distress to her character that is perfectly juxtaposed against Bariletti’s uncontrolled laughter in his “state of consciousness”.  Throughout this entire humorous scene, I couldn’t help but believe that they were all higher than kites. Bariletti especially nailed it.
  • Finally, we begin to learn about the woman who Bobby is dating – April (Veronika Olah), Kathy (Sarah Griner) and Marta (Jade Shojaee). While their trio, “You Can Drive a Person Crazy” wasn’t completely balanced, each woman brought something very unique to their character. I especially loved Jade Shojaee’s rendition of “Another Hundred People”. I’m looking forward to seeing more of her in the future. Also, Veronika Olah’s naivety was spot-on. She even included some great moments in her scene and song, “Barcelona” with Bobby later in Act 2.
  • Lee Ann Payne (Amy, and choreographer) killed “Getting Married Today”. For a song that’s almost impossible to sing, Payne executed it flawlessly. Her soon-to-be-husband, Paul (Michael Rhone) was also great in this song. I heard every word and Payne’s comic hysterics made this particular song a major stand-out of the night.
  • Then, there’s the infamous scene, with Joanne (Diana Torres Koss) and Bobby in a night club at the end of Act 2. Joanne sings “The Ladies Who Lunch” – one of Company‘s more famous songs. Diana Torres Koss brings a fierceness to Joanne that I haven’t seen in other productions. It was a very touching moment, where Torres Koss really shows off Joanne’s insecurities. I loved it.

As you can tell, there were so many moments in the show that were spot-on hysterical and then quickly became extremely poignant and serious. Thanks to some great direction by Julie James, you were left with a very cohesive story that was easily understandable and very touching.

I would be remiss if I didn’t mention the pianist, Ruth Butterfield-Winter. She did a magnificent job playing an extremely difficult score by herself. Bravo. Well-done!

My only issues was with some of the ages of the cast. The entire show is centered around Bobby, who is turning 35. Unfortunately, Mike Cymanski does not look like he’s 35. Cymanski is incredibly talented and did an fantastic job throughout, but I never believed that it was 35th birthday, or that he was on the verge of the next step of his life: marriage. It almost felt like he was a divorcee. Because of this, “Being Alive” didn’t strike me as it usually does at the end of the show.

Nevertheless, this production of Company was incredibly well-done and I enjoyed myself thoroughly throughout.

—

They’ve added a Sunday performance at 7:30pm. You can grab tickets here.

 
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Posted by on 11/18/2010 in Bay Area Theatre, Theatre Review

 

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Glee: The Christmas Album

15 Nov

Glee decks the halls and gets you in the holiday spirit with the release of Glee: The Music, The Christmas Album. The Glee cast sprinkle a little Christmas cheer with their dazzling renditions of such holiday classics as “We Need A Little Christmas,” “O Holy Night,” “Jingle Bells” and a very special Dr. Seuss inspired “You’re A Mean One, Mr. Grinch” featuring Grammy Award winner k.d. lang.

12 songs to fill your holidays with Glee!

Buy the album on Amazon here!

Track Listings:

1. We Need A Little Christmas (Glee Cast Version)

2. Deck The Rooftop (Glee Cast Version)

3. Merry Christmas Darling (Glee Cast Version)

4. Baby, It’s Cold Outside (Glee Cast Version)

5. The Most Wonderful Day Of The Year (Glee Cast Version)

6. Last Christmas (Glee Cast Version)

7. God Rest Ye Merry Gentlemen (Glee Cast Version)

8. O Christmas Tree (Glee Cast Version)

9. Jingle Bells (Glee Cast Version)

10. You’re a Mean One, Mr. Grinch (Glee Cast Version)

11. Angels We Have Heard On High (Glee Cast Version)

12. O Holy Night (Glee Cast Version)

 
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Posted by on 11/15/2010 in Glee, Music

 

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