To give easier access to current and past "Great Local Shows"
reviews, they have been moved to the Placer Performance Calendar. To
find them, go to www.placerperformancecalendar.com, and click on the "Reviews" button on the left side of the home page.
No new reviews will be added to this blog.
Sunday, July 20, 2014
Saturday, July 12, 2014
Disney's The Jungle Book KIDS
I’ve gone to many El Dorado Musical Theatre productions, and I’ve come to expect that each one will be unlike anything I’ve ever seen. This show, opening night of Disney's The Jungle Book KIDS, was no exception.
What was especially dazzling about EDMT’s interpretation of The Jungle Book was the incredible profusion of brightly colored, creative, fanciful costumes. They were not animal suits, but costumes with tops, bottoms, hats and accessories – all evocative of an animal. So the adorable vultures had top hats, striped vests, and collars of white feathers. Colonel Hathi, the leader of the elephants had elephant ears; but he also had a pith helmet and a uniform (with medals) reminiscent of the British army. The black panther, Bagheera, wore a black turban and black gloves (and a tail, of course). It was an award-worthy costuming tour-de-force by Christine Martorana and her large costume team.
The show had barely started when I found myself thinking, “Can all these kids be 14 and under?” It’s true. The requirement for participating in these annual “Rising Stars” productions is that children have not started high school. I scanned the stage during the first big production number, and I didn’t see little kids mechanically going through their programmed motions. I saw, maybe not all, but mostly confident, sophisticated performers. And then I thought, “What person in their right mind would choose to stay at home and watch TV, if they knew what was taking place on this stage?” These were all remarkable young actors in a production so sophisticated that no one would dare call it, or even think of it, as “children’s theatre.”
As always, the choreography was a total delight, especially when the stage was packed with 64 performers. This time it was the work of choreographer, Kat Bahry, and assistant choreographer and EDMT standout performer, Anjie Rose Wilson. And as has happened to me so often before, I was simply amazed at the discipline and coordination of all those kids as they performed complicated dance routines.
The set was impressive, as always, though fairly static, with the scene changes suggested by the images projected on the back of the stage and on set pieces. As in so many recent productions, this was the work of 14-year-old Zach Wilson, an all-around performer now equally expert as a projection designer. What was new and notable in his work for this production was the animation of the projections, and their increased sophistication.
This show was double-cast (128 performers altogether!) and since I only saw the Fire Cast, I’m hesitant to comment about individual performers, but I can’t resist mentioning a few. First, 12-year-old Nick Ribadeneira as Mowgli was so impressive with his poise and excellent acting, dancing, and singing. Isabelle Weaver gave an inspired interpretation of the treacherous snake, Kaa. And Kyra Schneider as Bagheera and Stephen Knoble at Baloo sang with the strength and accuracy of much older vocalists. In fact, I was impressed with all the singing I heard, solo and ensemble. Then there was Maya Ribadeneira as King Louie (the monkey king). EDMT is fundamentally an educational organization, and I don’t believe they like to think of any of their kids as “stars” – they’re busy developing the potential of everyone. But Maya just sparkled during the “I Wanna Be Like You” number, and I think the whole audience recognized it. To me, she had all the charm, talent, and spunk of Shirley Temple in her heyday. I couldn’t stop watching her.
There’s acting, and then there’s personality and charisma. These young performers acted their parts and moved and sang with accuracy. But I was close enough to look into the faces of these kids, and I saw far more than playing a role, doing what they were trained to do. In face after face, I saw youthful energy, living in the moment, and pure joy in creating an experience for themselves and the audience. And that joy was infectious.
Click here for more information about El Dorado Musical Theatre's production of Disney's The Jungle Book KIDS in the Placer Performance Calendar.
What was especially dazzling about EDMT’s interpretation of The Jungle Book was the incredible profusion of brightly colored, creative, fanciful costumes. They were not animal suits, but costumes with tops, bottoms, hats and accessories – all evocative of an animal. So the adorable vultures had top hats, striped vests, and collars of white feathers. Colonel Hathi, the leader of the elephants had elephant ears; but he also had a pith helmet and a uniform (with medals) reminiscent of the British army. The black panther, Bagheera, wore a black turban and black gloves (and a tail, of course). It was an award-worthy costuming tour-de-force by Christine Martorana and her large costume team.
The show had barely started when I found myself thinking, “Can all these kids be 14 and under?” It’s true. The requirement for participating in these annual “Rising Stars” productions is that children have not started high school. I scanned the stage during the first big production number, and I didn’t see little kids mechanically going through their programmed motions. I saw, maybe not all, but mostly confident, sophisticated performers. And then I thought, “What person in their right mind would choose to stay at home and watch TV, if they knew what was taking place on this stage?” These were all remarkable young actors in a production so sophisticated that no one would dare call it, or even think of it, as “children’s theatre.”
As always, the choreography was a total delight, especially when the stage was packed with 64 performers. This time it was the work of choreographer, Kat Bahry, and assistant choreographer and EDMT standout performer, Anjie Rose Wilson. And as has happened to me so often before, I was simply amazed at the discipline and coordination of all those kids as they performed complicated dance routines.
The set was impressive, as always, though fairly static, with the scene changes suggested by the images projected on the back of the stage and on set pieces. As in so many recent productions, this was the work of 14-year-old Zach Wilson, an all-around performer now equally expert as a projection designer. What was new and notable in his work for this production was the animation of the projections, and their increased sophistication.
This show was double-cast (128 performers altogether!) and since I only saw the Fire Cast, I’m hesitant to comment about individual performers, but I can’t resist mentioning a few. First, 12-year-old Nick Ribadeneira as Mowgli was so impressive with his poise and excellent acting, dancing, and singing. Isabelle Weaver gave an inspired interpretation of the treacherous snake, Kaa. And Kyra Schneider as Bagheera and Stephen Knoble at Baloo sang with the strength and accuracy of much older vocalists. In fact, I was impressed with all the singing I heard, solo and ensemble. Then there was Maya Ribadeneira as King Louie (the monkey king). EDMT is fundamentally an educational organization, and I don’t believe they like to think of any of their kids as “stars” – they’re busy developing the potential of everyone. But Maya just sparkled during the “I Wanna Be Like You” number, and I think the whole audience recognized it. To me, she had all the charm, talent, and spunk of Shirley Temple in her heyday. I couldn’t stop watching her.
There’s acting, and then there’s personality and charisma. These young performers acted their parts and moved and sang with accuracy. But I was close enough to look into the faces of these kids, and I saw far more than playing a role, doing what they were trained to do. In face after face, I saw youthful energy, living in the moment, and pure joy in creating an experience for themselves and the audience. And that joy was infectious.
Click here for more information about El Dorado Musical Theatre's production of Disney's The Jungle Book KIDS in the Placer Performance Calendar.
Broadway at Sierra 2014
Broadway at Sierra 2014, as Ed Sullivan used to say, is a really big show. This Sierra College production is a course in Broadway theatre with over two hours of great numbers selected from Broadway’s heyday up to the present. If you like Broadway, you’ll love this show.
Sam Williams gets the entertainment off to a quick-paced start with eye-catching, interesting dances performed with grace and flair. The ensemble and chorus are strong and fill the house over and over again, as when the chorus sings “I Hope I Get It,” from A Chorus Line, and “Mame,” from Mame, by Jerry Herman. The quantity of production numbers with costume changes and dance routines is astounding.
Because Broadway at Sierra 2014 is so filled with talented performers, the few I am about to mention are representative of the whole company’s effort and strength: Don Roberts brings Cabaret to life with his robust rendition of “Willkommen”; Tyler Jerome Thompson delivers a lively, high-stepping “Seventy-six Trombones,” from The Music Man, and Jennifer Estabrook sings perfectly “I Could Have Danced All Night,” from My Fair Lady. Sidney Raey-Gonzales delivers a stunning rendition of “Let it Go,” from Frozen.
There are several hilarious numbers such as: “Puttin’ on the Ritz,” from Young Frankenstein, by Mel Brooks, performed by Steve Estabrook, Tyler Jerome Thompson, Adam Weber, and Amy Wolfley. Another laugh-out-loud number is “Dentist!” from Little Shop of Horrors, acted and sung by Rikki Pratt, Jenny Richardson, Candice Szczepankowski, Vivian Szczepankowski, and Tyler Jerome Thompson. Andrew Fiffick, projection operator, transported us to an icy land far away during the number from Frozen; and under a bubbling ocean for the number from The Little Mermaid. Thoren Tivol and Fred Weber, producers, bring to life a great show this year, enhanced by musical director, Ray Ashton, choreographers, Sam Williams and Amy Wolfley, and music arranger, Fred Weber. The creativity of the group who developed the organization of all these individual songs into a coherent revue deserves mention. Loud applause to: Adam Weber, Sidney Raey-Gonzales, Guy Pilgram, and Ray Ashton. All cast and crew members created a great show. Don’t miss it.
Reviewed by Letha Dawson, July 11, 2014
Sunday, February 10, 2013
Looking for an Old Review?
This blog only includes reviews of currently running programs, but reviews published here since January 2012 can still be viewed at this link: www.greatlocalshows-archive.blogspot.com.
Friday, October 22, 2010
The Met: Live in HD
(See postscript on "The Enchanted Island" below.)
Maybe you're not sure about opera. Maybe you've seen some opera, but haven't particularly liked it. Either way, you owe it to yourself to check out one of the shows in this series. And if you like opera, you'll love "The Met: Live in HD Series."
These productions of New York's Metropolitan Opera are broadcast in high definition at Century Theaters locally (and at hundreds of other theaters throughout the U.S. and the world). I'm so excited about them for a lot of reasons. The sound quality is excellent. The visuals are great: brilliant camera work gives you a better experience than you could get watching the production live at the opera house. Costumes and sets are wonderfully creative. For the most part, the staging (often including dancing) is eye-popping. And there is a backstory: interviews of performers, director, etc. during intermissions. And you get all of this for about $24.
Be warned, though. Most of these productions sell out, so think about getting tickets early. The doors open an hour before show time. That's important to know because people start lining up long before the doors open. It's a persuasive indicator of how good these productions really are.
I just saw "The Enchanted Island" and was completely blown away. It combines Shakespeare's stories of "The Tempest" and "A Midsummer Night's Dream" into a brilliant English libretto married to a masterfully connected potpourri of Baroque music by Handel, Vivaldi and others. The quality of every detail -- singing, acting, costumes, set -- was top-notch. The visual effects were stunning, and besides moments of great passion, there was a liberal dose of humor and whimsy. I've seen a lot of Met productions that I've liked over the past three years, but this is my favorite.
Maybe you're not sure about opera. Maybe you've seen some opera, but haven't particularly liked it. Either way, you owe it to yourself to check out one of the shows in this series. And if you like opera, you'll love "The Met: Live in HD Series."
These productions of New York's Metropolitan Opera are broadcast in high definition at Century Theaters locally (and at hundreds of other theaters throughout the U.S. and the world). I'm so excited about them for a lot of reasons. The sound quality is excellent. The visuals are great: brilliant camera work gives you a better experience than you could get watching the production live at the opera house. Costumes and sets are wonderfully creative. For the most part, the staging (often including dancing) is eye-popping. And there is a backstory: interviews of performers, director, etc. during intermissions. And you get all of this for about $24.
Be warned, though. Most of these productions sell out, so think about getting tickets early. The doors open an hour before show time. That's important to know because people start lining up long before the doors open. It's a persuasive indicator of how good these productions really are.
I just saw "The Enchanted Island" and was completely blown away. It combines Shakespeare's stories of "The Tempest" and "A Midsummer Night's Dream" into a brilliant English libretto married to a masterfully connected potpourri of Baroque music by Handel, Vivaldi and others. The quality of every detail -- singing, acting, costumes, set -- was top-notch. The visual effects were stunning, and besides moments of great passion, there was a liberal dose of humor and whimsy. I've seen a lot of Met productions that I've liked over the past three years, but this is my favorite.
Monday, April 12, 2010
Why So Few Reviews?
Why so few reviews? There are only so many shows that one man can attend, and in the past two weeks, of the four shows I've seen, one is posted, two have already closed, and one was so bad, I couldn't find anything good to say about it, and certainly wouldn't cover it in a blog called "Great Local Shows."
So until others come forward to review other shows, the listings in this blog will be very few, covering only shows that are forthcoming or still running -- and only the shows that I (or other contributors) would recommend.
Like to help by contributing your own reviews (or even just a single review)? Send an e-mail to info@perfcal.com. Your input would be most welcome.
So until others come forward to review other shows, the listings in this blog will be very few, covering only shows that are forthcoming or still running -- and only the shows that I (or other contributors) would recommend.
Like to help by contributing your own reviews (or even just a single review)? Send an e-mail to info@perfcal.com. Your input would be most welcome.
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