This is Always a Good Variety Show

Jumpstart Vancouver's Performing Arts

Wouldn't it be nice?

We all want a Vancouver Performing Arts Center, so that's what we say. That's not something that will happen because of wishful thinking. There will need to be PROOF that we actually need one--and action. Well, the time to take action is now!

A performing arts center will arise out of NEED. And a few small theater companies struggling to find a home just isn't enough to show that need. It's time to stop whining and make a show! There needs to be "proof in the pudding" so to speak.

It's All About Space

Yes, the space needs to accommodate everyone. We need a large space (3,200 seats), a small space (maybe 300 seats) and a black box space (seating a hundred or so) housed together with rehearsal space as well. That should make a place for everyone. BUT, the problem (besides funding) is that no one is attempting large enough shows to make the cornerstone space (the large theater) viable.

Well, there are the efforts of WHITE TIGER ENTERPRISES, LLC, a new arts company consisting of two production companies (Balding Eagle Productions and Little One Music and Theatrical), attempting a first-class, full-scale original musical known as THIS CHILD.

THIS CHILD is the kind of professional production that screams BIG THEATER. It may be the first of such attempts in the city (since Peanut Gallery many years ago). It is certainly the kind of thing we have moved away from in order to manage budgets and turn a profit. Rather than fold up the tent and pack it all in, we've scaled back and played our cards close to the table. And our city has suffered for it. We are stepping backward rather than moving forward, my friends. That's NOT going to make things happen.

Ready to Launch

We need to step up to the launching pad! White Tiger Enterprises is attempting to do just that. They exist to build the rocket that will take us to the moon and beyond. Supporting that mission will launch our city into the cosmos. No longer will we be comfortable merely maintaining low altitude orbit, always in fear that we will decay into the atmosphere and burn. We will reach for the stars!

Your support of the THIS CHILD production project will launch us into a new age. The production and success of this project will build the infrastructure for other projects of this nature. That is the design and goal of White Tiger. It doesn't stop with a single production; it opens the door for many more. AND it paves the way to the stars--to our own Vancouver Performing Arts Center.

It all HAS to begin with something...with someone...and YOU can be a part of making it happen.

It can happen now, if you will believe and ACT. Your support of THIS CHILD is support for a Vancouver Performing Arts Center. Think about it...and ACT today by supporting the THIS CHILD Kickstarter campaign...before it's too late.

DEBATE: What Makes a Theater Presentation a SW Washington Theater Production?

I (Greg) posed the questions:

Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?

I got the following responses:

"Greg, I wouldn't presume to speak for another theater, but my opinion is that if the producing theater company is in SW WA, then it's a SW WA production. I know that when I'm casting a show, I don't look at the address on the resumes, but for the person I think is best for the role. I understand the perspective that we have many fine actors in this area and that we don't 'need' to import actors from across the river. But another way of looking at this is that Vancouver theater has reached a stage where we're attracting actors from a larger and larger area. That has to be a good thing, yes?" (Serendipity Players)

"Is a basketball team local if all the players live or are recruited out of the city? Magenta does not discriminate on where our actors come from as long as they can make the commitment. As you know Greg, the actors on stage only make up a small part of what goes into a show produced by many local talents." (Dave Roberts, Magenta Theater)

Interesting thoughts. Are there others who wish to chime in? My perspective is that if I wanted to see Portland talent, I would go to Portland.

REVIEW: Magenta Players Shine in the Dark Comedy "The Cemetery Club"

Magenta Theater presents Ivan Menchell's dark comedy "The Cemetery Club" as their first production of their 2013 Season.

The cast of Magenta Theater's "The Cemetery Club."

In the play three East Coast Jewish widows meet once a month for tea before going to visit their husbands' graves. Ida is sweet tempered and ready to begin a new life, Lucille is a feisty embodiment of the girl who just wants to have fun, and Doris is a master at one-liners. But all this starts to change when Sam the butcher visits his wife's grave and bumps into the threesome. Doris and Lucille plot to squash the budding romance between Sam and Ida, and the surprise appearance of 'cheap and cheerful' Mildred seems to help their ploy. The play is filled with witty lines and fascinating characters as well as touching and solemn moments.

The Stars

Magenta's Artistic Director, Jaynie Roberts, has directed the production with great aplomb. Roberts' approach is deft and delightful.

Lucille, Doris and Ida rehearse a scene from "The Cemetery Club."

Well-known Portland entertainer Francine Raften plays Lucille, Amalia Alarcon de Morris plays Ida, Patti Reynolds (the lone Vancouver resident) plays Doris, Tony Provenzola the pursued Sam, with KC Cooper rounding out the cast as Mildred. Patti and KC were most recently seen in Magenta Theater's production of "12 Angry Women," Tony in "The 39 Steps." Raften and Alarcon de Morris make their Magenta debut in this production. All of the cast members were stellar, with Raften shining so brightly she almost steals the show. She has great comic timing, physicality and a deep sensitivity.

The first half is a gas, full of humor, albeit at times leaning toward dark humor. The second act begins with several surprises and has the funniest bits, but then turns angry and ends on bitter-sweet note touched with humor. After all, the play deals with death.

WARNING: There is some language, smoking and drunkenness (as well as the death issue), so I wouldn't recommend it for young children (or even those suffering a recent loss, though, for some, this could bring healing).

The Setting

This photo does not depict the actual set which is really quite good.

The living room set is one of the best I've seen at Magenta, though the cemetery set suffered from several elements. Since the theater lacks a FOH curtain, the graves were set in front of the living room set. Even though lighting pools were utilized to separate the area, the effect did not create enough of a distance for the proper emotional remoteness. Other than that all things technical were top notch.

Performances are: Evenings at 7:30 p.m., February 16, 21, 22, 23, 27, 28, and March 1; 2 p.m. Matinees, February 23 and March 2. Tickets here.

Review by Gregory E. Zschomler

All photos provided.

[Editor's Thoughts: Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?]

Comedy "The Cemetery Club" Opens Friday at Vancouver's Magenta Theater

Magenta Theater presents Ivan Menchell's "The Cemetery Club" as their first production of their 2013 Season. 

Three East Coast Jewish widows meet once a month for tea before going to visit their husbands' graves. Ida is sweet tempered and ready to begin a new life, Lucille is a feisty embodiment of the girl who just wants to have fun, and Doris is a master at one-liners. But all this starts to change when Sam the butcher visits his wife's grave and bumps into the threesome. 

Doris and Lucille plot to squash the budding romance between Sam and Ida, and the surprise appearance of 'cheap and cheerful' Mildred seems to help their ploy. The play is a delightful yet touching comedy filled with witty lines and fascinating characters.

Magenta's Artistic Director, Jaynie Roberts, is directing the production.

Well-known Portland entertainer Francine Raften plays Lucille, Amalia Alarcon de Morris plays Ida, Patti Reynolds (the lone Vancouver resident) plays Doris, Tony Provenzola the pursued Sam, with KC Cooper rounding out the cast as Mildred. Patti and KC were most recently seen in Magenta Theater's production of "12 Angry Women," Tony in "The 39 Steps." Francine and Amalia are making their Magenta debut in this production. 

Performances are: Evenings at 7:30 p.m., February 15, 16, 21, 22, 23, 27, 28, and March 1; 2 p.m. Matinees, February 23 and March 2. Tickets here.

Our Review will be posted Saturday, by noon.

[Editor's Thoughts: Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?]

Slocum Players Back on Stage with "It's a Wonderful Life" as a Radio Drama

WE WILL BE REVIEWING THIS SHOW (Look for the post on 12/08)

Christmas Belles" Opens November 30 at Vancouver's Serendipity Playhouse

Vancouver, Wash. Serendipity Players is proud to present their final production of the 2012 season, “Christmas Belles” by Hope, Jones, and Wooten from November 30 through December 23rd at Serendipity Playhouse, 500 Washington Street, Vancouver.

Plot:

A church Christmas program spins hilariously out of control in this southern farce about squabbling sisters, family secrets, a surly Santa, and a reluctant Elvis impersonator.

“I’ve been wanting to do this play for a couple of years,” Tony Broom, artistic director, said. “It’s funny and it has some sweet moments. It’s a good show for this time of year. I’m also happy to have turned the directing reins over to Alicia Marie Turvin. We’re lucky to have her.”

Performances: 

Opening night is November 30 at 8 p.m. The production run includes performances at 8 p.m. on December 1, 7, 8, 14, 15, 21 and 22, with Sunday matinee performances at 2 p.m. on December 2, 9, 16, and 23. Thursday, December 6 at 8 p.m. is a "Pay What You Will" performance. All performances take place at The Serendipity Playhouse, 500 Washington St, Vancouver WA

Tickets: 

Tickets are $15 general admission and may be purchased online at www.serendipityplayers.org, or reservations can be made by calling 360-834-3588. Tickets are also available at the door. Doors open 30 minutes before the performance.

About the Play and Cast:

“Christmas Belles” is a contemporary comedy in two acts. “Christmas Belles” features Cindy Swager, Joni Moore, Stephanie Carlson, Patrick Roth, Debra Hudkins, Brian Reed, Courtney Maxwell-Shey, Lyn Mullen, Adam Kunze, David Hudkins, and Rebecca Rowland Hines. Directed by Alicia Marie Turvin.

Serendipity Players is a non-equity, semi-professional theater company.

See our review here December 1.

REVIEW: Magenta Theater's "Something To Hide" is Really Something

"Something To Hide," a British murder mystery by Leslie Sands and directed by Jaynie Roberts, opened last night at the Magenta Theater, 606 Main St. in downtown Vancouver.  It runs through Saturday, October 27. Check their website www.magentatheater.com for complete details.

Murder Most Foul

You've got to hand it to the Brits, they do, indeed, have a corner on the market for murder mysteries. Probably the best mystery writer in the world was Agatha Christie. And  this play is very much in line with her complex plots and twists in the story.

The time is the 1950s, and the setting, a vacation house in England. It is the home of the Holts: Karen (Brenda McGinnis), the purse-strings of the family and her gad-fly husband, Howard (Glenn Chipman). He is having an affair with Julie (Suzanne Vannatter) and, well, this accident happens and all their lives are never the same again.

Something to look forward to

If I seem vague about the plot, it’s because I don’t want to give too much away, as it would spoil the several twists along the way. Let’s just say there is a nosy neighbor, a greasy garage mechanic, a bothersome maid and a Columbo-like detective that add to the intrigue of the convoluted plot. But it does have all the ingredients of the traditional thriller: Blackmail, deception, larceny, and, of course, murder.

Something "rawther" lovely

The highlight of the show was Shaye Eller as Inspector Davies. She, alone, is worth the show! The Columbo mannerisms were perfect for the character, even down to the rumpled overcoat in one scene. Davies continues to tie up those little, seemingly insignificant, loose ends until the whole plot is revealed. And, with Eller at the helm, you are cheering for her every step of the way.

Also, quite good, is Brenda McGinnis, as the long-suffering wife, Karen. She does well in showing the complexities and changing moods of the character. And Glenn Chipman, as the rotter of a husband, is a thoroughly "dislikeable" chap. One wants to boo the character off the stage.

Something blimey

The play is wordy and overlong, but that is the nature of these classic English mysteries. But the Director, Jaynie Roberts (also Magenta’s founder and Artistic Director), keeps the action flowing so that you always have to be on the alert for what comes next. And the British accents are spot on, which is refreshing. Doesn’t hurt to have a Director that is also from “merry ole…”

There did seem to be a mixing of genres, which was not altogether successful. At times a character might play it like a melodrama, then another character would play it as a complete, comic farce. It plays best, I think, which was most of the time, as just a straight British thriller. Eller and McGinnis played it just that way and were most successful.

The set by Dave Roberts, was very functional in such a constricted space. And the music from the '50s also helped set the mood. It should be noted that the house was nearly full on opening night and many of them were first-timers. This is a great compliment for Magenta after 10 years in the  biz. Congrats!

Show Dates:
October 13, 18, 19, 20, 24, 25 and 26 at 7:30 p.m.
October 20 and 27 at 2 p.m.

Review by Dennis Sparks. Mr. Sparks was formerly a Portland theatre reviewer for the Vancouver Voice (now defunct), and is currently a free-lance reporter with his own blog site for Portland and Ashland theatre reviews: www.dennissparksreviews.blogspot.com

     

REVIEW: The Sunshine Boys--a Bright Delight at Serendipity Playhouse

Willy Clark (Randy Swerdlick) threatens Al Lewis (Boyd Kelly)
in Neil Simon's"The Sunshine Boys." Photo by Ruth Zschomler.

Vaudeville was the Father, and Mother, of many of our showbiz styles and genres today:  Stand-up comedy, skits, improv, musical acts, sit-coms, etc. It was also the birthing place for playwrights, like Neil Simon, who are great writers of gags and one-liners.

But, jumping several years into the future, those grand clowns are almost completely forgotten. Enter the world of The Sunshine Boys, in the guise of a comedy act from that era called Lewis & Clark (images, perhaps, of Laurel & Hardy, Olsen & Johnson or Abbott & Costello).

The Set-up

These “boys” spent over forty years playing the circuits, but are now “retired.” Willy (Randy Swerdlick) is a bitter old man, living alone, not accepting retirement gracefully, having been forced into it when his partner, Al (Boyd Kelly), quit the act some dozen years before. They haven’t spoken since.

Willy’s only contact with the outside world is his hyper, nephew/agent, Ben (Tory Mitchell). Their relationship is (to be nice) guarded. Willy seems to gain real pleasure in needling his nephew, whose only flaw seems to be not knowing he’s playing straight man to a great comic.

Willy (Swerdlick) does some examining of Nurse McIntosh
(Cecelia Harper) in the Dr. sketch. Photo by Ruth Zschomler.

Into this stage of life comes the opportunity to reunite with his old partner for a swan song:  A television revival of some of the old vaudeville acts and comics.  But that means opening old wounds. Al will do it because he has great affection, albeit hidden, for Willy. Willy will do it because he needs the money, but there was never really any joy in it for him. It was just a job. “If I was there to enjoy it, I’d have bought a ticket!”

Like life, nothing is completely resolved but new paths are opened up, different possibilities discovered. With Simon’s script, we are permitted to visit a different era briefly. Although, there are so many one-liners, the real story gets lost at times,  the actors and directors (Tony Broom & Joni Moore) have managed to keep the flow moving swiftly and the characters clearly defined.

For the Doctor’s skit [which the comics do in the second scene of act two] the props could have been larger and more exaggerated, as well as the actors’ actions, makeup and costumes (except for the nurse). They looked too realistic and, from the little I’ve seen from Lucy, Uncle Miltie, Ed Wynn, etc. they were much larger than life in their portrayals and skits.

The Punch Line

Randy Swerdlick as Willy

The three main actors are absolutely super. Mr. Swerdlick, as Clark (a cross between Ed Wynn and Stubby Kaye in looks) handles the role with a real understanding of the character and the era. Even better is Mr. Kelly as Lewis; his long face, pained expressions, nice use of pauses and comic timing are perfect. A real gem of a performance! And Mr. Mitchell as the nephew/agent is “Mr. Hyper” to the extreme. He must have inexhaustible energy and keeps the play moving quickly forward.

I recommend this show as bit of theatre lore, captured, like fireflies in a bottle, to be viewed once more before it fades forever from view.

Boyd Kelly as Al

The Sunshine Boys, by Neil Simon, is playing at the Serendipity Playhouse in downtown Vancouver through October 21. See their website for show dates and times. Go to their website www.serendipityplayers.org for more information on them and the show or call 360-834-3588 for reservations (best get them while you can, as they were almost sold out opening night, and the theatre only has about 40 seats.)

Another recommendation, take the offered pillows as the seats are hard. Enjoy!

WARNING: There are several uses of profanity.

Review by Dennis Sparks. Mr. Sparks was formerly a Portland theatre reviewer for the Vancouver Voice (now defunct), and is currently a free-lance reporter with his own blog site for Portland and Ashland theatre reviews: www.dennissparksreviews.blogspot.com

Photos by Ruth Zschomler for SWWASTAR. 

"The Sunshine Boys" to be Presented by Serendipity Players

SERENDIPITY PLAYHOUSE, 500 Washington Street, Vancouver, Wash., presents “The Sunshine Boys” by Neil Simon, October 5 – 21.

Dates: October 5, 6, 7, 11, 12, 13, 14, 19, 20, 21

Times: 2 p.m.  Sunday; 8 p.m.  Friday and Saturday.

Tickets: $15 – at the door 30 minutes before the performance
Reservations recommended. Leave info at 360-834-3588

Special: 8 p.m. Thursday October 11 “Pay What You Will” Tickets available at the door only.

About the Play and Cast

Willie and Al were the famous comedy team of Lewis and Clark for 43 years until they broke up 12 years ago. Now they’ve been offered a chance to reunite for one night. Will they be able to put aside their differences and go on with the show? Or do the old wounds run too deep? Hilarity ensues as they work out their differences, on and off stage.

The Sunshine Boys is a comedy in two acts set in the early 1970’s. The Sunshine Boys features Boyd Kelly, Randy Swerdlick, Tory Mitchell, Amber Cobb III, Jack McCracken, Cecelia Harper, and Sandra Geary. Directed by Tony Broom and Joni Moore.

“It’s hard to go wrong with Neil Simon. We’ve been having so much fun with the rehearsals that this barely seems like work,” reports director Tony Broom. “They’re a really funny and talented group. Randy and Boyd have both done the play before and that’s been helpful to all of us.” 

The following Photographs, by Christopher Paradee, were provided:

Serendipity Players is a non-equity, semi-professional theater company.

REVIEW: Fort Vancouver's "The Wizard of Oz" Travels a Golden Road

“There’s no place like home.”  

Endearing words from the all-too-familiar film, “The Wizard of Oz.”  But what one must remember is that these prophetic thoughts are uttered only after one has gone over the rainbow.  The real revelation is not in the destination but in the journey.

The Story:

Who does not remember Dorothy and her tornado; the Cowardly Lion and friends; the, oh, so Wicked Witch of the West; the Munchkins; and the zany Professor Marvel (aka, the Wizard of Oz).  But this is a dream well worth re-awaking, via this production, not only for some stellar performances, but for a bit of re-imagining, too.

For those not familiar with the story: it is of Dorothy, a bored teenager, brought up on a Kansas farm.  Into this uneventful life, her world turns upside down when a tornado (a young girl’s awaking into adulthood, perhaps?) sweeps her into the magical land of Oz. Lost in this whirlwind of color and fantasies and trying to find her way back home, she meets a lion, a tin man and a scarecrow to aid her in her trek down that golden road to see the Wizard, who is purported to have all the answers. 

But it seems they all may be seeking answers to questions that have been within them all the time.  Among their adventures with flying monkeys, Winkies, poisoned poppies and a very nasty Witch, it is safe to say everyone gets their desired wishes or just desserts.  (Would it were that simple in our own “Kansas” settings.)

The Staging:

There are some lovely performances, especially by Kendall Josey in the guise of Dorothy. She has a marvelous singing voice, unfortunately restricted to one solo number, “Over The Rainbow,” so well rendered.  But the really amazing thing is her acting performance as the character. She brings one aspect to this role that even the incomparable Judy didn’t—you really believe she is a misfit teenager, out of her element, with all the quirks and foibles of growing pains. Josey is not trying to imitate anyone, she is simply being the person that is written. She puts her own hometown, homespun spin on it and it works beautifully!

Equally as effective is Mackenzie Broom as Professor Marvel/Oz. She completely molds her own character out of her imagination. (And isn’t that what enacting a role is all about?) The character, as written, is, at the very least, eccentric. Broom carries this to the extreme in her creation. She is daring, fearless, animated and appears completely at ease on the stage.  She pushes the envelope to the edge (as does Robin Williams in his guises) and puts her own maniacal touch on her Marvel/Wizard. A talent well worth following in future endeavors.

And Simone Corbett is deliciously wicked as the Witch. The character needs to engulf the stage when she’s on and Corbett has no trouble in that regard.  She moves, cackles and wields her power with great authority. 

The Lion (Courtney Bettis) embodies nicely the humor and vulnerability of the role. The Scarecrow (Jon Judge) easily slides into this warm, soft guise as a character of substance, even though he’s made of straw. And the Tin Man (Josh Riddell) nicely inhabits the lanky fellow with a heart of gold. Tamika Taylor is a beautiful Glinda and Max Burdick has some funny exchanges as the Guard of Oz.

It is good to see the expansion of the cast accumulated from the Gaiser and McLaughlin schools.  And Danielle Reid has done a superior job on the glorious scenery for this production. The band, as well, added to the success of this show.

Sean O’Malley should be complimented for taking on the formidable task of mounting this show, not an easy job, considering all the complications of music, movement, acting and staging.  And I applaud the cross-gender and cross-cultural casting of the roles.

This is not to say this is a perfect show. The micing needs some serious revisiting, the band overpowered the actors at times, and the diction of the performers was sometimes sloppy. The set changes need to be quicker and move more smoothly.

And the Toto is a no-no. It seemed more silly than effective to have an offstage voice bark for this beleaguered beast—the invisible presence works well enough. 

Some of these problems are due to the cavernous space in which they are performed, as well as opening night jitters.

This production is well worth attending because, in part, it’s a cry from the heart for a fading art form in our education system. Attention must be paid to The Arts, performing or otherwise, in our schools and communities. The confidence it builds, the teamwork it instills, and the worlds they explore, are important parts of building character in people. 

But, perhaps, this was best expressed by Bob, the bus driver, who was in the audience for this performance. He explained that he knew many of these kids and had faith in them. He said some came from troubled pasts but that this artistic avenue they’ve chosen has, perhaps, regained for them, some of the goodness they have been seeking in this world. Not a bad reason to come and support these young folks, is it?!

The show plays this week at Fort Vancouver High School.  Call the school for times and other performance dates 360-313-4000.

By Dennis J. Sparks (Mr. Sparks was formerly a Portland theatre reviewer for the Vancouver Voice, and is currently a free-lance writer/director/producer).

REVIEW: Evergreen High School's "Beauty and the Beast" is Both

“The magic of Disney has always been captivating to me,” writes Evergreen High School drama teacher and director Stephanie Kerns McCrea, “I have wanted to direct this show for many years…”

A word to the director:

Just because you want to do something doesn’t mean you should.

Those who know me understand that I relate quite well to McCrea’s sentiments about Disney. So, I see a little Disney theater from time to time—real Disney theater (I've seen the professional tour of "Beauty and the Beast" twice, the world premiere of "Aladdin," "Lion King" at the Pantages in L.A. and on tour twice as well as multiple shows repeatedly in the Disney parks). Well, I’m going to stick with the genuine article from here on out.

I’m just not going to see amateurs mess with their material again. I’m sure it makes Disney some good money, but I think they made a mistake licensing their shows to others—it cheapens their brand.

Disney’s “Beauty and the Beast” is a wonderfully written musical. It can be a glorious theatrical experience, but it must be done with…magic. This production lacked that. It was a step up from the Metropolitan junior production I saw last month, but still came up quite short.

Not that the show was bad for a high school production. It was just too big of an undertaking. I think another, smaller scale musical might have been a better choice; because the performing talent, I believe, was there.

This production was like a bookshelf on which are some great books held in place by two homely book ends—deep and wonderful in the middle with a beginning and end that lacked sparkle and energy.

The Beautiful

There were some truly decent performances. I don’t think a single line was dropped. I believe every performer gave 100% (and I know the stage crew was working hard, too). There were many good actors/actresses. There were a handful of really good singers. However, rarely did the two reside in the same body.

As Belle, Victoria Hardy was simply de toutes les manières remarquables. She could sing, she could dance (after all girl, this is France), she could act, she had the perfect voice and she was a true belle. Even her line delivery was like listening to the DVD (which I’m sure she did).

Lucas Schneider—a third-grader from Fircrest Elementary—was simply delightful as Chip. Morgan Tache, as Babette, was funny, flirty and fabulous (also a nice accent).

James Taylor did a good job with the role of The Beast and, though not as strong a singer as his namesake, he handled the soaring range of If I Can’t Love Her with control and great emotion. I was moved.

Shadan Leggett (Lumiere) was, perhaps, the shows strongest actor. His singing was fine, but not exceptional. He maintained his accent well and seemed to really, ah, shine.

Paige Child (Mrs. Potts) has a beautiful voice and poured out the title song quite well, but she wasn’t a particularly strong actor.

Quinn Carahan (Gaston) fit the role in voice and physique. His singing voice was equally strong, but he was difficult to understand while singing (due to diction).

The choreography was generally well done, but the ballroom scene was certainly the highlight of them all; it was a truly beautifully executed. What surprised me was that the traditional “show stopper” number Be Our Guest was surpassed by the dance to Gaston.

I’d compliment the costumes, but they were borrowed. Several intelligent lighting fixtures were used to good effect in the production.

The Beastly

Most of the sets were well done—especially the library—but cumbersome. I’m sure that a good quarter of my viewing time was taken up by set changes. I don’t like that, and who does?

The show was haunted by some other familiar technical ghosts. There were wireless mic troubles. [You know, this doesn’t have to be an issue.] Much of the lighting design had a rich and beautiful palette, but was inadequate; it did not properly light faces for registration—especially needed during solos.

A live orchestra can be a delight, but it must be well balanced and not overpower the singers and it must be tight and with every player in tune. Otherwise it is a distraction. This orchestra's balance was good and they pretty much stayed together, but there were many notes that strayed from the written—mostly from the brass section (especially a trumpet).

And overall the illusions, by Rob Lake Theatrical, just didn’t cut it…at all. There was absolutely no magic in them. A lot of fog and a lot of waiting, yes, but how does that seem like magic?

The show continues May 4, 5, 11 and 12; 7:00 p.m. curtain; matinee, May 12th 2 p.m. curtain at Evergreen High School Auditorium, 14300 NE 18^th Street, Vancouver, Wash. Tickets, adults $10, students and honored citizens $7, can be only purchased on the date of the show at the Evergreen High School Auditorium Ticket Booth starting at 5:30pm.

Visit www.ehsdrama.com for more information.

This curtain warmer shot was the only photo we could snap before being
tersely told not to take pictures. There was no notice in the program and the
the pre-show announcement only forbade flash photography. Sorry.

NOTE: I would have loved to have provided you with a slide show of these students, but we were told not to take any photographs during the production.

By Gregory E. Zschomler

Magenta's "The 39 Steps" a Hit Homage to Hitchcock

Magenta Theater's production of Patrick Barlow's tribute to Alfred Hitchcock is a gem. The first night's audience ate it up.

It's no wonder. The Tony Award winning comedy-thriller is brilliant and oh, so much fun! Director  Bryan Schmidt is a genius. While he attributes the wonder of the work to the script, his comic knack is surely evident.

The show is a real undertaking not to be taken lightly. With over 25 locations, nearly a hundred costume pieces and as many set pieces, it's a wild circus. While creative, the sets changes are the show's only real downfall--done in the dark, they create far too much down time. They might have been more interesting had they taken place in the light before the audience's eyes.

And the four (count 'em, only four?) talented actors are challenged as well. Matt Newport is marvelous as the lead, Richard Hannay. The other three--Shaye Eller, Tony Provenzola and Justin Tanner--rather creatively play nearly 100 of the other characters, sometimes switching roles right on stage.

They embrace the strenuous job (you can see them sweating) of recreating a train chase, a nefarious spy organization, the hunt for a fugitive, and even a parade using "every theatrical trick in the book." (Well, maybe not all of them, but quite a few.) Some are quite humorous and enchanting even though they are sometimes simple.

Opening night played to a near full house. The odd, quirky play is full of melodrama, slapstick and broad humor. Many of Hitchcock's films are referenced in this comic adaption of the 1939 film.

The thriller follows Richard Hannay as he encounters a beautiful spy (wonderfully played by Eller who is killed off all too quickly, but she has other roles); He is framed for her murder and then must take a perilous journey across the United Kingdom to unravel the conspiracy.

From left to right: Tony Provenzola, Shaye Eller, Justin Tanner and
Matt Newport in Magenta Theater's  production of "The 39 Steps."

The show is full of hilarious gags--both visual and auditory. A bit of it was just dumb, but for the most part rather entertaining. While quite British, the play none-the-less makes fun of the English as well as Germans and Scots.

The lighting was well conceived and the costumes just too much fun. With so much good, it was almost easy to overlook the lack of attention to several non-period set pieces. It also bogged down a bit in the second act, but that is trivial compared to the the whole and Newport's well delivered and funny monologue (also in the second act).

Newport has a striking resemblance to a young Walt Disney and he played his role with true talent. The energy level from the entire cast was phenomenal. The ending a bit of a surprising twist. Even the curtain call was fun.

Don't miss this show!

The show plays April 14, 19-21, 25-27 at 7:30 p.m., as well as April 22 and 28 at 2 p.m. at the Magenta Theater, 606 Main St., Vancouver, Wash. Tickets are $12-$15. Details at their website.

CVTV taped part of the show and a featurette will be posted to YouTube later this week (I'll let you know when it's up). Here it is:

By Gregory E. Zschomler

OPENING THIS WEEKEND (04/13/12): "The 39 Steps" at Magenta Theater

It looks like this production may sell out. There were only a few seats left for opening night when I got mine and, according to marketing information, a performance has been added "due to popular demand."

Based on the movie by Alfred Hitchcock, the play was adapted for  stage by Patrick Barlow. The Tony-Award winning "The 39 Steps" brings the classic Hitchcock spy thriller to the stage, re-imagined as a fast paced comedy. The Magenta production is being directed by Bryan Schmidt.

In a nutshell the comedy follows Richard Hannay as he encounters a beautiful spy only to end up framed for her murder. The only way he can clear his name is to unravel a conspiracy that will lead him on a race across England and Scotland.

The performance stars four actors--Matt Newport, Shaye Eller, Tony Provenzola, Justin Tanner--who embrace the challenge of recreating over a hundred characters from the movie. They will attempt to bring to life a train chase, a nefarious spy organization, a hunt for a fugitive, and even a parade using every theatrical trick in the book.

For more information (and a video from the West End production) please view my earlier post.

There will also be more information presented in my REVIEW post coming this Saturday. 

For ticket information see the Magenta website.

By Gregory E. Zschomler

AUDITIONS: Golden Garter Family Theater's Potter School Musical

Steve Taylor's Golden Garter Family Theater is seeking seven actors, three adults and four young people (age 16 and older) for roles in their upcoming production, "Potter School Musical." (See video below.)

Much in the vein of last year's musical-comedy spoof on the Twilight series, "Twi-Lite," this show spoofs the Harry Potter and High School Musical films.

The production is slated to open in June at the Woodland, Wash., Love Street Playhouse. Auditions will be held at 1:45 p.m. and 4 p.m., April 7 at the playhouse, 126 Love St., Woodland, Wash.

Actors should be prepared to sing a short a cappella song and read cold from the script. They should also bring their personal calendar, theater resume and a head shot.

For more information: info@goldengarter.com

Here's a video sample of selections from the show.

By Gregory E. Zschomler

Magenta Theater presents the West End hit "The 39 Steps"

As Magenta Theater's "Sealegs" (see earlier post) sails off into the sunset, they open a new show this April. "The 39 Steps," adapted from the classic 1939 Alfred Hitchcock film, a cloak and dagger tale, features four actors playing multiple roles.

The thriller follows Richard Hannay as he encounters a beautiful spy, is framed for her murder and then must take a perilous journey across the United Kingdom to unravel the conspiracy.

The show plays April 13, 14, 19-21, 25-27 at 7:30 p.m., as well as April 22 and 28 at 2 p.m. at the Magenta Theater, 606 Main St., Vancouver, Wash. Tickets are $12-$15.

For more information see the Magenta website or call 360-635-4358.

The video above is from the West End production of the play.

I will be reviewing this on opening night. 
Look for my review on Saturday, April 14 by noon.


By Gregory E. Zschomler