REVIEW: OCT's "Fancy Nancy" is a Dancy, Prancy, Joyful Romp for Everyone

Oregon Children’s Theatre presents the West Coast Premiere of "Fancy Nancy: The Musical" based on the books by Jane O’Connor.

Don your most glamorous attire, pour a spot of tea, and join OCT for the most elegant musical of the year—"Fancy Nancy!" Nancy and her pals Wanda, Rhonda, Bree, and Lionel are super-excited to be dancing in a school recital. Nancy is sure she will be cast as a shimmering mermaid, but ends up as an ordinary tree instead. When Bree lands the coveted role, Nancy realizes that being fancy comes in many forms—all it takes is a dash of imagination, camaraderie, and a little joie de vivre!

Nancy (Madison Wray) and her friends Lionel (Brendan Long) and
Bree (Haley Ward) are ready for the school play in Oregon Children's
Theatre's "Fancy Nancy." Photo by Owen Carey.

"Fancy Nancy" was originally produced at New York's Vital Theater, the same company that originally brought the wildly popular "Pinkalicious" to the stage.

It is based on the bestselling children’s book series by Jane O’Connor and illustrated by Robin Preiss Glasser. Book and lyrics bySusan DiLallo. Music and lyrics by Danny Abosch. Original orchestrations by Danny Abosch. This magnifique musical—that’s fancy for great show—is sure to please.

“I love Nancy,” says director, Stan Foote. “She just aspires to be a better person. And when she comes up against obstacles, she recovers and glories in the greater good!”

Some of the show’s big ideas include:

• Adding a little extra color, music, vocabulary or fancy flair is a great way to make your day special.
• Being fancy isn’t just for girls.
• Even when we try our hardest, we can’t always get what we want.
• It’s okay to feel jealous sometimes.
• Make the best of whatever situation you find yourself in.
• Celebrate the victories of others

Nancy (Madison Wray) and her friends Lionel (Brendan Long) and
Bree (Haley Ward) have très magnifique (that's fancy for cool) tea parties
in Oregon Children's Theatre's "Fancy Nancy." Photo by Owen Carey.

Shining Stars:

The cast features Madison Wray as Nancy, Haley Ward as Bree, Annie Barker as Rhonda,
Hannah Wilson as Wanda, Brendan Long as Lionel, and Dani Baldwin as Nancy’s mom.

Madison Wray (whom we reviewed as Mildred in OCT's "Zombie in Love") was smashing! (that's a fancy British word for "wonderful") in the lead. She brought an extreme amount of energy and enthusiasm to the role. She sang wonderfully and danced really well. Such a treat (makes me want a cupcake). A lot of talent here folks.

The effervescent and extremely talented Haley Ward (who I saw but did not review in OCT's "The Magic Treehouse") was excellent as Bree. That girl can sing and dance as well. I like how she throws everything she has into the roles she plays. What an expressive and rubbery face, too!

I also enjoyed the "twins" Annie Barker as Rhonda and Hannah Wilson as Wanda. Both girls did a nice job and were strong, expressive dancers. Both had lovely voices. I think of all the actresses in the show these two best expressed the child-like manners of the ages they represent.

The remaining cast members, Dani Baldwin (Nancy's mom) and Brendan Long (Lionel), also did well. Long, as the token boy, seemed unnecessary really and not quite a match for the girls, but was none-the-less enjoyable and talented.

The book on which the
musical is based.

Baldwin was good, but she played the mom too straight--too natural, too realistic--while the other roles had a comic nature to them. She is talented, but even though she is "the voice of reason" in the production, I felt there should have been more of comic edge to the portrayal. I loved her delivery of the wonderful song "The Best Part I Play is Your Mother."

One final observation about the acting: During opening night a bead necklace broke unexpectedly. Neither Wray or Ward broke character. Oh, sure they laughed and tried to deal with the random event, but they did so in character and with professionalism. Such a joyful, spontaneous moment.

The creative team includes: 

Stan Foote (Director), Darcy White (Musical Director), Daniel Meeker (Scenic Designer), Mikaela Gladstone-Saucedo (Costume Designer), Kristeen Crosser (Lighting Designer), Sara Mishler Martins (Choreographer), Em Gustason (Sound Designer), and Kaye Blankenship (Props Master).

All did a merveilleusement exceptionnel (that's a fancy French way to say "wonderfully exceptional") masterful job. I loved the beautiful, but simple set, the equally colorful costumes, the fun dances, the lovely lighting and, well, everything. Perfecto!

SW Washington's Local Angle

15 year-old Skyview High 

School sophomore 

Hannah Wilson.

It never ceases to amaze me what talent pours from our little corner of the state--Washington State that is. County Clark. And several of our local students have appeared in OCT productions such as Lindsey Koehler in "Zombie in Love" and Ashlee Walbaurer in "The Magic Treehouse" (she also served as Apprentice Choreographer for this show) to name those I know of.

Now 15 year-old Skyview sophomore Hannah Wilson joins the OCT distinction. Her role in "Fancy Nancy," as the twin Wanda, marks her debut with the company. Not just anyone can get a role with OCT and Wilson definitely deserves it.

According to an article in The Columbian she said, “I do want to do this for the rest of my life. Theater, it is my passion." We look forward to seeing here again and again in the limelight around the metro area.

Read more about her here.

The Info

"Fancy Nancy" is playing now through June 1; 2 and 5 p.m. Saturdays, and 11 a.m. and 2 p.m. Sundays at at the Newmark Theatre, 1111 SW Broadway. Portland, Ore.

Audience members are invited to attend in their most elegant attire—that’s fancy for stylish.

Tickets are $18-$30 for adults and $15-$26 for children (group rates also available). Box Office: 503-228-9571 or TicketMaster (503-790-ARTS or www.ticketmaster.com). Recommended for ages 4 and up.

By Gregory E, Zschomler
Photos, by Owen Carey, provided.
For another perspective from Dennis Sparks click here.

REVIEW: "Uh-Oh, Here Comes Christmas" Presented by Longview's Rising Star Prod.

UH-OH, HERE COMES CHRISTMAS, based on Robert Fulgram's book, and adapted to stage by David Caldwell and Ernest Zulia, and presented by Rising Star Productions, opened December 6 at the Rising Star Theater in Kelso, Wash.

"I'm not often aware that I am happy, but I am aware that I have been happy often." ~ from the show

The Story

The show features fifteen holiday stories from the international best-selling author of All I Really Need to Know I Learned in Kindergarten which have been crafted into an engaging evening of storytelling and song. This charming show takes a funny, heartwarming and often poignant look at the struggle to find the spirit of the holidays amid the avalanche of commercialism, stress and chaos that crashes down every December. 

There are many delightful, inspiring, often humorous and sometimes touching stories--generally delivered as monologues, though some are given as vignettes. This is the ideal vehicle for this theater and ensemble and an excellent alternative for those tired of the "same ol', same ol'" holiday play (another "Christmas Carol" anyone?).

The Songs

There are a couple of familiar Christmas songs as well as five others you may not know that will delight audiences. One of them, "The Christmas Wrap," was composed by Greg Moore, the show's able accompanist. Each song was presented perfectly--the right harmony, the right feel--and could be heard well. I especially enjoyed "The Marvelous Toy" which I remember from my youth.

Note: There are two stage versions of this work and it can be offered with four musical pieces written for the show or there is a version without music. RSP chose the non-musical version and then added their own songs (which I think were better).

The Stars

L to R: Melanie Portwood, Laurel and Greg Moore (seated),
Jueanne Meyers, and Eric Gerdlund. Photo provided.

The "cast" of Uh-Oh consists of Eric Gerdlund, Jueanne Meyers (Artistic Director), Melanie Portwood, and the husband and wife team Greg and Laurel Moore. (A mime is also performed by Kyrie Huggins.)

The ensemble was a near ideal grouping. They each sang well on their own and harmonized very well together, too, voices blending nicely. They had their parts down and diction was clear.

Each player had their moment to shine and each shared the spotlight as well. If I were to choose a standout--and this is a hard one since the cast was so well matched--I'd choose Gerdlund. He seemed to convey a real connection with his material--especially the one about wanting his childhood back.

The Staging

As usual with Rising Star Productions, the set was not very complex or expensive. One simple "Christmassy" set here did the trick just fine. Remember, this was not so much a play as it is something of a "variety show."

This show was well suited to Rising Star Productions and accomplished what they aim for: Good, clean, family entertainment that builds and showcases community talent. The show runs less than two hours and can be enjoyed by the whole family (although I think that those who've been around for a few holiday seasons may relate better than the young).

The Seats

All performances are presented in their space at the Three Rivers Mall; December 6, 7, 13, 14, 20 and 21 at 7:30 p.m. with additional matinees on December 14 and 21 at 2 p.m. Tickets are $10 general, $5 for children (12 and under) and $8 for seniors (65+). Come early and enjoy the pre-show Christmas sing-a-long. Tickets at: http://www.risingstarproductions.org/tickets.html

Review by Gregory E. Zschomler.

Photo provided.

Bump n' Cump Offer Encore of "The Mikado"

Director Tony Bump about to strike a blow.

The Wittiest Execution in Town!...AGAIN

After a very successful initial run and the Heathman Lodge in July, Pacific Stageworks is presenting Gilbert and Sullivan's “The Mikado”, September 6 and 7 at 7:30 p.m. and September 7 and 8 at 2 p.m. Encore performances will be at the Love Street Playhouse (126 Love St.,  Woodland, Wash.).

“We have the same cast, the same fun, but at a different location,” says Producer, Jennifer Johnson. “The cast had a fabulous time, and the production was very well received by our audiences. We aren’t ready to give it up.”

Director Tony Bump places the performance of “The Mikado” in a modern cocktail party/fundraiser for a local theatre company. Audience members are encouraged to dress in a kimono and sing along with familiar songs such as “Three Little Maids from School,” “Tit Willow,” and “To Sit In Solemn Silence.” Many of the cast members have previously performed at Love Street Playhouse and are looking forward to reuniting with their northern friends.

Kiss and Kill 

“The Mikado” is set in the town of Titipu, where the tailor Ko-Ko (Tony Bump of Vancouver) is promoted to Lord High Executioner. His ward, Yum-Yum (Kristen Johnson of Vancouver), whom he plans to marry, has fallen in love with a traveling musician, Nanki-Poo (Will Johnson of Bellingham). Nanki-Poo is, in fact, the Mikado’s son, and has escaped the court to avoid the attentions of an intimidating older noblewoman, Katisha (Jennifer Johnson of Camas). Ko-Ko learns of a decree from the Mikado (David Hicks of Portland) that, unless an execution occurs within a month, the city will be reduced to the rank of a village. Neither the noble lord Pish-Tush (Gary Bock of Vancouver) nor the Lord High Everything Else, Pooh-Bah (IZ Darling of Portland), will volunteer to be executed. Complications occur with the arrival of the Mikado, accompanied by the ever-formidable Katisha.

Additional cast members include Jeanna Reed (Battle Ground), Kathleen Jung (Ridgefield), Ashley Hall (Bellingham), Garry Bastian & Zak Campbell (Vancouver), and Kaylen Ostrom (Camas).

Witty lyrics and brilliantly constructed plot twists make this light-hearted tale of forbidden love, deception, and beheadings a favorite among theatre-goers since 1885.

Tickets are $15 in advance or $17 at the door. Audience members wearing a kimono will receive a $1 discount. Tickets may be ordered at www.pacificstageworks.com or 360-213-5174. 

Please do not contact Love Street Playhouse with questions.

REVIEW: Journey's "The Music Man" Upbeat Fun and Nicely Done

Journey Theater Arts Group presents their annual all-chapter community theater production. This year it's, TAH DUH! (come on, you already know this): "The Music Man."

The Story:

An affectionate tribute to Smalltown, U.S.A. of a bygone era, Meredith Willson's "The Music Man" follows fast-talking traveling salesman named Gregory who goes by the name of Prof. Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize, this despite the fact he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian the librarian, whose grace and love turn him into an honest man.

Based on a story by Meredith Willson and Franklin Lacey, this critically acclaimed, award-winning Broadway classic is an all-American institution, thanks to its quirky characters, charmingly predictable dramatic situations, and one-of-a-kind, nostalgic score of rousing marches, barbershop quartets and sentimental ballads, which have become popular standards. Funny, warm, romantic and touching,"The Music Man" is family entertainment at its best.

But really the show is about two people set in their ways, who are quite judgmental of the other who find understanding, change and love.

Holly Counts (left) plays Marian Paroo and Chris Bartell (right) plays Prof.
Harold Hill in Journey's production of "The Music Man." Photo provided.

The Cast:

Chris Bartell, of Portland, plays Prof. Harold Hill. Holly Counts, a resident of Hillsboro, plays Marian Paroo. Both were well cast.

Bartell's characterization was snappy and slick--he was quick on his feet, fluid in motion, and easy to believe. His vocals--though some of the Hill tunes (like "Trouble") call for nothing more than rap--were good on nearly every song. While he delivered a rough Marian his voice was of 'the finest virtuoso' for 76 Trombones and his duets with Counts.

Counts has one of those stunning, lovely voices you can't get enough of. Her singing and dancing were tight and graceful, and while she didn't quite sell all of her emotions as an actress, I enjoyed her performance.

The company, cast and crew consists of members from all the local chapters of Journey Theater Arts Group (Beaverton, Portland, Vancouver and East Vancouver) so you get the best of their best.

Neil Southwood (as Marcellus Washburn) was a nearly ideal 'comic sidekick' for Bartell. I loved his Bronx accent. And speaking of accents, Cheri Hogan's (Mrs. Paroo) Irish brogue was delightful. Even though she is too young for the role, she carried herself well and had excellent comic skills and timing. Dave Robinson as the mayor was also quite humorous.

All the company performed well, but there were four other standouts. I really enjoyed the performance skills of the two youngest leads. Aida Valentine (Amaryllis) delivered an outstanding performance as an actress. Her facial expressions and body movement, as well as her line delivery, were top notch. But the real show-stealer was Josiah Bartell as Winthrop. So cute and, yeth, adorable--every bit as much as little Ronny Howard (from the film)--nailed his solos in Gary Indiana and Wells Fargo Wagon. Also worth mentioning is the crowd-pleasing delivery by the barbershop quartet.

Finally, two chorus members stood out for their exceptional performances; Lucy Belle Thompson gave an all-out, always on performance. Erin Fowler did the same, even more so. Fowler's every movement was enthusiastic and orchestrated precision, her expressive and animated face every bit Disney-esque, and, though she had no solos, seemed to belt out her chorus numbers with power. I would like to see these two in lead roles.

The Production:

As with last year's "Footloose" this was well done. Yes, there were a couple small opening night glitches which I have faith will be ironed out, but all-in-all the show was a delight. I really loved the presentation because it is first of all an exuberant, uplifting and well-written musical (and you know I love a good musical). Secondly, the company did a quality job in the presentation in every way.

Costume, hair and makeup, by Anne Dunlop were all nicely done. Choreography, by Samantha Newhall, was generally quite good and, at times, truly inspired. I think that what could have been done and what was practical were two different things and that compromises, due to a large cast crowded onto a small stage (considering the company size), had to be made.

The lighting, by Daniel R. Shafar, was above average and included a rich musical-theater color palette. There were some acting areas at the edges, and flats at the heights, that could have been lit better, but over-all the stage was evenly illuminated and the transitions smooth and interesting.

The set, by Mark Martin, simple and stylized, worked well. It was on and off quickly and moved under the cover of music or transitional dialogue (some of the rolling pieces could be heard). It had a certain Broadway charm and, at times, grandeur to it. I especially liked the Crayola-colored River City set.

The musical direction and orchestra conduction, by James Pick, was awesome! The band sounded great and did not, generally, overpower the company or miked leads. There was very little mike trouble (though some) and lead part vocals were sometimes not strong enough in ensemble pieces (Pick-a-Little and Wells Fargo). This is a difficult show for vocalists (tight harmonies, rapid fire lyrics, tricky rhythms, etc.) and much work went into getting it right.

Of course, all of this was corralled and organized, overseen and otherwise inspired by the director Kristi L. Foster. Since it came off so well and I walked out of the theater so pleased and feeling good, she must have done the job right. I would recommend you go see this production and you, too, will walk out feeling good.

Other Information:

The JTAG Community Theater Production runs two weekends at The University of Portland’s Mago Hunt Theater, sponsored and supported locally by Wells Fargo and Moda Health. Performances are August 9-18, 2013 at the Mago Hunt Theater at the University of Portland (directions on the JTAG website). Tickets are on sale now at JourneyTheater.org or by calling 360-750-8550. Pre-sale adult tickets are $18. Student and military tickets are $15 (with ID). Youth and senior tickets are $12. The 2:00 p.m. Saturday, August 10th showing is a “family day” performance with all tickets just $12. Tickets at the door will be $3 more.

By Gregory E. Zschomler
Photo provided

For another perspective see the Dennis Sparks review by clicking HERE.

"The Music Man" to be presented by Journey Theater Arts Group

The JTAG Community Theater Production runs two weekends – August 9-11 and August 16-18 at University of Portland’s Mago Hunt Theatre, sponsored and supported locally by Wells Fargo and Moda Health.

The Story:

An affectionate tribute to Smalltown, U.S.A. of a bygone era, Meredith Willson's "The Music Man" follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize, this despite the fact he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian the librarian, whose grace and love turn him into an honest man.

Based on a story by Meredith Willson and Franklin Lacey, this critically acclaimed, award-winning Broadway classic is an all-American institution, thanks to its quirky characters, charmingly predictable dramatic situations, and one-of-a-kind, nostalgic score of rousing marches, barbershop quartets and sentimental ballads, which have become popular standards. Funny, warm, romantic and touching,"The Music Man" is family entertainment at its best.

Chris Bartell, of Portland, plays Harold Hill. Holly Counts, a resident of Hillsboro, plays Marian Paroo, but many from the cast are from Vancouver. (See photo, provided, at right.)

Information:

Performances are August 9-18, 2013 at the Mago Hunt Theatre at the University of Portland (directions on the JTAG website). Tickets are on sale now at JourneyTheater.org or by calling 360-750-8550. Pre-sale adult tickets are $18. Student and military tickets are $15 (with ID). Youth and senior tickets are $12. The 2:00 p.m. Saturday, August 10th showing is a “family day” performance with all tickets just $12. Tickets at the door will be $3 more.

Look for our opening night review here on August 10.

The Music Man is coming to River City

Journey Theater Arts Group: The Music Man

Journey Theater Arts Group presents the beloved musical "The Music Man" with book, music and lyrics by Meredith Willson, story by Meredith Willson and Franklin Lacey.

"The Music Man" tells the story of con man Harold Hill. He arrives in River City intending to cheat the community by selling them music lessons and the promise of a boy's marching band although he has no musical skill. His plan is foiled when he falls for the town librarian, and he manages to enrich the town with a love of music and learn a lesson in moral responsibility instead.

Performances are at the Mago Hunt Center Theater, University of Portland, 5000 N Willamette Blvd, Portland, Oregon. The bulk of the cast members--adults and children--are from Vancouver.

Click here for directions

Public Performances:

Friday, August 9th - 7:30 p.m. (We will review this show.)
Saturday, August 10th - 2:00 p.m. ***
Saturday, August 10th - 7:30 p.m.
Sunday, August 11th - 2:00 p.m.
Friday, August 16th - 7:30 p.m.
Saturday, August 17th - 2:00 p.m.
Saturday, August 17th - 7:30 p.m.
Sunday, August 18th - 2:00 p.m.

Pre-Performance Ticket Info:

JST Adult - $18.00
JST Youth (ages 2-18) - $12.00
JST Senior (ages 62+) - $12.00
JST Military/Student (with valid ID) - $15.00
JST Group - $12.00
*** Family Day - JST Family Day $12.00 each
(Aug 10 @ 2:00 p.m. only)

Sales at the Door:

$21.00 - JST Adult
$15.00 - JST Youth (ages 2-18)
$15.00 - JST Senior (ages 62+)
$18.00 - JST Military/Student (with valid ID)
$15.00 - JST Group
*** Family Day - JST Family Day $15.00 each
(Aug 10 @ 2:00 p.m. only)

Call the Journey Box Office for Ticket information at (360) 750-8550, Monday - Friday, 9 a.m. - 3 p.m. Visa, Mastercard and Discover accepted. All tickets are non-refundable. All Group prices are per each person in the group. Rows AA through A are not raked - Raked seating begins in Row B.

OUR REVIEW OF THE AUGUST 9 SHOWING WILL BE POSTED ON THIS BLOG BY NOON AUGUST 10.

Journey Theater to Present "Music Man"

Journey Theater Arts Group is excited to present THE MUSIC MAN. An affectionate tribute to Smalltown, U.S.A. of a bygone era, by Meredith Willson. The musical follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize--this despite the fact he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian the librarian, who transforms him into a respectable citizen by curtain's fall.

This award winning, critically acclaimed Broadway classic is an all-American institution, thanks to its quirky characters, charmingly predictable dramatic situations, and one-of-a-kind, nostalgic score of rousing marches, barbershop quartets and sentimental ballads which have become popular standards. By turns wicked, funny, warm, romantic and touching, THE MUSIC MAN is family entertainment at its best.

Book, Music and Lyrics by Meredith Willson from a story by Meredith Willson and Franklin Lacey. This is a combined effort, featuring adults as well as children, from all the area Journey chapters, but most of the cast is from Vancouver, thus we will be reviewing the show.

Performances at The Mago Hunt Theatre at University of Portland. August 9 – 18, 2013. Fridays at 7:30 p.m., Saturdays at 2 p.m. and 7:30 p.m., and Sundays at 2 p.m. Pre-sale Adult tickets are $18. Student and Military tickets are $15 (with ID). Youth and Senior tickets are $12. All tickets for the Saturday, August 10, 2 p.m. performance are $12. All tickets $2 more at the door. Tickets are on sale now at JourneyTheater.org and 360.750.8550.

REVIEW: OSF's "The Unfortunates"

You know how I generally like musicals. And happy theater. And musicals are usually happy, right? Well, not this time. Here's an unhappy musical and I didn't really like it on that level.

Continuing and completing my review of three Oregon Shakespeare Festival plays I take a look at the world premiere of  the musical"The Unfortunates."

Armless and big fisted.

The Message:

"A musical pilgrimage through uniquely American genres [jazz, blues, gospel] delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival with the sweet sorrow of the blues [and hip hop], 'The Unfortunates' convinces us that any great challenge can be faced with dignity, grace, and compassion. [Even if all's not well and doesn't end well.]

It is difficult material, sad and brooding for the most part (much like Les Miserables), though it ends with a lively tune (Lord, Raise Me Up) that indicates the hope of the hereafter.

The Music:

A dance number on the set of "The Unfortunates."

I love the blues, I love gospel, but not so much when it comes to hip hop and this is an amalgamation of the three--a synthesis opera of sorts. Generally that did worked for me.

The music was a mix of recorded pieces and live music from a small ensemble (Casey Hurt on bandleader and guitar, Jesse Baldwin on keys, accordion and guitar, Mike Fitch on drums and Joseph Porto on bass). They were quite good.

The writers, Jon Beavers, Casey Hurt, Ian Merrigan, Ramiz Monsef were all in the show. Obviously genius musicians and writers, not all were as good at performing the material. I speak primarily of Ian Merrigan who wasn't particularly strong in his lead role(s)--not strong enough anyway. Especially compared to the other members of the talented cast which included Kjerstine Rose Anderson, Rodney Gardiner, Cristofer Jean, Barret O'Brien, Christina Acosta Robinson, Ken Robinson, Jon Beavers and Chavez Ravine as well.

Ramiz Monsef, right, as the doctor.

In top form, however, was Ramiz Monsef, a superb actor. Monsef was splendid in his roles as the heavies (especially as the doctor) and Ken Robinson was tops as the religious-irreligious Preach.

The Making:

The production values were exceptional. The sound (Corinne Carrillo) and lighting (Jiyoun Chang) design, the sets (Sibyl Wickersheimer) and costumes (Katherine O'Neill) all glorious. Technically the show was a marvel with an overall Cirque du Soleil feel in a serious funk. Color changers, fog, moving lights and gobos, lifts, chases and much more added to a simply striking look. The choreography, by Tiffany Rachelle Stewart, was also stunning.

Ian Merrigan the foreground as King Jesse.

As indicated, the show was a downer and often bawdy--I wouldn't recommend it for children due to the dark material, some blasphemous religiosity and sexuality. Having said that, the show was entertaining for its quality music and production.

Very advant garde and, if you like that sort of thing, you ought to see it. The direction, by Shana Cooper, was well done.

The musical's running time clocks in at about 90 minutes (which was long enough) and it is showing now through November 2. More information and tickets are available here.

By Gregory E. Zschomler

A link to a review by Dennis Sparks here.
All photographs and video provided.

The Musical "GOD of This City" to be Presented by LHC KIDSWORLD

Living Hope Church KIDSWORLD presents "GOD of This City" a new musical about kids making a difference, 7 p.m., Friday, May 24 and 1 p.m., Saturday, May 25.

Presentations are FREE and take place at the City Campus, 2711 NE Andresen Road, Vancouver, Wash. http://livinghopechurch.com/

REVIEW: NWCT's World Premier of NEW Non-Traditional "Cinderella" Musical a Toe Tapper

The following bonus review is offered in celebration of NWCT's 20th Season and as a critique of the premier of a new telling of the classic tale.

Grab your tap shoes and get ready for a unique re-telling of this classic tale presented in the classic musical style. Inspired by the Broadway of Cole Porter and George Gershwin, this story of a girl, a gown, and a glass slipper will keep your toes tapping ‘til the stroke of midnight. 

This original adaptation of Cinderella marks the close of Northwest Children’s Theater’s 20th Anniversary Season, and is NWCT’s second world premiere this year. It is also NWCT’s first major tap musical since 2004’s "Crazy for You." This fast-paced, comedic update on the fairy tale focuses on self-empowerment, following your dreams, and dancing your way to a new kind of happily-ever-after.

In other words, take just about everything you know about "Cinderella" and throw it out of the pumpkin coach window. Gone is the element of magic, the rags to riches tale and the glass slipper. Now bring in an empowered servant girl and a prince who only want to dance and "put on a show," a French storyteller, a fairy godmother who is a dance instructor and a tap shoe. In fact, throw in a LOT of tap shoes. Yes, this is very different from what you know.

The Cast

Cinderella features an ensemble cast of NWCT all-stars. Making her fourth appearance on the Mainstage, Sophie MacKay as Cinderella trades in her glass slipper for a pair of tap shoes. NWCT student and parkour-enthusiast Martin Tebo “puts on a show” as Prince Bobby, the reluctant royal who “just wants to dance!” His horrified parents, the Queen and King, are played by veteran performers Melody Bridges and Erik James (in his 50th Mainstage performance).

Resident Artist John Ellingson leads us through the story as Armando, the page, and Elizabeth Gibbs delivers comedic relief as Cinderella’s ‘ballet mistress’ of a fairy godmother.

MacKay is quite good at everything and the rest of the cast ain't bad, but it is Ellington who both carries and steals the show. He is quite the entertainer. Though I felt Tebo was a bit weak in his role, it was the other character roles--Cinderella's step family who were lackluster and melodramatic, and the King and Queen who were nicely played with great comedy--that put him in the middle. James, as the King, though a seasoned actor, was certainly not a song and dance man, but I enjoyed him very much.

The Craft

The production is well done, the tap dancing very nice (though the large group numbers lacked precision), the music very good and the costumes elaborate. The pace is perfect, but the show still lacks some of the zest of other NWCT productions. The musical telling needs more book, but what it does have does two things: provide a good dose of humor and serve to transition from one song and dance to another.

The 70 minute production moves almost too fast with little for the "actors" do but sing and dance. It just needs more of something. Perhaps with more dialogue and greater hand at the stage directing would have pushed the performance to what it should have been.

Director/Choreographer Sarah Jane Hardy's strong suit is in the dance and not in the "business." I'm not saying it was bad, for it was quite good and over all I liked the uniqueness of the experience, it just needed more.

The micing was flawless (again, showing it can be done). The set, though virtually unchanging and simplistic was pretty and the lighting well executed. There were a couple of songs that did nothing to move the plot along. Although it was a good song Rejection Can Be So Sweet seemed out of place. However, I loved the musical numbers as a whole.

The Creator

Cinderella springs to life from the imagination of Ezra Weiss, who wrote the script, music, and lyrics. Weiss, an internationally acclaimed jazz composer and pianist, was recently listed in the 2012 DownBeat Magazine Critics Poll. In addition to numerous albums as a band leader, Weiss wrote music and lyrics for NWCT’s "Don’t Let the Pigeon Drive the Bus!" and Alice in Wonderland (named one of the “Top 10 Cast Albums of 2009” by TalkinBroadway.com).

In creating the finished play, Weiss drew inspiration from the works of the Gershwins, Cole Porter, and Rogers and Hart. Weiss was offered the project by director Sarah Jane Hardy with the charge to create a Cinderella who was strong and empowered.

“I said to myself, ‘What if Ethel Merman were going to play Cinderella?’” says Weiss, “This is the first show I’ve written since becoming a parent, and I didn’t want to propagate the myth of the helpless girl needing a handsome and wealthy prince to come save her.”

Remaining shows are 12 p.m., May 5, 11, 12, 18, 19, 25, 26; 4 p.m., May 5, 11, 12, 18, 19, 25, 26; and 7 p.m., May 10, 17, and 24. Tickets run from $18 to $22. The NWCT auditorium is located at 1819 NW Everett St., Suite 216, Portland, Ore. Phone: 503-222-4480. www.nwcts.org

Review by Gregory E. Zschomler
All photographs and video provided.

For a review by Dennis Sparks click here.

REVIEW: Skyview's "Thoroughly Modern Millie" Thoroughly Enjoyable

Skyview High School presents the classic musical tale of a modern (1922) girl THIS WEEKEND ONLY.

"Thoroughly Modern Millie" is a musical with music by Jeanine Tesori, lyrics by Dick Scanlan, and a book by Richard Morris and Scanlan. Based on the 1967 film of the same name, (which, by the way, starred Julie Andrews, Carol Channing and Mary Tyler Moore). "Thoroughly Modern Millie" tells the story of a small-town girl, Millie Dillmount, who comes to New York City to marry for money instead of love – a thoroughly modern aim in 1922, when women were just entering the workforce.

Millie soon begins to take delight in the flapper lifestyle, but problems arise when she checks into a hotel owned by the leader of a white slavery ring in China. Like the film on which it is based, it interpolates new tunes with some previously written songs. [Source: Wikipedia] 

Thoroughly Great Overall

What a great show! I loved the music first and foremost; the Gershwin-esq ragtime was simple full of  toe-tapping energy. The 24 piece orchestra, under the direction of Ashley Alexander, was tight and, for the most part, did not overpower the stage performances. Especially good were the percussionists and the string section was simply marvelous.

The story is fun and funny, with a few twists that remind one of the Shakespeare comedies (and it ends like one). The choreography, by Genay Tucker, was wonderful. Very creative and nicely executed. Especially good was the tap sequence by Shannon Jung. Costumes were nice and colorful, but not always accurate.

The sets, by Ted Fleming, were changed with precision and speed as if the crew was brought in from Les Schwab. The primary set consisted of a lit cyc fronted with black cutouts of New York high rises with faux painted accordion flats used in front of the backdrop--though not fancy, they worked well. The stenographers desks were exceptionally nice and must have cost a pretty penny.

All the cast (a very large one) performed well (though the lead men were a tad stiff), Kennedy Marvin as Millie turned in a truly top-notch performance. Her voice was divine and her acting superb. Almost a 'triple threat,' though she was not showcased as a dancer. Sanni Small also sang exceptionally well. The show was wonderfully directed by drama instructor Philip Denton. The pace and detail were perfect.

There are many fun and funny elements to the show (like the captioning for the Chinese which is quite cute) and who couldn't like Maya Turner's edgy but funny performance as the iconic Mrs. Meers? The two Chinese brothers, played by Nathan Harris and Andrew Braddock where a hoot. Again, the songs were fantastic, too many great ones to really pick favorites, but if I had to I might put Muqin (mother) or Speed Test (reminiscent of Gilbert and Sullivan's Modern Major General) at the top.

Though Rough at Times

The lighting was inadequate at DSL and DSR where the candlepower dropped off considerably. No followspot was used and, being a musical, would have been totally acceptable and helped to bring soloists out of the crowd and better register the performances. [See my article on stage lighting here.]

There were some (though few) mic problems; not on or up, and some rough breath noises (due to being too close to the lips). Many of the mics were honkin' big (Britney Spears anyone?) and that was a distraction that just didn't look good.

"Thoroughly Modern Millie" plays 7 p.m. May 3 and 4 ONLY* at the Skyview High School auditorium, 1300 NW 139th St. Tickets are steal at $5, $4 for students are available at the door. 360-313-4200. Philip.Denton@vsd.org

*It is a shame that such a great show has such a limited run, but I was told that the auditorium is a big money maker for the district and so booking it for an actual student event (like a theatrical run by the drama department) is not a priority. WHAT!? Income over education? A real shame considering all the expense and time put into staging a musical. With quality like this it should be showcased!

Review by Gregory E. Zschomler

REVIEW: Prairie-Ground's "Once Upon a Mattress" Is No Sleeper

"Once Upon a Mattress" is a musical comedy, music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller, and Marshall Barer. It opened off-Broadway in May 1959, and then moved to Broadway.

The play was written as an adaptation of the Hans Christian Andersen fairy tale The Princess and the Pea. "Once Upon A Mattress" marked the Broadway debut of later stage and TV legend Carol Burnett, who originated the role of Princess Winnifred (Fred) on the Great White Way. [Source: Wikipedia]

Austin Foley as the Jester.

The Subjects

The telling is quite involved with a bit of mystery, magic, a mistaken identity, love and laughs, twists and turns, but the basic idea is that only a true princess cannot sleep on a single pea--even when disguised under twenty mattresses. That's over-simplification to be sure because there is a lot going on in this wonderful tale that offers up plenty of fun and funny.

The Kings and Queens

Calin Breaux as Queen Aggravain. Photos Provided.

This production brings some of the Battle Ground school district's best talents to the stage including familiar-faced veterans like Josh Snider, Calin Breaux, Diana Ferar, Olivia Riggs, Nick Hulscher, Sarah Russell and Austin Foley--whom we have so enjoyed in the past--and many others. Some of them will graduate this year and move on; this could be your last chance to catch their quality performances. Others are fresh faces now stepping into the spotlight (and doing quite well).

There wasn't a bad performance in the show and even the smaller parts were well played (examples: Ronnie McPherson as Sir Studley and Rose Caughie as Lucille). Everyone sang and danced well.

Exceptional performances were given by Josh Snider (Minstrel), Diana Ferar and Nick Hulscher (as the couple Lady Larken and Sir Harry) and Austin Foley (Jester), but it was Calin Breaux (as Queen Aggravain), Jordon Hamann (as Prince Dauntless), Cole Johnson (as King Sextimus), and especially Olivia Riggs (as Princess Winnifred) who stood out above all the rest.

Josh Snider as the Minstrel.

Snider is a great comic and he was wonderful in this show (as he has been in the past), but he was overshadowed this time around by Cole Johnson who's mime antics, facial expression and physicality were perfect! Hamann, too, was ideally childish as Dauntless.

Ferar also proves herself a great comedienne, great with the facial and able to take a pratfall. Hulscher was good with Ferar--especially in their duet In a Little While--but he did not seem as perfected or shine quite as brightly as he did in "Singin' in the Rain." Austin Foley was a great surprise--definitely growing in talent. His soft shoe song and dance was fantastic!  Breaux was a genuine gas; she played the Queen perfectly, though her energy level (animated gestures) seemed to dip in Act II.

Olivia Riggs rises to the top as Princess Fred.

BUT, who really shined was Olivia Riggs. She was meant to play Princess Fred. I have seen her in several other productions, but this was her shining role! Just the right amount of tenderness mixed in with the perfect comic timing and physical comedy--the laugh, the singing, her dance, everything, top notch. The swamp song and Shy (as well as Happily Ever After) were delivered just as they should have been.

Jordon Hamann as Prince Dauntless
gets a kiss from his mommy.

While the students are certainly gifted, I have asked this before: How could one district have a monopoly on talented actors? They don't; statistically it isn't possible. The secret, therefore, has to be in something else and Battle Ground's secret is the 2013 Teacher of the Year, Claire Verity, who directs theater at both Prairie and Battle Ground high schools. [First link and second link are different articles.] Verity is the show's director, set designer and choreographer.

Additionally, recognition must be given to Vocal/Musical Director Darcy Schmitt, who like Verity, loves her job and her students and wants the best for them. Long a SW Wash. talent in her own right, she knows how to inspire students to greatness, having led her students to many victories at the Clark College Jazz Festival. Equal parts enthusiasm, "task-master," and faith bring out the best.

The Kingdom

Dustin McFarland (foreground) as The Wizard  and Cole
Johnson as King Sextimus on the set of "Once Upon a Matress."

Like most PGD productions the costumes are great. Unlike many of the PGD plays I have seen  the set was--well, "more there." Yes, it was still rather "highschooly," but at least there was more to it than there has been in the past productions I've seen. Though I'd rather see a well performed show on a blank stage than shoddy acting on a masterpiece set any day, it's nice when you get both. I like it when everything tickles all my aesthetic senses. So, nice set, too.

It seemed like the show could have used another tech run or so. Mic levels were unbalanced and drifted up and down and several light cues lagged or seemed odd. These are not problems I have noticed too much at PGD before and I hope they are ironed out.

The four-piece band, led by Vicki Burton, played well and did not overpower the vocalists, though their execution of the overture and entr'acte was a little clumsy. It sounded like the drummer was trying to follow the wandering tempos of the pianist instead of setting it.

Diana Ferar and Nick Hulscher.

The dances, as usual, were involved, interesting and very nicely executed. Definitely worth seeing.

The Treasury

The show plays 7 p.m. Thursdays, Fridays and Saturdays; April 26 and 27, May 2-4 only at Battle Ground High School's cafeterium. Tickets at SeatYourself.com are a steal--a lot of bang for your buck.

NOTE: You can use our search feature to read other PGD reviews from past shows.

Review by Gregory E. Zschomler
All photographs by Michael Verity, provided.

To See or Not To See? It's Not Even a Question; Prairie-Ground is Always Worth Seeing

Just one of the great publicity
photos we have to share.

Prairie-Ground Drama presents "Once Upon a Mattress." 

The two weekend run opens April 25 and runs through national Star Wars Day, May 4, at BGHS. (May the 4th be with you.)

The troop (combining Prairie and Battle Ground High Schools) has a good track record for showcasing young, rising talent and presenting quality performances.

The musical-comedy's story is derived from the faerie tale The Princess and the Pea and features song and dance numbers sure to please.

Our review will appear here the morning of April 26.

REVIEW: NHCC's Production of Disney's TARZAN Swings

For the first time in the Pacific Northwest, Disney's stage musical of TARZAN, with music by Phil Collins, comes to Eugene, Ore. at New Hope Christian College.

This classic tale unfolds in early 1900s as a shipwreck leaves an infant orphaned on the West African shore. The helpless baby is taken under the protection of a gorilla tribe and becomes part of their family. When he eventually encounters his first human, Jane Porter, both of their worlds transform forever.​ The musical is based on the popular 1999 Disney film and beloved story by Edgar Rice Burroughs.

​​The show's Grammy Award-winning musical score was written by singer/songwriter/percussionist Phil Collins. TARZAN features the songs from Disney's film like the Grammy Award-winning You'll Be In My Heart, plus Two Worlds [One Family], Strangers Like Me, Trashin' the Camp, Son of Man, I Need to Know and many others as well as new songs written specifically for the Broadway production.

The cast of NHCC's production of Disney's TARZAN.

The Set-Up

Now, understand that, as a Disneyphile, I come into reviewing this play with high expectations. I have seen several professional and amateur productions of Disney stage presentations. (I have seen "The Lion King" several times including at the Pantages in Hollywood; I have seen "Beauty and the Beast" a number of times; and I have seen their world premier of "Aladdin," as well as the mini-musical at Disneyland and other park productions.) Disney wields a controlling hand when it comes to their material with some leeway in consideration of their Disney Jr. adaptions.

That said, I have seen Evergreen High School almost murder "Beauty and the Beast." However, based on the publicity material for this presentation of "TARZAN" I came expecting (hoping for) great things. I was NOT disappointed!

Christina Brown (Jane) and Isaac Frank (Tarzan). Photo provided.

The Cast

Isaac Frank (Stephen in last year's Godspell) fills the demanding physical role of Tarzan. He also plays his own father early on while Tarzan is still a baby. Director Cindy Kenny says, “Isaac is an amazing performer who is extremely versatile. He’s an acrobat, dancer, actor and a strong vocalist. Tarzan is an extremely physically demanding role, and there’s not very many leading men that can scale a rope hand-over-hand while singing, and then fly across the stage, fight … an intense choreographed leopard fight and then sing high G.” [as quoted in Eugene Weekly] I couldn't agree more, he was phenomenal in every way.

Christina Brown, who appeared on ABC television’s High School Musical: Get in the Picture, plays the role of Jane, and does well. As an actor she is strong and energetic, she carries her melodies and harmonies well, though at times she has an annoying squeak, and often talks way too fast. Her physicality and emotions all play well in the space.

Tarzan fights the leopard that killed is parents.

The show is superbly directed by Cindy Kenny (as is the orchestra by Stephen Kenny). There's always a lot going on, never a dull moment, and the show is full of eye candy. Simon Arnold, who plays Snipes, serves as the Assistant Director​. The cast consists of the school's Creative Arts majors with the exception of Young Tarzan and Porter, who are not students.

The primary cast of NHCC's production of Disney's TARZAN. Photo provided.

All performers sing and act well. Simon Arnold's role as Snipes is a small one, but he plays it nicely and with a good accent. He is, perhaps, the only character not required to sing. Christopher Kiriakos does quite well as Terk​, the comic relief of the show. Lauren Taylor as Tarzan’s Mother does nicely in her small role.

Standouts are Natalie Pruett as Kala​. She has an absolutely lovely voice and acts well. Jacob Thiessen as Kerchak​ is nearly her equal as a vocalist and actor. Larry Kenton, who plays Porter, is the show's best performer. An absolutely stunning actor and singer! I have not enjoyed a character so much in a very long time.


Larry Kenton gets made-up.

Isaac Sutherland plays Young Tarzan​ and does well. (Yes, both Tarzans are named Isaac.) While not a really strong actor (he is young) he has a good singing voice and good physicality in a demanding role. Zachary Ropp playing Clayton​ is a strong actor, which is good, because physically he does not suggest the Clayton we know from the film. ​He carries the character well, playing with all the right touches; He's just too skinny and not chiseled enough.

The Show

Isaac Frank as Tarzan in the NHCC production.

The production is absolutely stunning and of highest professional quality. You'd be hard pressed to find a better production--anywhere. Anywhere. The lighting and set are great and the effects are good. The orchestra is outstanding and does not overpower performances on stage. There were up to thirteen open wireless mics in use and not a one was problematic (yes, folks, it can be done). Set changes could have been a tad tighter, but they were not lengthy by any means. Video is used to enhance the onstage action at times, which is a nice touch, but I felt it should have been used (and could have been to great affect) during Strangers Like Me as is the 'magic lantern' in the film. Costumes and make-up are good with the exception of Clayton's blue eye shadow (go with a dark brown). All the dances were a delight.

The set for NHCC's production of Disney's TARZAN.

However, there were a couple problems, one being the entirely unnecessary dance sequence opening act two. While nicely performed by special guests, the Hosanna Dance Studio Dancers, it does nothing to move the story along. I also felt that Trashin' the Camp should have been more visually percussive. The score requires a lot of percussion (being written by Phil Collins) and it delivers, but that number should be performed on stage (like STOMP).

The show debuts new audio and music technology. Moving lights were used effectively as well, but a little haze in the air would have made it nicer and added to the jungle feel.

Factoids:

• The auditorium, once a church and now a church again when not a performing arts center, is perfect and seats 500. Interestingly, the church forms it's themed sermon series around the shows themes that are performing there.
• The cast was put on a special 'Tarzan diet' and required to do 'boot camp' workouts three times a week during rehearsals. Many of the cast must perform acrobatically and the roles are physically demanding (climbing ropes, walking in crouched positions, etc.).
• My niece, Shannon Peet, is the show's Properties Mistress and part of the Stage Crew.

The directors (I met them) were extremely nice people who were very enthusiastic about their program and students and well they should be. An exceptional production! Kudos, standing ovation, encore and hallelujah. Looks like a great school at which to study the performing arts.

One word: GO! (It's worth the drive.)

ONLY ONE WEEK LEFT! For dates, times (and more information about cast members) see our original post HERE.

We posted the cool promo video HERE.

Eugene Weekly article

Also see the production's spiffy official website, which sports more production/publicity photos and a video as well as links to the program and tickets (which are selling out).

​Review by Gregory E. Zschomler

All photos provided. Note: I'm having additional photographs of the set, Porter, etc. sent to me. Please check back midweek; I should have them posted.

Read Dennis J. Sparks review here.