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Laguna Playhouse, in concert with Lythgoe Productions, has fashioned an Americanized version of the classic, wildly popular, British holiday pantomime.  While it may not check all the boxes for our friends across the pond, it features plenty of verbal treasures ripe for its target audience (i.e. families anxious to entertain the children with broad, stageworthy antics, etc.).

The Sherwood Forest adventures celebrated in ROBIN HOOD & MAID MARION are populated with all the usual suspects.  In addition to the title characters, the attentive youngsters attending this performance encounter his merry band of cohorts including “Little John” and “Friar Tuck” and, of course, the villainous “Sheriff of Nottingham” (BOO!). Immersed in a selection of 1970’s disco hits from the likes of Donna Summer, the Pointer Sisters and the Bee Gees, the show benefits from these embellishments along with the musical interludes provided by resident Sound Designer Ian Scot  in addition to Jamjor Music.

Kristopher Lythgoe has crafted a book giving due credit to the basic story elements, carving out freedom for the hero to rob from the rich and give to the poor, allowing the heroine opportunities to demonstrate her cunning in addition to her physical prowess as well as providing the villain quite a few instances to be bamboozled, together with his coterie of bumbling henchmen. The script, though, screams for a few carefully designed entrances for “Robin” to generate cheers from the audience.  Not only that, this critic is not sure that all of the disco insertions warrant the “mirror ball”, although there can be no doubt the “Disco Inferno” set the Moulton Theatre ablaze and “Le Freak” offered choreographer Mason Trueblood a palette of bizarre, contorted movements which appear just right in amping up the silliness factor.

Mr. Trueblood’s dances provide jolts of energy to the zany goings-on and all of his dancers are right on the mark. Shout out, in particular, to James Velasco and Bryce Moyer who deserve some extra recognition for their notable prowess.

Title players Michael James Ryan (who may have been a bit “tight” – I know, insert GROAN here) and Sohm Kapilka (who still needs a  dose of demure near the beginning and a sprinkle of sly applied to her manipulative nature) will undoubtedly secure their footing as they settle into the run. Featured player  Jo Osmond (“Sherwood Sprite”) handles the narration with airy ebullience. Likewise, Tyler Shilstone (“Little John”) flexes the muscle appropriately, while Daniel Kim (“Friar Tuck”) approaches the altar of godliness with his own version of piety (in this case, no need for a diet anytime soon!). All in the Ensemble, no matter the task, perform admirably as well.

Sherwood Forest could not thrive for sure without the enormous contributions of two thespians who fill the stage with a heavy helping of mirth. This critic “sure would” like to recognize the talents of Jared Machado (“Will Scarlett”) and Andrew Lynford (“Sheriff of Nottingham”) respectively.  The former galvanizes the appreciation of the young ‘uns with a steady diet of glee, kneading the collective appreciation for these onstage hijinks.  The latter slithers around the stage with evil aplomb, prompting those in the seats to relish his undoing.  Bravo, guys!

As for the physical production, Ian Wilson succeeds with the scenic elements without getting lost in the forest.  Likewise, Nita Mendoza’s lighting is truly “lit”. In addition, Tiffany Maxwell’s costumes impress with special note warranted for the ladies of the Ensemble, “Robin Hood”, “Sheriff of Nottingham”, ”Sherwood Sprite” and the wedding party of the Finale.

Lastly, any observer would be remiss by not recognizing the contributions of Director Bonnie Lythgoe who squeezes the glue which melds this entire enterprise together. YAY!

In case you are wondering, Covid protocols currently in force do not require vaccinations, although face masks are required. Guests will be happy to know that compliance appears to be widespread. In fact, this critic only witnessed one mature gentleman ignoring this requirement throughout the show; then again, he may have been somewhat inebriated as evidenced by his occasional goofy exclamations.

So, join the merry band of outlaws in residence at the Moulton Theatre in Laguna Beach. Help the theatre celebrate its 100th Anniversary while you’re at it.  Don’t forget to bring the kids (who likely will welcome the opportunities to cheer and boo w/o the admonition of their parents).

pc: Mason Trueblood

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Well, it’s not exactly a runway, yet Jeanna de Waal, the actor tapped to embody the princess in La Jolla Playhouse’s new musical DIANA, certainly models quite an array of fashions from the Broadway costumer William Ivey Long to stunning effect. The challenge of a bio musical of this scope goes well beyond what’s in the closet though, because of the whole world’s fixation with this lady, relentlessly demonstrated in news coverage,  books, TV specials, and the cinema. All of us believe that she’s OUR Diana.

So, how far do the creators (Joe DiPietro, book and lyrics; David Bryan, music; and Christopher Ashley, direction) “replicate” the original model? For some, the physical resemblance and other features will satisfy. For other super fans, though, she possibly will be found wanting. Stay tuned for the verdict of New York critics, although this may be one of those “critic-proof” shows

The producers likely will stay with this lady as the production inevitably takes residence on the Great White Way. Talent matters and this actor is bursting at the seams with star quality. Ms. de Waal may be shorter than Princess Di, but her total immersion in the princess’s character soon becomes evident. This critic misses the shy, downward glance of the younger kindergarten teacher (at least it isn’t “reading” from the stage), but finds her to be completely in her element as the character develops her sense of self, mirroring Diana’s circumstances in her real life.

Audiences may be expecting the glare of the camera to focus only on the actor playing Lady Diana Spencer, but in this production there’s another lady who incites a paparazzi frenzy. That would be the Tony-winning, renowned actor who wears the crown in this musical: Judy Kaye (“Queen Elizabeth” and “Barbara Cartland“). Whenever she makes an appearance, she warrants immediate attention even as the spotlights go into their dance (some of her remarkable Broadway credits include NICE WORK IF YOU CAN GET IT, THE PHANTOM OF THE OPERA, SOUVENIR and MAMMA MIA). For purely selfish reasons, I’ll also list the long-forgotten Broadway show OH, BROTHER! via the piano of one of my favorite composers, Michael Valenti.

Also deserving of applause is the performance of Erin Davie (“Camilla Parker Bowles”), who earlier impressed Playhouse audiences in SIDE SHOW, and here delightfully gives us plenty of fodder as the villainess in the story of the fairy tale princess. The partnership on the dastardly side of things – yes, that’s the way Diana partisans view him – features Roe Hartrampf (“Prince Charles”) in all his stuffy glory. He touches all the bases with his characterization…and quite successfully.

Joe DiPietro’s book manages to be sympathetic to Diana while still giving due to the other corners of the love triangle. His libretto is often clever,  sometimes amusing and always respectful. Many of the most newsworthy players in the life of the princess appear on the stage. Gareth Keegan gets to show off his abs as “James Hewitt” and Bruce Dow engages in his usual antics as trusted butler “Paul Burrell”, one of the most colorful persons in her story. Even Nathan Lucrezio (“Andrew Morton”) enjoys the good fortune of portraying the icon’s biographer. (Tell us, Nathan, how weird is it to become Andrew Morton when the real one is sitting in the Mandel Weiss Theatre in the flesh watching you perform?) Overall, the elements of Diana’s story evolve so rapidly (in Act I especially) that audience members surely may not be able to catch their breath. Usually, it’s Act II that contains a boatload of serious book issues in a newly-hatched Broadway musical; however, this critic ventures that Act I holds the key to making this show rise to the occasion. At present, the feel of Act I registers as too episodic.  Stop and smell the roses, if you will.

Certainly, a pop rock musical score, composed by Bon Jovi’s David Bryan, seems definitely on the mark as accompaniment to the troubled life of the people’s princess.  After all, she was a close friend of the prolific tunesmith Elton John. Mr. Bryan’s output here seems less distinctive than that in MEMPHIS, his Tony-anointed Best Musical, but it does have its pleasures. “Snap, Click”, “Here Comes James Hewitt” and “The Dress” among a few other songs come to mind on reflection.

The always surprising staging, that is emblematic of Christopher Ashley, provides touches of elegance as well as opportunities for the more unseemly aspects of her story. Also, he honors her charitable work in Act II with reverence and minus a hurried approach in contrast to the earlier reference. Especially brilliant achievement on “This Is How Your People Dance” and “Him & Her (& Him & Her).

While necessarily ebullient at times, the choreography of Kelly Devine seems too frenetic. Though, in fairness, the ensemble dances up Diana’s stormy life to perfection. Well-disciplined and character-driven.

Ian Eisendrath handles the musical chores professionally with sparkling work from the ensemble, some wonderful jewel tones from Ms. De Waal as well as the other principals and a lively 9 pc orchestra suitably energizing the varying gifts of the score.

David Zinn designs a setting that pays homage to the beauty of Princess Diana with a nod to the joy her life represents, hemmed in by the pomp and circumstance of palace discipline and intrigue. Creative contributions of lighting designer Natasha Katz and sound designer Gareth Owen complete the rosy framework. And then there are those glorious threads of costume designer William Ivey Long!

Potential audience members who worry about the depiction of Diana’s tragic demise need not fret; with Mr. Ashley holding the reins of the production, rest assured that tastefulness rules the day.

Make no mistake about it, the creative staff have significant labors yet ahead, but this retelling of Diana’s story has already blossomed in response to the royal treatment so many have offered. Now Diana awaits her unveiling in NYC. Judging by the reception given by its audience tonight, it could be a crowning achievement for all involved. Oh, and Joe DiPietro and Chris Ashley, bring on more Barbara Cartland!

DIANA continues to enchant audiences on the campus of UCSD at La Jolla Playhouse thru April 14. Tickets are scarce.

pc: Little Fang

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“Yesterday” (actually quite a few days ago) we continued our mission to see as many shows as possible during our stay in Las Vegas. Susie Reese and I decided that the MIRAGE casino deserved another visit for BEATLES LOVE.

The Beatles song catalogue comprises the sound of the Sixties and the memories quickly cascade into our psyche with each and every vibration. Maybe that’s why it feels so right that we are able to celebrate again the beauty, the sadness, the energy, the idealism and – yes – the love of that decade.

Three cheers for CIRQUE DU SOLEIL‘s commitment to creative excellence and the surviving Beatles‘ willingness to explore their own frantic journey to musical stardom while welcoming a unique perspective from the performing artists as well.

There may not be a more complex Las Vegas production more thrillingly in tune with its music than this one. The technical challenges remain enormous, yet this show delivers with perfection. Acrobats, dancers, roller skaters, daredevil aerialists, etc. – all of them zip, dart, bounce, sail and slither throughout the arena in a dizzying array of costumes that capture the era to a tee.

Count me a fan of the piano/bubbles scene and the “Lady Madonna” sequence in particular (no spoilers here!).

Susie used to sing a soothing rendition of “All You Need Is Love” to our “Stella” who passed a few years back. Even she was a Beatles fan! Just another connection for us.

I can’t “Imagine” a better way to reconnect with the turbulence of those times while luxuriating in those amazing songs. Truly…BEATLES LOVE is destined to become one of your favorite shows, too (i.e. if you throw the dice and plan your own Las Vegas vacation).

“Here Comes the Sun” (I’m not kidding. 107 degrees at 11PM on the day of arrival!). Whew!

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“Over there!”, the kids scream excitedly. “You can, you can!”, a bespeckled boy urges on the sheriff.  “I’m going to be an astronaut”, the timid, young lady observes in response to a question about dreams. Leaning over, totally engaged in the action. Bouncing up and down to the rhythm of the music. Cradled in dad’s arms, yet nodding affirmatively to Sally Sue’s question, just before he plants a kissee on dad’s cheek. These are a few of the sights and sounds this critic experiences during the family production of THE ROOT BEER BANDITS at the Garry Marshall Theatre in Burbank. Occasionally – it seems –  all of us need to sit in a theatre with a passel of eager children and luxuriate in the joys of live theatre for these young‘uns.

Subtitled “A Rootin’ Tootin’ Wild West Musicale”, this show is all that and so much more. Refreshingly (even minus the root beer), parents are likely to find this polished production a heap of fun in the same way that their children do. No gunfights at the OK Corral, no merciless natives attacking the wagon train and no swigging down a whiskey at the saloon. Don’t worry, though, there are plenty of Western cliches peeking out of every corner of this handsome setting compliments of Tanya Orellana and ably lit by JM Montecalvo. There’s even an entrepreneur’s version of an 1860 Century dress shop, bursting at the seams with enough hoop dresses to catch the fancy of any young lasses caught up in the princess thing. In fact, all of the outfits worn by the characters result in  a fanciful interpretation (Jessica Champagne-Hansen fashions the duds) of a romantic take on the Ol’ West.

The story embraces worthy themes of realizing one’s dreams, the importance of friendship and community and the challenging of common assumptions about society’s expectations. “Polly Peppercorn” (Grace Yoo), the first female Pony Express rider (at least until the pony hit the trails without her), enters the town of Sarsaparilla City (famous for its distinctive root beer supply) aiming to deliver a letter to “Sheriff Bailey” (Clayton Snyder). Meanwhile, a couple of “no-goods* (aspiring root beer bandits), domineering “Copper Penny” (Kelly Brandeburg) and hapless “Zeke” (Josey Montana McCoy), begin hatching their dastardly plan. The town’s upstanding citizen, “Sally Sue Tucker” (Cloie Wyatt Taylor) flits in and out representing goodness whenever it is in short supply.

Creators Rachel Lawrence (music) along with Joseph Leo Bwarie and Lori Marshall (book & lyrics) plot out an engaging, suspenseful tale, complete with farcical elements and good-natured fun as well as  jaunty, spirited tunes and even a “sing-off at high noon” certain to stir up the attentions of any youngsters in audience land. Community theatres should consider scheduling this show for their family audience.

“The Whyman Boys”, perched in a nook among the crannies create the Western flavor with a high level of dedication. Conductor Ryan Whyman (saloon piano) harnesses the talents of his musicians including the following: Blake Estrada (bass), Ben Matthews (guitar, keyboard) and Jordan Bush (banjo, guitar). These fellas all deserve a sagebrush tribute…and maybe a hoedown of their own.

The all-Equity cast, winningly assembled with the help of Casting Director Elizabeth Ayoob, saves the day, aided by the energetic participation of the children (so necessary in family theatre productions). The classy dress shop owner at the center of the hoopla, Ms.Taylor, and the scheming, brassy Ms. Brandeburg register as my personal favorites. All of the actors portraying these characters, even so, fill the bill with distinction.

A quick shout out goes to the amiable Garry Marshall Theatre‘s box office staff. Maybe a raise should be in their future.

Director Leo Bwarie holds the reigns of this rip-roarin’ delight which only plays until April 28. Rustle up your children, the neighbor’s kiddies or your grandchildren and head on down to Burbank for a taste of sarsaparilla this weekend. No kidding…root beer is served after the show.

NOTE TO CREATIVE TEAM: Don’t you think that the actor playing “Zeke” in the show should be able to use his own stage name instead (i.e. “Josey Montana McCoy”)? Just sayin’.

N.B. The Garry Marshall Theatre brought back this production upon reopening after the pandemic as a tonic for its audiences.  Whoopee!

pc: Aaron Batzdorff

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Ostensibly, that’s right; it is set primarily in a funeral home.  At its core the Chance Theater production could be said to center on a dysfunctional family. I suppose in this way it shares some parallels with the curiously engaging TV series “Six Feet Under”. This musical play, though, does not focus on the macabre, nor does it delve into a host of weird characters. FUN HOME homes in on the challenges of surviving the chaos in the family environment while managing to be uplifting in the process.

There is so much going on in this autobiographical script and not all of the developments end in resolution. Issues of sexual orientation, complex familial relationships, suicide, emotional abuse, literature as a means to “know thyself” and the impact of family chaos ingeniously dart in and out in the libretto intricately fashioned by Lisa Kron. Even as the stage journey begins, the audience is faced with the task of discovering the identity of several characters as they are delineated in light onstage. It emerges that the playwright has crafted the device of her storyteller, the LGBTQ activist and cartoonist Alison Bechdel,  being manifested in three different versions of the central character’s self: youngster, older student and mature adult, all endeavoring to make sense of her tumultuous life. 

This critic, along with many theatregoers, appreciates the adventure of sorting through observations and context clues provided by Ms. Kron as well as hints supplied by the superb director Marya Mazor, extracting every nuance from this TONY-winning musical book. Then, too, a deserved shoutout to the extraordinary contributions of a highly competent acting ensemble led by Ron Hastings (“Bruce Bechdel”) and Ashlee Espinosa (“Alison Bechdel”).  Bravo! In fact, the entire team successfully breathes life into these characters: Madelyn Velazquez (“Medium Alison”), Holly Reichert “Small Alison”), Jennifer Richardson (“Helen Bechdel”), Reese Hewitt (“Christian Bechdel”), Christopher Patow (“John Bechdel”), Matt Bolden (“Roy” & others) and Ketino Christopher (“Joan”). Yes, Mr. Hastings and Ms. Espinosa are standouts in my book, yet all of the others do fine character work as well. In particular, the young actors (i.e. Holly, Reese & Christopher) seem destined for fulfilling professional careers if they so desire.

On giving this musical score a first listen, never could this guy have imagined that it had been composed by Jeanine Tesori, who performed the same chore for both THOROUGHLY MODERN MILLIE and SHREK.  The most apt descriptor of her musical accomplishment might be to say it is “Sondheimesque”, although it serves the complex script to a tee. Lex Leigh provides the Music Direction, aided by musicians Isabella Pepke, Jimmy Beale and Jorge Zuniga, seamlessly augmenting the ideas and words of the playwright Ms. Kron. Love, love love that cello of Ms. Pepke (N.B. I’ve always been a fan of this glorious instrument because its emotional quotient registers off the charts IMHO!).

Never am I disappointed when visiting the Chance Theater in Anaheim.  This acclaimed resident theater boasts a parade of the best Los Angeles creatives and acting talent. In this instance, let me heartily recommend this thrilling, heartbreaking production.  “Come to the Fun Home” without delay!

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Well…that’s the pitch emblazoned on the program cover of the production currently on the boards at the Cerritos Center for the Performing Arts with the 3-D Theatricals version of KINKY BOOTS. Maybe this pitch floats your boat, but for this critic the attraction of this show has more to do with “mom’s apple pie” and kitchen table values in general, inviting all to celebrate their differences.

The creators of KINKY BOOTS, Harvey Fierstein (book) and Cyndi Lauper (music & lyrics) have shaped a stage musical based on the movie of the same title. The 2006 film on which the story is based centers on a young man, “Charley Price” (Lukas Poost), who reluctantly assumes ownership of his father’s struggling British shoe factory upon the founder’s unexpected passing. After a chance encounter with a drag queen named “Lola” (Cornelius Jones, Jr.), the young man embarks on a quest to transition from a conservative men’s shoe workplace to that of an establishment fashioning quality boots for a flamboyant clientele.  In other words, Charley and his new friend, along with his sometimes befuddled employees, race full throttle into this unusual niche business and in the process learn to appreciate their commonalities as well as their uniqueness (but not without a series of complications along the journey). Supposedly, this resulting narrative is based on a true story.

Vying for Charley’s loving attentions are his current fiancee “Nicola” (Dayna Sauble), who has zero interest in his legacy from his father and maintains a proclivity for the finer things in life, and a more down-to-earth, yet savvy factory worker who seems more attuned to Charley’s welfare (i.e. “Lauren” (Emily Goglia)). The latter young lady previously has been unlucky in love and shares her litany of failed romances in a showstopper: “The History of Wrong Guys”; her performance shines as the production standout in my eyes.

That is not to say that the two principals, Mr. Poost and Mr. Jones are themselves undeserving of accolades as well. In fact, both are offering Broadway calibre performances. The former’s “Charley” evolves from an overwhelmed young executive doing his duty by his family to a caring leader concerned for his employees and willing to go to bat for them when the chips are down. His powerhouse vocals serve Ms. Lauper’s  score admirably. On the other hand, the latter’s “Lola” provides the grit, the determination and the sensitivity and understanding as “she” dazzles and shimmies her way through the “Price & Son” turnaround. Miss Lola is a force of nature as she displays her feminine wiles bedazzled in sequins at every turn.

A special shoutout is in order to her coterie of drag queen attendants (the “Angels” with a capital ”A”) who energize the proceedings by sashaying and dancing to perfection.  The athletic choreography is compliments of Linda Love Simmons (assisted by Hannah Jean Simmons). Wowza! These glamour queens include the following: Eric Stanton Betts, Jake DuPree (also “Dance Captain”), Callum Gugger, Gerry Kenneth, Christopher Mosley and Rodrigo Varandas. Also “Dan” (Javier Garcia), the hardcore employee sourpuss, and “George” (Jeff Skowron), the veteran factory quality assurance expert, both enjoy some fine moments as well.

Benet Braun provides the musical leadership and conducts the accomplished 11-pc orchestra, too. Broadway’s John Tartaglia, the Director, elicits the fine cast performances and keeps those kinky boots a- struttin’ to and fro. Lastly, the array of talent in the ensemble ensures that the Price & Son workforce grounds the production in realistic trappings.

Around my kitchen table as I was growing up, there were a lot of discussions about caring for others, respecting those who may be different from us, along with lectures about personal responsibility. It seems to me that all of the above are at the core of KINKY BOOTS. Come see what all the fuss is about at the Cerritos Center for the Performing Arts.

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Seeing Tommy Tune on CBS reminded me of one of my Broadway obsessions. I saw GRAND HOTEL 4x in New York and to this day I regard it as the greatest directorial achievement I have witnessed among several hundred Broadway productions.

This Wright & Forrest score, with huge contributions from Maury Yeston, proved to be mesmerizing, but it was the staging by director/choreographer Tommy Tune that was the real star at the MARTIN BECK THEATRE (today it is the  AL HIRSCHFELD).

Impressive performances by David Carroll, Michael Jeter, Brent Barrett, Liliane Montevecchi, Karen Akers and Jane Krakowski glistened on that stage. An unfortunate casualty during the show’s three year run was Mr. Carroll, who died of AIDS, and was succeeded by Mr. Barrett ( later, Rex Smith). The sterling ensemble radiated professionalism.

So many rich memories surround this production. I doubt that another could ever penetrate this bubble for me.

Looking Back Is Looking Forward…Snapshots of People, Performances et cetera (etc.) about the Way We Were

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Few of us experience the trauma in our own life faced by Billie Holiday in her journey. Rape, abandonment, jail, racism, drug addiction, poverty – all of these impacted the life of one of the greatest singers of the 20th Century. Throughout her struggles in life, she remained triumphant on the cabaret stage whenever afforded an opportunity even to the end of her illustrious, yet heartbreakingly sad demise at a much too young age in the late Fifties. Since then, her life has been chronicled in a trove of recordings, movies, books, etc.  Always the pain emerges in tandem with the jubilation, both ever present in her daily life.

Now playwright Lanie Robertson has fashioned a musical play focused on one of Billie’s last performances onstage before her passing: LADY DAY AT EMERSON’S BAR & GRILL. International City Theatre now presents its version of the Billie Holiday story at the Beverly O’Neill Theater of the Long Beach Performing Arts Center. It is an event which highly recommends not only theatre at its finest, but also showcases a bravura performance by Karole Foreman (“Billie Holiday”) augmented by the enormous contribution of Stephan Terry (“Jimmy Powers”).

This critic first encountered Ms.Foreman’s enormous talent in a forgettable, patriotic revue over a decade ago in northern San Diego in which she created an unforgettable presence among a cast of five.  At the time her performance dazzled me; in short, I confess that I was starstruck. Having lost track of her career since then, I recently had the good fortune to be impressed once again when Cygnet Theatre in Old Town, San Diego showcased her in Sondheim’s A LITTLE NIGHT MUSIC.  Wow…just wow!

Director Wren T. Brown orchestrates an intimate atmosphere, modulating the extraordinary talents of his actors in an apropos setting compliments of Yuri Okahana-Benson, admirable pacing and a warm sound design (Corwin Evans) allowing Billie’s compelling story to emerge from the ashes of a troubled life. The other technical credits are likewise fine including costumes (Kim DeShazo) and lighting (Donna Ruzika) among others.

Think of the challenges faced by Ms. Foreman with this drama. Commanding a stage as the key character for a couple of hours while reminding us of the larger-than-life Billie Holiday, complete with the particular accents associated with her life’s travails along the way, demands a devotion to craft that most actors could only handle intermittently.  Not this “Lady Day”; she’s all in. Consider also the task of singing in the mold of this distinctive voice. Moving renditions of such Billie Holiday “hits” such as “I Wonder Where Our Love Has Gone”, “Gimme a Pig Foot”, “God Bless The Child” and “Strange Fruit” have to be intimidating. 

Luckily, her “Jimmy Powers”, who also doubles as the Music Director for this production, supports her on this path. As a character, he steadies her as she loses her way in the throes of her addiction while also accompanying her on the piano (brilliantly I would add). Mr. Perry represents her real life companion in the latter stage of her life who sensitively guides her musically – and personally – in the midst of her unraveling during this outing in Philadelphia.

Even though this gig at the Emerson Bar & Grill, as envisioned by the playwright, supposedly involved only about a dozen patrons, the Beverly O’Neill Theater should be bursting at the seams for these revelatory performances.

pc: Tracey Roman

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Children comprise the core of Roald Dahl’s widely read MATILDA now entertaining families at La Mirada Theatre for the Performing Arts.  And the youthful ensemble “smashingly” schools the audience in this exuberant, good vs. evil story. The opening number “Miracle” seals the deal from the gitgo as it introduces the company of actors, sets up the story, lays the groundwork for the winning musical score and highlights the children in movement and attitude, too.  Director Michael Matthews, Musical Director Jennifer Lin and Choreographer Kate Dunn stunningly execute the first taste of this TONY-rich musical, wildly popular in London and on Broadway as well.

However, not until the audience encounters the feisty Audrey Cymone (“Matilda Wormwood”) do all of us recognize and absorb the defining “heart” of the show.  As the tale (shaped by Dennis Kelly) proceeds, both the young lady’s quest for learning and adventure and her resiliency when faced with challenges increasingly prove to be inspirational.  The singing and acting requirements of the role alone recommend this youngster’s significant talent throughout the journey.

In this production, though, she is not the only one at the top of her game. The supporting cast deserve special mention, too. In particular, Constance Jewell Lopez (“Mrs. Phelps“) charms the pants off the smitten onlookers sitting out front in the theatre as the librarian who goes all in on the allure of storytelling.  And those same audience members are not likely to forget the swivel-hipped bravado of Danil Chernyy (“Rudolpho”), the slimy dance teacher of Matilda’s loopy mother. Fine work noticed as well from the likes of Rees James (“Doctor”), Erik Hall (“Michael Wormwood”), Brandon Keith Rogers (“Escapologist”), Veronica Gutierrez (“Acrobat”, also the Dance Captain), Juan Guillen (“Party Entertainer/Sergei”) and even young Aaron Tapia (“Bruce”) who makes quite the impression within the children’s ensemble.  In fact, all of the kids are “brilliant” as the Brits typically are wont to say and it’s only fair to add the adult ensemble performers to this list as well.

Cheers for the lead players for their achievement in this cautionary story. Cartoonish (and dastardly) Erica Hanrahan (“Mrs. Wormwood”) and Josh Adamson (“Mr. Wormwood”) provide the sickening overdose of bad parenting skills to supreme effect. Also, Nicole Santiago (“Miss Honey”) buzzes in and out of the story as a kind of “Miss Goody Two-Shoes”, determined to nurture Matilda with her own sweet nectar so that the thwarted girl can be all that she can bee. Truthfully, this is a honey of a performance (sorry, not sorry for the wordplay; after all, schooling informs the storytelling!).

Lastly, the menacing, bearded (btw hilarious) Michael A. Shepperd (“Miss Trunchbull”) corners the essence of evil in “his” portrayal of the feared, insidious schoolmistress gone berserk. (N.B. Friends, you’ll have to be patient for the end of the story to see whether or not “she” receives comeuppance).

Returning to the illustrious creative team of this production, a few thoughts are in order. Jennifer Lin ably conducts the 11 pc orchestra in showcasing Tim Minchin’s heralded score (with some contributions from Orchestrator Chris Nightingale). She also elicits a superior singing effort from the professional players on stage. In addition, Kate Dunn’s choreography registers fresh and surprising at each turn. Finally, as the arbiter of the above triumvirate, Michael Matthews again rules the day (you’re not likely to find any “stinkers” on his resume since he is consistently insightful with his projects and his companies are always well rehearsed).

On the technical side, kudos for the inventive setting of Stephen Gifford, the right-on-the-mark lighting of Steven Young, the smart costumes of Travis M. Grant and the luxurious sound design work of Josh Bessom.  Applause for all and – likewise – those creatives not mentioned specifically. No doubt…all of the pieces of this puzzle fit snugly.

This McCoy Rigby Entertainment (i.e. MATILDA), receiving the full benefit of Producing Artistic Director BT McNicholl, hits paydirt at La Mirada Theatre for the Performing Arts. Its relevance to current happenings in our world cannot be denied.  What a great outing for families and those interested in terrific theatrical experiences!

Pc: Jason Niedle

Theatre Curtain Calling… Reviewing the Situation

The post LA MIRADA THEATRE FOR THE PERFORMING ARTS MATILDA REVIEW appeared first on Table To Stage.