Tag Archives: Musical

Musical Review: Bat Boy: The Musical

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A boy with pointy ears and fangs found in a cave, a seductive mother mourning her kids, and a disturbing case of sexual abuse by a colony of bats. Hey, the story comes from a supermarket tabloid, what can you expect?

If that’s not bizarre enough, the story has been turned into a musical. But do not expect a production with the vampiric and Gothic looks of Tim Burton’s style. Director Pat Towne chooses a more vanilla approach to present the story. The color palette leans more towards the pastel tones, moving away from the dark colors usually associated with horror or mystery themes. The choices in this case bring out the comedic aspect of the play. The hilarity is present even in the most dramatic scenes.

Ron (Isaac Council), Rick (Ethan Remez–Cott), and Ruthie (Sandra Kate Burck) are exploring a cave when they find Bat Boy (Ben Raanan), hiding in the shadows. Bat Boy bites Ruthie, who is taken to the hospital. Meanwhile, Ron and Rick take Bat Boy to Dr. Parker (Scott Mosenson), the local veterinarian. Moved by compassion, Meredith (Robyn Roth), Dr. Parker’s wife, takes Bat Boy under her wing and teaches him English, how to dress, and how to behave politely. She also gives him a name: Edgar. As for Shelley (Bethany Koulias), Dr. Parker’s teenage daughter, she feels disgusted by Edgar’s appearance and screams. But just like King Kong, Beauty and the Beast, and The Shape of Water, the pretty girl and the monster fall in love with each other. Shelley and Edgar let sexual instincts take over, without realizing the tragedies that lie ahead.

Even though the story might not be that compelling—all it’s a fantastical tale—the director and his actors make sure to deliver a visceral comedy with hints of humanism and compassion. At the end, the production proves to be a decadent display of dark humor, presenting themes of religion, discrimination, and ferality in humans.

The musical numbers lighten the darkness of the topics depicted in the play. The music is rather poppy, something similar to Michael Jackson’s “Thriller”, a pop song mocking the horror genre. In Bat Boy: The Musical, not only the horror genre is mocked, religion and society at large are also targeted.

For example, the gathering for the revival, a celebration to renew Christian devotion, is an opportunity for the residents of the small town to practice some good Christian heart and accept Edgar without any fear, ending his punishing ostracism. Encouraged by the benevolent Reverend Hightower (Chima Rok), the residents seem to finally accept Edgar into the community.

However, a jealous Dr. Parker turns the residents against Edgar, blaming him for the death of Ruthie. In a strange form of “baby envy”, Dr. Parker can’t stand the fact that his wife Meredith is now paying more attention to Edgar. In a fit of rage, Dr. Parker kills Ruthie with a lethal injection, blaming Edgar’s biting as the cause of her death. Long story short, the Christian revival turns into a fight, a renewed call to kill Edgar, and the killing of Rick by Dr. Parker. Yes, two and counting for him. Adding bizarreness to the scene is the dramatic, almost orgasmic mourning of Rick and Ruthie’s mom, Mrs. Taylor (Rebecca Larsen), who demands the immediate killing of Edgar. Revival of Christian values? Not so much. It’s so chaotic that even the Reverend takes flight, but not without his lectern.

The set. Minimalist. The attention here is the excellent acting and the sensationalist story. The lighting. The contrast and the hues add mood and intensity to the story, highlighting the emotional state of the characters. The special effects show the creativity of the team to impact the comedy of the play. Even the gang bang by the bats is hilarious.

Towne brings the absurdity of Weekly World News to the stage in mesmerizing fashion. His cast and creative team achieve a one-of-a-kind production, with excellent live music to energize the ambiance in every musical number. This musical is a testament that even tragedies can be highly entertaining. Add bats and fangs to the mixture and you have a hybrid of Batman and Dracula. And that’s a proven win.

Bat Boy: The Musical

Atwater Village Theatre
3269 Casitas Ave
Los Angeles, CA 90039
• FREE parking in the ATX (Atwater Crossing) lot one block south of the theater.

• Performances: March 1 through April 6:
• Click here to view the performance schedule, which varies throughout the run.

Tickets: openfist.org

Book by Keythe Farley and Brian Flemming. Music and Lyrics by Laurence O’Keefe. Directed by Pat Towne. Amanda Weier and Christian Lebano co-produce for Open Fist Theatre Company. Presented by Open Fist Theatre Company, Martha Demson, artistic director.

Cast: Ben Raanan, Sandra Kate Burck, Isaac Council, Hutchins Foster, Carmella Jenkins, Bethany Koulias, Michael Lanahan, Rebecca Larsen, Amir Levi, Scott Mosenson, Ethan Remez–Cott,  Ziare Rene, Beth Robbins, Chima Rok, Robyn Roth and Grace Soens.

Creative team: Scenic designer Brad Bentz; lighting designer Brandon Baruch; sound designer Christopher Moscatiello and mixer Alex Hix; costume designer Michael Mullen; and graphic designer D. Morris. The production stage manager is John Dimitri.

THE BAND:
Mike Flick – Bass
Jim Miller -Drums
Sean Paxton – Keyboards
Kevin Tiernan – Guitar

Musical Review: Jane Austen’s Emma, The Musical

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A heartfelt musical story of romance during Regency England is in full display at the Chance Theater in Anaheim.

In this production directed by Casey Long, Emma Woodhouse (Mandy Foster) embodies the woman who enjoys being the matchmaker of other people while neglecting her own romantic needs. In a period known as Regency England, the role of women was limited to that of an obedient housewife prepared to satisfy her husband’s needs. The educational and professional opportunities for women were few and with that, their economical prospects were dictated by the men around them. Screenwriter Jane Austen was one of the very few women who excelled in writing, a field dominated by men at the time.

Drawing from her own experiences, Austen created characters that exhibited the virtues and defects of the people around her. A keen observer of people’s behaviours, Austen’s Emma is a case study of England’s gentry and their attitudes towards the lower classes.

As much as Emma is a musical, the play infers the elitist vision of the landowners during the Regency period. The most obvious contrast of classes is the relationship between Emma and Harriet Smith (Sadie Alexander). According to Emma, Harriet is a sweet but unsophisticated girl that needs an urgent makeover. The relationship is imbalanced, as Emma is the dominant figure. Emma is tutoring Harriet to become an attractive match to a fine gentleman. The tutelage, however, turns into a contentious issue between Emma and her friend George Knightley (Jeff Lowe), another member of the English gentry. As Harriet falls in love with Robert Martin (Luc Clopton), she is encouraged by Emma to reject his marriage proposal for considering him below Harriet’s level, proving that Emma’s influence on Harriet, although good-intentioned, gets in the way of Harriet and Martin’s feelings and happiness. This leads to an argument between Emma and George, risking the possibility of a romantic relationship between them.

Casey Long presents a lively and engaging production that explores the different layers inferred in the text and subtext of Austen’s superlative script. Something that Long translates effectively is the palpitating romantic aura of the story through the interactions among the characters. Although Emma exhibits the negative characteristics of a spoiled and flawed woman of the upper class, she experiences a transformation that makes her mature into a more tolerable person, accepting the reality and variety of the people surrounding her privileged environment.

The play is, after all, a touching story to warm the audience’s hearts in a musical setting. Something worth mentioning is that Long’s production relies mainly on the direction, music, and exceptional performance of the cast. The set design is minimalist, making the actor’s performances the center of attention. The music, directed by Lex Leigh, is an exceptional element that brings out the romance and playfulness of Austen’s witty writing.

The synergy created by the voices of Foster, Lowe, and Alexander intensify the emotional rollercoaster of their respective characters, adding that special touch to this production. “This is How Love Feels” interpreted by Foster and “Emma” interpreted by baritone Lowe exemplify the awakening of the main character’s feelings for each other; the essence of their existence.

Foster is the main engine of this musical, and she delivers a rich character that navigates the strict expectations of a patriarchal society. But she also exhibits splashes of rebellion and freedom, aspirational states of countless people living in England at the time, especially women. Likewise, Alexander does a fantastic job as Harriet, a character that due to her level in classist England, has limited exposure to the experience and sophistication necessary to be more independent, thus making her more susceptible to Emma’s manipulation.

Emma is an example of the relevant impact of Jane Austen as a writer and as an iconic agent of change. It would be fair to say that Austen was influenced by the seismic changes taking place around the world during her lifetime, such as the French Revolution and the American Revolution, events that gave birth to a new concept of freedom and justice. The subtlety of Austen’s radical ideas is present in her writings, but one must be able to read between lines to really find and enjoy the call for action. This particular staging of Jane Austen’s Emma, The Musical is a celebration of the extraordinary life and the novelty of ideas of a female writer who exalted the resilience and ingenuity of Regency women.

Jane Austen’s Emma, The Musical

Chance Theater @ Bette Aitken theater arts Center
5522 E. La Palma Ave.
Anaheim, CA  92807

Opening Night: Saturday, December 7 at 8 p.m.
Performances: November 29 – December 22, 2024
Wednesdays at 7:45 p.m., Thursdays at 7:45 p.m. Fridays at 8 p.m., Saturdays at 3 p.m. and 8 p.m. & Sundays at 3 p.m.

Tickets: chancetheater.com

Book, Lyrics, and Music by Paul Gordon. Based on the novel by Jane Austen. Directed by Casey Long. Music Direction by Lex Leigh. Show Producers: In Memory of Mary Kay Fyda-Mar (Executive Producer). Samuel & Tammy Tang (Associate Producer). Bette & Wylie Aitken (Executive Season Producer). The Family of Mary Kay Fyda-Mar (Associate Season Producer).

Cast: Mandy Foster as Emma Woodhouse, Jeff Lowe as George Knightley, Sadie Alexander as Harriet Smith, Glenn Koppel as Mr. Woodhouse, Deva Marie Gregory as Miss Bates, Davide Costa as Mr. Elton, Cynthia Espinoza as Mrs. Elton, Blake Rhiner as Frank Churchill, Sierra Jimenez as Jane Fairfax, Luc Clopton as Robert Martin, Jonathon Lamer as Mr. Weston, and Elisabeth Hunter as Mrs. Weston.

Creative team: Masako Tobaru and James Markoski as Production Designers, Bruce Goodrich as Costume Designer, with Gwen Sloan as Associate Costume Designer, Jordan Jones as Stage Manager, Laurie Smits Staude as Dramaturg, Wyn Moreno as Dialect Coach, James Markoski as Audio Engineer, and Carina Leland as Assistant Stage Manager.

Musical Review: Guys and Dolls

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Nathan Detroit (Justin Anthony Long) needs money to set up the biggest craps game in New York City, so he turns to fellow gambler Sky Masterson (James Byous). But Sky falls for religious missionary Sarah Brown (Elizabeth Eden). Adding to Nathan’s misfortunes, Adelaide (Margaret Spirito), his girlfriend of 14 years, demands marriage and kids. With the cops closing in on him and his gang of gamblers, the clock is ticking for Nathan to come up with the money and save the day.

Despite a delay due to a technical glitch with the lighting system at the beginning of Act II, the cast deliver an outstanding rendition of the beloved musical that has had a successful run around the world since its opening in 1950. Music Director Chris Wade leads a fantastic band that energizes the music numbers; the “Guys and Dolls (Reprise) at the end of Act II is an eye-catching display of dance and music. For the signature 11 o’clock number “Sit Down, You’re Rockin’ The Boat”, the music sets the tone for a captivating performance by Nicely Nicely (Jalen Friday), showing off his singing and dancing skills.

The customs by Michael Mullen also contribute to the overall feel of the play, bright and dark colors for the guys, and fancy dresses for the dolls. The costumes capture the elegance of the 1920 and 1930s, years that defined a glitzy and glamorous time in fashion.

The chemistry among the actors playing the four main characters is paramount to the success of this musical, as their interactions are the main focus of the story. In that sense, the connection between Sky and Sarah, played by James Byous and Elizabeth Eden is evident from the beginning. Their meeting sets off a moral question and sparks a romance that will change the course of things. Throughout the play, Byous and Eden build up the emotions and conflicting differences between them to create a dynamic relationship that draws the audience into the story. Similarly, the relationship between Nathan and Adelaide, played by Justin Anthony Long and Margaret Spirito, creates conflict and unleashes a series of comedic situations depicting the faithful devotion of the female character and the usual hesitation of the male character. Spirito thrives on her role. Her voice and comedic skills create a delightful character; Her performance is magnetic and memorable.

Director Doug Kreeger revives this musical with a colorful display of costumes, lighting, and excellent acting. The pacing and the music make it a dynamic staging that brings back the hustle and bustle of the underworld during the prohibition era in NYC.

The incipient adventure of Altadena Music Theatre into musicals continues with another well-developed staging of a classic production, showing their commitment to bring successful and meaningful musicals to the local theatre scene. Led by its Founder and Artistic Director Sarah Azcarate, Director Oliver Azcarate, Music Director Chris Wade, and Choreographer Melissa Schade, Altadena Music Theatre is a 501(c)(3) non-profit dedicated to live musical theatre, arts advocacy, and developmental youth programs.

Guys and Dolls

Altadena Music Theatre at the Charles Farnsworth Amphitheater
568 E Mount Curve Ave
Altadena, CA 91001

October 10 – 20, 2024

Thursday – Sunday at 7:00 PM

Tickets: https://www.eventbrite.com/o/altadena-music-theatre-50505137413

Based on the story and characters of Damon Runyon. Book by Jo Swerling and Abe Burrows. Music and Lyrics by Frank Loesser. Directed by Doug Kreeger. Choreographed by Nico O’Connor. Music direction by Chris Wade. Produced by Sarah Azcarate.

Cast: James Byous, Elizabeth Eden, Justin Anthony Long, Margaret Spirito, Jalen Friday, Robert Manion, Scott Van Tuyl, Brian Drummy, Cesario Perez, Will Kohlschrieber, Benita Scheckel, Zach Macdonald, Scarlet Sheppard, Abby Loucks, Kasey Hentz, Courtney Macmillan, Leonel Ayala, Sage Cabos, Andrew Pantazis, Jacob Rushing.

Creative team: Lighting and sound director JC Lara. Sound engineer Brian Celestino. Lighting designer Billie Oleyar. Costumer Michael Mullen. Set designer Andrew Hull. Prop master Darcy Hull. Hair and wing design Carter Thomas. Fight director Gabrielle Perrea. Intimacy coordinator Alexa Lowery.

Musicians: Keys, Bandmaster Chris Wade. Violin Erin Tompkins. Sax/Clarinet/Flute Jordan Guzman. Trombone Rebecca Buringrud. Bass Holly Barber. Keys Genie Cheng. Keys swing Bella Suot. Winds swing Daziel Rodriguez. Trombone swing Carlo Bonelli. Trumpet Andrew Rodman.

Musical Review: Reefer Madness, The Musical

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The war on drugs, whether real or imaginary, is not a new concept in America. Reefer Madness, the original film, was premiered in 1936 as a cautionary tale. In 1937, the Marihuana Tax Act came into effect, leading to the criminalization of the drug. With this federal prohibition in mind, Reefer Madness, The Musical takes the audience back in time, presenting the use of cannabis not as a moral lesson, but as a parody of the general panic of the 1930s.

With a few tweaks here and there, the musical sticks pretty much to the original story. Jack (David T. Crane) and Mae (Nicole Parker) are pushing marijuana out of their home, marked with the number 420. Hanging out at their place is Ralph (Andre Joseph Aultmon), a college dropout hooked on weed. Another character in the house is Sally (Jane Papageorge), also addicted to marijuana. She ends up selling her kid while heavily stoned. Jimmy (Anthony Norman) and Mary (Darcy Rose Byrnes) are the lovebirds who also succumb to the Devil’s lettuce.

The choreography is energetic, including tap dancing and some disco moves during Jesus’ (Rory O’Malley) number, “Listen to Jesus, Jimmy”. The inclusion of Jesus and the Devil as the two moral opposites give the musical an edge and a satirical element to the core of the story.

The red lighting symbolizing the sexual awakening and the dangers of criminal activity conveys effectively the situation of the characters: Living in the fast lane; tragedy just around the corner. The innuendos of BDSM and the presence of the Devil make the musical numbers even more sinful and attractive.

In terms of text, the book by Kevin Murphy & Dan Studney is playful and gives the actors plenty of opportunities to shine through the delivery of their lines and the physical comedy involved in the action. The two characters showing the most important transformations are Mary and Jimmy, but it is Mary who changes more dramatically. From a naïve girl to the vixen sadist with a whip, she embodies the aggressive loss of inhibitions, all thanks to the use of marijuana. The text pays homage to Mae West as well. Sally delivers one of West’s most famous lines involving feet and inches, but backwards.

Director and choreographer Spencer Liff does a fantastic job utilizing the excellent elements at his disposal. He unifies the talent and creative components of this production to present a kinky, hilarious, and engaging performance. The limits of legality and the temptation of illegality contribute to create an alluring story that becomes timeless and reflects our complicated relationship with a humble plant that has been used by humans for thousands of years.

Reefer Madness, The Musical

The Historic Whitley Theatre

6555 Hollywood Blvd., Hollywood, CA

Extended through Sunday, October 27

Wednesdays, Thursdays, Fridays & Saturdays at 8pm; Sundays at 2pm.

Tickets: reefermadness.com

Book by Kevin Murphy & Dan Studney. Lyrics by Kevin Murphy. Music by Dan Studney. Musical Direction by David Lamoureux. Direction and Choreography by Spencer Liff. REEFER MADNESS THE MUSICAL is executive produced by Wendy Parker and co-produced by Maia Falconi-Sachs, Madison Mohn, Nick Padgett, Matthew A. Rosenthal, Jason Turchin, Amirose Eisenbach, Josie Yount, and Raji Kalra. Presented by Kristen Bell, Christian Campbell, Alan Cumming, Andy Fickman, Kevin Murphy, America Olivo, and Dan Studney.

Cast: Anthony Norman, Darcy Rose Byrnes, J. Elaine Marcos, Nicole Parker, Thomas Dekker, Bryan Daniel Porter, Andre Joseph Aultmon, Claire Crause, Jane Papageorge, Alex Tho, David T. Crane, Rory O’Malley, and Natalie Holt MacDonald.

Creative team: Production Design by Mark A. Dahl; Lighting Design by Matt Richter; Sound Design by Charles Glaudini; Costume Design by Pinwheel Pinwheel. The Casting is by Michael Donovan, CSA and Richie Ferris, CSA. The Production Stage Manager is Melissa Ritcher. The Company Manager is Paul Nygro.

Music band: David Lamoreaux (Conductor/Drums), Jordan Lamoreaux (Bass), Max Wagner (Guitar), Andrew Lederman (Keyboard 1), and David Catalan (Keyboard 2).

Theatre Review: The Last Five Years

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Sierra Madre Playhouse presents The Last Five Years. Book, lyrics, and music by Jason Robert Brown. Directed by Josh Shaw. Music Director is Joshua Foy.

The last Five Years is the story of Playwright Jason Robert Brown‘s first marriage. The play is so much his personal experience that he was sued by his first wife and the lawsuit had to be settled just before the New York premiere back in 2002. The story is simple, two characters, Cathy (Jackie Bonsignore) and Jamie (Jayde Mitchell) get married. He becomes a successful novelist while Cathy continues to be a struggling actress. His success and her failure take a toll on their marriage and start to drift them apart.

As simple as it might sound, the story travels because relationships are a central part of our lives, so all of us can easily relate to the characters and start feeling for them. Jamie and Cathy sing their story separately except for “A Miracle Would Happen/When You Come Home to Me”, where they sing together. The musical contains 14 songs in total.

Brown used a clever storytelling tool to make the musical even more appealing. Cathy tells the story backwards, beginning the play with “Still Hurting”, a song about the end of their marriage. Jamie, on the other hand, tells the story in chronological order beginning with “Shiksa Goddess”, a song about his happiness find a girl like Cathy. The contrast in emotions of those two first songs sets the tone of the play.

Bonsignore shows her soprano skills and delivers a magnetic performance. She is able to portray the nuances of a woman in love and the devastating crash that comes after a stagnant career and marital failure. Her voice effectively communicates the emotional states of excitement and sadness, the two ironic elements of her character.

As for Mitchell, his voice sounds full and rich, matching the attributes of his character. He blends with ease the transition from an optimistic novelist to a man consumed in his own success, unable to resist the temptations of fame.

The music direction by Joshua Foy is fantastic. The musicians bring an air of romanticism and fill the stage with a magical score that transmits the ebbs and flows of an intense relationship. Director Josh Shaw put together an excellent group of artists dedicated to their craft who deliver a fascinating production in the iconic Sierra Mare Playhouse. This musical with relatable topics engages and entertains to make it an excellent experience in an intimate theater. Due to the length of the run, the show is double cast. Margaret Berkowitz and Jackie Bonsignore play Cathy and Jayde Mitchell and Bryan Mittelstadt play Jamie. Bonsignore and Mitchell performed on Saturday May 25, the day we attended to review the play.

The Last Five Years

Sierra Madre Playhouse
87 West Sierra Madre Boulevard
Sierra Madre, CA 91024

May 17 – June 16, 2024 (see Sierra Madre Playhouse’s website for full schedule)

Tickets: sierramadreplayhouse.org

Book, lyrics, and music by Jason Robert Brown. Directed by Josh Shaw. Music Director is Joshua Foy.

Cast (double cast): Cathy: Margaret Berkowitz. Cathy: Jackie Bonsignore. Jamie: Jayde Mitchell. Jamie: Bryan Mittelstadt.

Musicians: Jon Lee Keenan (Bass), Jessica Chen (Violin), Alexander Elliott Miller (Guitar), Betsy Rettig (Cello 2), and Derek Stein (Cello 1).

Creative team: Set/Props: Josh Shaw. Costume Design: Hailey Springer. Lighting Design: Grace Berry. Stage Manager: Bri Westad. Assistant Stage Manager: Carolyn Wasson. Substitute Stage Manager: Colton Bassett.

Theatre Review: Rent

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Chance Theater presents the Pulitzer Prize winning musical Rent. Book, Music, and Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow.

One of the most iconic stories to reflect the lives of struggling artists, Rent adds another dramatic layer when some of the characters have to survive in a big metropolis like New York while grappling with HIV at the same time. Without a doubt, this is a moving musical that continues to inspire audiences every single time. For anyone who has seen the progression of the disease from HIV to AIDS and the devastating consequences, Rent is a significant portrayal of the hardships and the uncertainty of the heartbreaking ordeal, specially in the early waves of the epidemic.

The inability to predict for sure if HIV will progress to AIDS is like a ticking bomb that may go off at any time, taking a physical and mental toll on those with the disease and their loved ones. Jonathan Larson observed those challenges and imagined a universe where a very diverse group of people comes together to build a community to fight the AIDS stigma and find love along the way. Within that amalgam of personalities, a special character with HIV, Angel (Adam Leiva), irradiates kindness and the ability to teach and share love, even after his death of AIDS. He navigates the adversities with a positive attitude until the very last moment.

Some of the topics in the play are discrimination, poverty, living the moment, survival mechanisms, the sense of community, drug addiction, and the inability of the characters to stop it. For Roger (Gavin Cole), Mimi’s (Lena Ceja) heroin addiction and an HIV condition prolongs the agony of an impending disaster. Roger knows that falling for Mimi means that, at one point, he will be left alone once again—his former girlfriend committed suicide after learning that she was HIV positive and had infected Roger.

But beyond her addiction, Mimi has depth. Perhaps as a consequence of her HIV condition and accepting her fate, she encourages Roger to forget about his anticipatory anxiety and live the moment without worrying about the past or the future. No religion, no heavens, no hell, only us.

There are fifteen characters in Director Matthew McCray‘s production, each one with their own story and motivations. There is Roger’s roommate, Mark (Luc Clopton), a filmmaker who was dumped by his girlfriend. Together with Roger, Mark struggle to stay warm in their cold apartment. We also see Joanne (Frankie Ripley), a lesbian lawyer, Maureen (Lily Targett), a bisexual performer and Joanne’s girlfriend, Tom (JoeJoe McKinney), a gay anarchist with AIDS and Angel’s partner, and Benjamin (Christopher D. Baker), Mark and Roger’s landlord. All of the characters have important roles and a story to tell. They all contribute to build a cohesive community and bond even more after Angel’s death. But it is Roger the center of attention. His depressive state at the beginning, his initial resistance to a new relationship with Mimi, and his willingness to open up his heart make it the most transformative character of the play. Throughout the story, Roger is silent, loud, visible, invisible. He is myth, life, death, tragedy, hope. He is America. He touches the bottom and rises like a phoenix. At the end, he still believes in love.

Scenic Designer Joe Holbrook captures the grittiness and the underground vibes of the script in a fascinating manner. The colors and textures create a contrast that reflect the spirit of the story. The color palette of the lighting (Zach Moore, Lighting Designer) is also an element to highlight. Reds, whites, ambers, purples, and blues are all used masterfully to evoke emotions and intensities, as if dancing rhythmically to the palpitations of the characters. McCray had a talented group of artisans and performers to honor and elevate the legacy of Larson in the always difficult world of musicals. This particular production of Rent shows that a talented director can make a revival as fresh and exciting as the original one.

The story is raw, passionate, energetic, and a testament of the powerful effect of human connections. It’s a picture of the rough and excruciating road to the entertainment industry. It is also a homage to the ones that lost the battle, to the ones that are still trying, to the ones that never ever give up. 

Rent

Chance Theater
Bette Aitken Theater Arts Center
5522 E La Palma Ave.
Anaheim, CA 92807

Dates: — 

Tickets: chancetheater.com

Book, Music, & Lyrics by Jonathan Larson. Directed by Matthew McCray. Music directed by Lex Leigh. Choreographed by Mo Goodfellow. Executive Producers Linda and Tod White. Season Producers Bette & Wylie Aitken. Associate Producers Rachelle Menaker & Eddie Schuller. Associate Producer Laurie Smits Staude. Associate Season Producers Family of Mary Kay Fyda-Mar. Cast: Luc Clopton, Gavin Cole, Lena Ceja, JoeJoe McKinney, Adam Leiva, Lily Targett, Frankie Ripley, Christopher D. Baker, Jack Thomas Aitken, Micah K. Blanks, Ayani Dorsey, Autumn Kirkpatrick, Patrick McCormick, Mikey Miro, and Gemma Pedersen. Creative team: Lighting Designer Joe Holbrook, Costume Designer Bradley Allen Lock, Projection Designer Nick Santiago, Lighting Designer Zach Moore, and Sound Designer Dave Mickey. 
 
      
Rent poster
A scene from Rent
A scene from Rent

Theatre Review: Come Get Maggie

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Rogue Machine presents the world premiere of Come Get Maggie. Written by Diane Frolov. Lyrics by Diane Frolov and Susan Justin. Music by Susan Justin. Directed by Michael Pressman.

 

Somewhere in the 30s, there was a girl who dreamed of the stars and the possibilities of alien life. That girl grew up to be a physicist in the 50s, defying the expectations of society at the time. That girl is Maggie (Melanie Neilan), whose parents, Mrs. Wyberry (Melissa Jobe) and Mr. Wyberry (Bruce Nozick), expect her to get married and live a suburban and conservative life. From there, things get more complicated for Maggie. Her research in physics is used to invent the H bomb, something she opposes. Disappointed, she quits physics and gives in to her parents’ wishes.

 

Maggie marries Hugh (Chase Ramsey), who doesn’t disclose he is a widow with two kids. He also has a nosy aunt, Auntie Ruthie (Jacquelin Lorraine Schofield, Rapunzel Alone, A Great Wilderness) who disapproves of Maggie. After moving in with Hugh, Maggie is introduced to the Mother Militia, a group of housewives with issues of their own. 

 

Hugh wants Maggie to be a traditional good wife. One that stays home cooking and taking care of the kids, and just like Paul in the Paul Lynde Show, he expects Maggie to have his martini ready when he gets home. But there is an incident that turns things upside down. Maggie gets kidnapped by aliens commanded by Varex (Dennis Renard, Three Tables). 

 

This musical looks back in time to an era when “America was standing at the summit of the world”, as stated by British Prime Minister Winston Churchill. At the time, America was fully involved in a nascent space industry—the set is reminiscent of the space movies and cartoons of the era. The 1950s were also considered by many the golden age of America, a post-WWII society that experienced an accelerated growth both in population and accumulation of wealth. Diane Frolov snaps pictures of the Fertility Valleys and their typical lifestyle, where everything looked perfectly manicured and in order. But Frolov also touches on what was happening underneath that apparent perfect world, the marginalization of certain sectors of society, such as women and members of the LGBT community. Women had little opportunities for career advancement and cross dressing could mean a career suicide for any man who dared to do it.             

 

This space romance musical has fabulous singers and the actors deliver comedy and kinetics that keep the audience engaged and entertained. Even though this is the first musical produced by the team, this first try is a good start to expand their repertory offerings. 

 

The cast: Melanie Neilan, Melissa Jobe, Bruce Nozick, Philip Casnoff, Dennis Renard, Chase Ramsey, Eddie Vona, Jacqueline Lorraine Schofield, Beth Egan, Nicole Ledoux, Sarah Hinrichsen, and Alan Trinca.    

 

Come Get Maggie

Written by Diane Frolov. Directed by Michael Pressman. Music by Susan Justin. Lyrics by Diane Frolov and Susan Justin. Produced by: John Perrin Flynn (A Rogue Machine Production).

 

Rogue Machine (in the Matrix Theatre)

7657 Melrose Ave, Los Angeles, CA 90046

(Street parking)

 

Opening: 8pm on Saturday, February 11, 2023

8pm Fridays, Saturdays, Mondays, 3pm Sundays

Closing: March 26, 2023

 

Tickets: roguemachinetheatre.org

 

Creative team: Stephanie Kerley Schwartz (Set Design), Ric Zimmerman (Lighting Design), Chris Moscatiello (Sound Design), Dana Rebecca Woods (Costume Design), Albin Konopka (Music Supervisor and incidental music), Michele Do (Music Director), Brooke Wendle (Choreographer), Nicholas Santiago (Video Design), Glenn Michael Baker (Assistant Set Design & Props Head).

 

 

Come Get Maggie poster
A scene from Come Get Maggie
A scene from Come Get Maggie
A scene from Come Get Maggie

Theatre Review: Ride the Cyclone

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Chance Theatre presents the California premiere of Ride the Cyclone, directed by Jocelyn A. Brown. Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell.

Six teenagers find themselves in a mythical purgatory after they die riding a roller coaster called Cyclone. The mystic element of the afterlife adds a powerful message to the story. Much like the recent Guillermo Del Toro’s Pinocchio, the characters of Ride the Cyclone have to make decisions in the afterlife that will reflect either their selfishness or their selflessness.

At the purgatory, the teenagers meet The Amazing Karnak (Robert Foran), a mechanical fortune-telling machine that will end its life when a rat called Virgil eats up the electrical cable that powers the machine. Karnak will make the kids play a game in which only one of them can win the grand prize: Going back to life.

Ocean (Haley Wolff), Mischa (Jared Machado), Noel (Wyatt Hatfield), Ricky (Jaylen Baham), Constance (Rose Pell), and Jane Doe (Em Flosi) each perform a unique musical number that reveals their personalities.

The exposition of the characters’ traits shows the wide range of emotions typical of the teenage years. Rage, insecurities, sexual awakening, regrets, and dreams are expressed cleverly in each of the musical numbers and dialogue. Noel’s performance is a cabaret-style piece that adds a touch of raw sensuality to the atmosphere, with decadent shades of red light.

Jane Doe, the only unidentified person in the accident, delivers a dark and eerily beautiful number with an operatic voice that blends smoothly with the mystical premise of the play.

The book is an extraordinary work by Jacob Richmond and Brooke Maxwell. The characters are well-developed and allow the actors to deliver emotional and meaty performances. Director Jocelyn A. Brown uses the stage efficiently, giving the actors plenty of space to shine and deliver a visually striking exhibition of kinetics. The technical elements are first-class: Lighting Design (Masako Tobaru), Costume Design (Bradley Allen Lock), Scenic Design (Antonio Beach and Bradley Kaye).

Ride the Cyclone is an amusing show with energetic music and moving performances by young and talented thespians, live from the afterlife.

Ride the Cyclone

Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage, 5522 E. La Palma Ave., Anaheim, CA 92807

Performances: February 4 – February 26, 2023; Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 3 p.m. & 8 p.m., Sundays at 3 p.m. 

Tickets: www.chancetheater.com 

 

Ride the Cyclone poster
Ride The Cyclone
A scene from Ride the Cyclone
Ride the Cyclone. Em Flosi, Wyatt Hatfield, Jaylen Baham, Haley Wolff, Jared Machado, Rose Pell, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Jaylen Baham, Jared Machado, Rose Pell, Wyatt Hatfield, Haley Wolff, Em Flosi, and Robert Foran.
A scene from Ride the Cyclone
Ride the Cyclone. Rose Pell, Jared Machado, Jaylen Baham, and Em Flosi.

Theatre Review: Warrior Queen Anahit the Brave

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Imagine Theatre presents the world premiere of Warrior Queen Anahit the Brave, written and directed by Armina LaManna.

Anahit (Ani Marderosian), a peasant girl, is drawing water with her two friends Nairi (Christianne Holly Santiago) and Maral (Sophia Vitello) when Prince Vachagan (Nathan Mohebbi) walks by with his friend Arman (Kyle Caldwell). As Prince Vachagan starts to flirt with Anahit, she tells him to learn to work with his hands if he wants to court her. The Prince then promises he will learn to weave rugs to show her that his intentions are serious. He learns to weave and marries Anahit, taking the throne. But their happiness is disrupted with the news that men keep disappearing throughout the kingdom. The antagonist in the story is the demon Apep (Alistair McKenzie, Theatre Review: The Merry Wives of Windsor, Theatre Review: Trouble the Water), the villain responsible of the mysterious disappearances. Queen Anahit and King Vachagan are now faced with the necessity of making critical decisions that will determine the fate of the kingdom and rescue the men that have been kidnapped to return them to their families.

The play is based on Ghazaros Aghayan’s 1881 fable “Anahit”. It is a classical tale of good versus evil, geared towards a young audience. Keeping children’s attention is a monumental challenge nowadays, but this production succeeds in entertaining the kids throughout the whole play. The costumes, the traditional dances, the humor, and the music (Apep is a rapper too), grabs the young audience’s attention and the interactive nature of the play makes it even more engaging. There are also sword fights and technical elements that contribute to the success of the play. The scenic and projection designer Tom Buderwitz and lighting designer Josh Epstein create a visual palette that is a boost to the senses and build up the crescendo of the story.

Armina LaManna and Ani Marderosian are able to catch the attention of a young audience and to deliver a positive and reaffirming message to young girls, all of this while bringing some of the history of Armenia to the American Armenian diaspora of Los Angeles.

Warrior Queen Anahit the Brave

Written and Directed by Armina LaManna. Original Music by Shahen Hagobian. Puppet Design and Fabrication by Douglas Wright. Starring Kyle Caldwell, Ani Marderosian, Alistair McKenzie, Nathan Mohebbi, Christianne Holly Santiago, Sophia Vitello. Presented by Imagine Theatre. Creative team: Master puppet designer and fabricator Douglas Wright; scenic and projection designer Tom Buderwitz; lighting designer Josh Epstein; sound designer Joseph “Sloe” Slawinski; costume designer Dianne K. Graebner; and properties designer Jenine MacDonald. The musical director is Elizabeth Curtin, and the production stage manager is Elna Kordjian. Produced by Laura Hill and Gabrieal Griego.

Colony Theatre
555 N 3rd St.
Burbank CA 91502
(in Burbank Town Center)

November 5 – November 18
Opening: Saturday, November 5 at 7 p.m.
Friday, November 11 at 7 p.m.
Saturday, November 12 at 7 p.m.
Sunday, November 13 at 4 p.m.
Friday, November 18 at 7 p.m.

Tickets: imaginetheatreca.org

Warrior Queen Anahit the Brave poster
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave
A scene from Warrior Queen Anahit the Brave