TJ's Theatre Reviews 25-26

I have decided to keep a yearly page of theatre reviews of the shows I see in Sacramento. I will start with the most recent two I watched and possibly add some previous ones before that. Because the Sacramento theatre scene seems to like the Broadway World nomination and awards process and that goes from October to September, I'll try that as my year of reviews as well. Hope you enjoy!

TJ’s Theatre Reviews

Espejos: Clean with Capital Stage

I say it again and again. CapStage continues to bring underrepresented stories with fantastic performances and some of the best set designs in our area. The trend continues with Espejos: Clean. This two person play had a simpler set by CapStage standards, but still included a believable tile pool area, a cabana bed, and plenty of wall space for a major element of this show. Each of the two character’s speaks primarily in English or Spanish and when they speak their respective language, the translation into the other appears on two walls for the sake of the audience. How their tales intermingle, parallel, and in other ways do not is a major aspect of this unique and engaging piece of art.

Stephanie Altholz was the English speaker and brilliantly teetered between hilarious and tragic, pathetic and overconfident, deplorable and affable. I was just as impressed by her subtle presence when on stage and meant to be secondary, serving as a wonderful counter in certain scenes. Sarita Ocón was the Spanish speaker and was able to deftly display strength coupled with vulnerability. And as a non-Spanish speaker myself, she did a fantastic job emoting and physicalizing the intention behind her words even as I found myself needing to read the text for specifics.

I really enjoyed the show and can safely recommend it. It runs until June 7. Tickets and info can be found at: https://capstage.org/

For more Sacramento theatre reviews as well as upcoming show and audition information, feel free to visit and bookmark: https://sites.google.com/natomascharter.org/mrfasslerpresents/sac-show-and-auditions?authuser=0

TJ’s Theatre Reviews

Rashomon with Community Asian Theatre of the Sierra

This is easily one of my favorite performances of the year so far. It was one of the most straightforward, but elegant set designs supported with excellent technical elements that elevated everything. From running water for rain to a glowing fire pit. From live taiko instrumentalists to vocal reverb. The show seemed incredibly thoughtful and kudos to director Sonny Alforque and his team.

The cast was wonderful and two performances in particular jumped out to me. Robert Rossman as the Woodcutter had such a phenomenally nuanced and beautiful performance. There was a world weariness to he demeanor and delivery and his reactions were incredibly compelling. Eileen Hoang was was equally captivating as the Wife (Kinume). Her character effortlessly flitted between helpless maiden and potential conniving vixen based on the perspective of the storyteller. She conveyed just as much with her eyes and with her words and similarly helped support each moment with her reactions to others.

The show just closed today, but it was the type of performance that makes you want to see what’s next both from the company and the performers themselves. Their website is: https://catsweb.org/

TJ’s Theatre Reviews

Sunset Blvd with Women’s Theatre Collective

I really enjoy the show Sunset Blvd and it was impressive that they were able to pull it off with a smaller ensemble. Congrats on the hard work. I thought Skip Porter sounded great as Max and the Chris Cay Stewart gave it her all as Norma Desmond. I thought there was a nice ease in everything KC Patterson had as Betty Schaefer. My MVP was Jared Sing as Joe Gillis. There was a cool veneer with an underlying build of frustration befitting the character. He sounded great and the story was very easy to follow thanks to his clear narration and character motivations.

The show runs for one more weekend until May 24. Tickets and info can be found at: https://www.womenstheatrecollective.org/

TJ’s Theatre Reviews

Shrek the Musical at Davis Musical Theatre Company

It was fun getting out to see this irreverent musical with humor I appreciate so much. There was fantastic singing and I was thoroughly impressed by the young Shrek, Young Fiona, and teen Fiona in their moments. The energy of the cast (and audience) during “i’m a Believer” was also off the charts. The singing was great by Shrek played by Jeremiah Krauss and the Dragon played by Julia Lindsay. I was blown away by the scene investment by the Wicked Witch played by Amara Romero in the final scene as Shrek sang to Fiona. My MVP was David Ewey who played Donkey. He had great energy, reactions, and humorously played to the audience who loved every second.

TJ’s Theatre Reviews

Billy Elliot the Musical at Woodland Opera House

I had no idea what to expect, but was so glad to catch this show. From the perspective of an audience member that also performs, it is astounding what some of the performers are tasked to do and do so beautifully. I also really enjoyed the set design, the parallelism of the opening and closing, the mix of styles in the choreography.

The characters really exemplify the themes throughout and I appreciated so many of the performances. Matt Zavod plays the dad and is able to embody the seeming antagonist for part of the show as well as have his own character arc and moment of self-reflection. He sounded great and earnest throughout. Patrick Cobb played a boy named Michael that energized the stage anytime he was on. Even as the content became darker and more dramatic, Patrick’s Michael kept reminding the audience of the brightness of life. Danika Sudik was fabulous as Mrs. Wilkinson and carried much of the first half of the show. She was an intriguing character with nice changes in energy as well as sounding great in her scenes and songs. She balanced humor and seriousness beautifully.

Keenan Moran played the titular Billy Elliot and did not disappoint. He embodied that quality that impressed me from the performer perspective of stepping up to the plate, to giving it his all, to being present in scenes with others while also having to be ready to switch between singing and dancing, and quick shoes changes, and so much more. He was compelling, sounded great, and I loved his energy and commitment to each dance with his tap being exemplary.

The show runs until May 16. Catch before it closes if you’re able. Ticket and info at: https://www.woodlandoperahouse.org/billy-elliot.html

TJ’s Theatre Reviews

Gloria at Cosumnes River College

Another terrific outing at Cosumnes River College in their fantastic Black Box space. I had seen the show only once, previously at CapStage, and CRC did it complete justice while also providing another opportunity to see captivating, thought provoking plays.

The set and changes were fantastic. I loved the use of pillars transforming into benches in another scene. There was also fantastic technical precision for a special effect at the end of the first act. Performance wise, the show is intentionally written with every actor playing multiple parts and everyone did a wonderful job. I loved the changes in costumes, demeanor, and vocalization. Jaelynn did a great job having the unique challenge of playing Gloria and voicing Nan in the same scene. I genuinely did not recognize Peter DeMarzio’s transformation from Dean in scenes 1 and 2 to Devin in scene 3 and both were played fantastically. I loved Sevryn Michael’s Lorin as he suddenly found himself as the only semblance of reality (and ultimately humanity) in a new work environment in the third scene. Kaleb Alexander Roberts was able to display very different, but equally engaging energies in all three scenes. Emma Rose Wehrli captivating as the down to earth An in scene 1, switching to a seemingly self-focused Sasha in scene 2, and then ending with a quirky mix of both as Callie in scene 3. Finally, Faye absolutely rose to the challenge of what was my favorite character the first time I saw the show in Kendra being a central character with a lot of high energy, fast talking dialogue in scenes 1 and 2, before finishing the show as Jenna.

The show was absolutely a group effort including great direction from Anthony D’Juan as well as the rest of the production staff and tech crew., This show may have closed, but I highly encourage checking out any upcoming productions at CRC at: https://crc.losrios.edu/academics/river-stage-and-the-theatre-and-dance-arts-department

TJ’s Theatre Reviews

13 with Rocklin Community Theatre

I went from perhaps my favorite Jr. production of a show last week to my possible favorite teen production of a show this week with 13. There was great singing, choreography, heart, and humor and I highly recommend catching it before it closes next weekend.

The set was straightforward and felt more black box theatre which meant the show kept the pace and energy up. The costumes were vibrant and purposeful in showing the cliques and often intentions of characters. I loved the choreography. Everything felt very comfortable for the cast and they were enjoying it as well as having some wonderful levels and progressions sprinkled throughout. Additionally, it must be noted that there was a fantastic orchestra and excellent music direction as the cast sounded wonderful.

On the performance side, so many highlights. An excellent ensemble that makes you want to come back anchored by strong leads and supporting roles. Heidi Motter and Leah Galindo played Lucy and Kendra and had very different aims throughout the show with Lucy being conniving and self-motivated throughout, and Kendra representing the goal for two of the male characters, but Leah doing a great job of making her relatable in her own right. One of those wannabe suitors, Archie, was played terrifically by Logan Hernandez who had to demonstrate a physical impairment for the entirety of the show and does so consistently while sounding great and reacting perfectly to so much of what went on around him. The plot centers around the character of Evan who moves from New York to Indiana and as a fish out of water first meets Patrice. Evan and Patrice played by Jude Gothold and Emily Chervenak had great presence, chemistry, timing, as well as sounding great in each of their songs.

My MVP is Brett played by Dean Miers, but I’d be remiss not to mention his lackeys Malcolm and Eddie, played by Connor Ferguson and Lucas Cabral, because they play the perfect hype-men as well as had my favorite song lamenting the loss of their leader in “Bad Bad News.” They were hilarious and showed great range. Dean played the prototypical popular bully, but there was also a charm to his performance. He sounded great in his song and moments, but it was really his reactions in scenes and in particular his back and forth taking notes during “Tell Her” that had me in stitches. Excellent job.

Like I said, I highly recommend catching this show. Tickets and info are at: https://rocklintheatre.ludus.com/index.php?sections=events

TJ’s Theatre Reviews

Pirates of Penzance with Green Valley Theatre

I had a great time catching this classic show revisited with some of the extra charm, flair, and enthusiasm that comes with a Green Valley Production. The songs sounded great, there was an abundance of energy both towards the show and audience and a good time to be had by all.

The entire cast bought into the farcical nature of the show and had some wonderful moments. I loved when the police officer played by Sahil Afzali was pursued by a pirate and had a mirthful leap over a box. I loved everything that the police officer played by Katherine Folsom did, whether a procession of silly walks or exclamations of surprise. She was delightful. Julie Livingstone was wonderful as Edith and I loved her chirping with Dickie Linares who looked and sounded majestic as Mabel. The every dutiful Frederick was played by Ryan Blanning who also sounded terrific as well as surprising with some incredible balletic movements. My MVP was the ever entertaining Erik Dahl who played Major General Stanley. His “I Am the Very Model of a Modern…” was exceptional as expected, but it was also his command of the space and exuberant reactions to all of the happenings throughout that kept a smile on my face.

The show continues until May 10 and tickets and info can be found at: https://greenvalleytheatre.com/tickets/p/piratez

TJ’s Theatre Reviews

Matilda Jr. with NCS Performing and Fine Arts Academy

I am unabashedly and unashamedly biased in my review for this show. There were so many former students of my school and my class in this show and made for a deeply moving and personal experience. However, I think I can objectively say it was an excellent production as well.

It was performed in a black box setting and I was impressed by the use of many walled partitions for scene changes and set pieces along with boxes with letters as often done with this show. The cast had clearly taken the time to rehearse these changes and they were smooth and efficient. I enjoyed the costumes and choreography and there were some truly awe-inspiring moments with the company singing such as in “When I Grow Up.”

The entire cast had great energy and reactions to the onstage happenings. I’ll just use character names since they are all middle schoolers, but I loved the sincerity of the Escapologist and Acrobat. She sounded great in her singing and had great spins. The mechanic was absolutely hilarious reacting to Mr. Wormwood’s call while “fixing” the phone. Lavender’s enthusiasm was infectious. Bruce sounded great in his singing and scene work and sold the pain of the chocolate cake fiasco as he turned around with additional frosting each time. Nigel took each moment to really shine whether overexerting while spelling or fear of Trunchbull.

Speaking of Trunchbull… this was one of my favorite portrayals of the character, full stop. The costuming and make up, particularly the unibrow and giant mole only accentuated the characterization, physicality, and facial expressions of the performer. He sounded great in his singing and commanded the stage each time Trunchbull was on. But a good villain needs an equal hero, and Matilda more than stepped up to the challenge. Her singing was magnificent, and her dancing was unsurprisingly spectacular considering her background, but it was equally impressive her acting and reacting throughout the entire show. Whether making discoveries about the “pranks” she would pull on her father, getting others on board for her cover for Nigel, or gentle embracing of hands with Mrs. Honey, her Matilda was a remarkable performance.

The show closed today, but a great reminder with commitment from a cast and vision from a production staff, a junior production can be majorly impressive.

TJ’s Theatre Reviews

Rodgers and Hammerstein’s Cinderella with Dixon Community Theatre

I had the immense privilege of catching the opening night of DCT’s first musical. I had had the pleasure of meeting some of the performers earlier during the Villains cabaret and it was a treat to see and support them in a full show.

The theater space itself is really nice. A full wide stage and the seats are auditorium style so everyone has their own sight line. The set consisted of some mobile set pieces for interior and exterior locations and had many transitions covered by songs or scenes pulling focus on one side to help facilitate changes while keeping the action moving. I also loved so many of the costumes. It was really impressive how mobile and expressive so many of the women were able to be with their big flowing dresses. Some of the numbers had some really impressive choreography as well such as “The Prince Is Giving a Ball” and some fun action oriented numbers including chases through the woods and the appearance of some surprise guests.

On the performer side, some wonderful big reactions by characters and ensemble alike, especially the carriage drivers. I really liked Rodney Chaney’s fanwork especially upon the discovery of Cinderella near the end. Alex Snow and Taylor Quist were great as Prince Topher and the titular Cinderella respectively. They sounded great and helped sell the tone of the world throughout. My MVPs were Caroline Steffins and Emily Jo Shepherd who played the stepsisters, Charlotte and Gabrielle. Even as they made poor and sometimes rude choices, they were continually charming and engaging with their big energy, huge expressions and physicality. Caroline took full advantage and gave it all in “Stepsister”s Lament,” and Emily’s facial expression and use of eyebrows after her mom and sister leave for the banquet without her was hilarious. I was surprised at how much I fell in love with “When You’re Driving Through the Moonlight” and “A Lovely Night” which felt like the closest you can get to a happy dysfunctional family moment.

The show runs only two weekends and closes May 3. Be sure to check it out if interested. Tickets and info at: https://dixoncommunitytheater.org/cinderella-spring-2026

Theatre Review: Disney’s Newsies with Jessup University

It is always a pleasure to see the tremendous talent and work put on by the staff and students at Jessup. I left loving so many elements of the show and seeing a tremendous reaction by the audience to the story and themes.

I loved the costumes as always, having benefited from the expertise at Jessup myself in past shows. Kudos to many quick changes as many actors played numerous characters throughout, including different versions of a newsie. The singing was also terrific. The large ensemble numbers felt full and powerful. The choreography was also a highlight with such variety in style and highlighting different stunts and talents throughout the show. I also loved a “working” printing press that added to the moment of the show and it was a huge bright spot to see actual children join in during Once and For All when it is meant to be a citywide Children’s Crusade which it absolutely felt like.

On the performance side, the energy of the entire ensemble of Newsies was off the charts, but of particular note I couldn’t help but notice the expressions and stunts of Kylie Bass, Hadassah Heeregrave, and Wesley Schofield. It was also such a treat to see the tremendous dancing, including tandem cartwheels by sisters Olivia and Julianna Nash. Brittany Bays was fantastic, both in her choreographer duties, being a part of much of the choreography, and her role as Medda Larkin. Aaliyah Hoy was wonderful as Katherine Plummer. Her singing was beautiful, her scene work was fun, and she had a wonderful give and take with Jack Kelly, played by Zack Malone. Zack continues to astound. His energy, intensity, and commitment never wavered even in the moments where his character’s resolve may have. His performance was riveting.

The show opened this weekend and runs until April 26. Tickets and info can be found at: https://jessup.edu/academics/majors-programs/undergrad/theatre/events/

Theatre Review: Bang Bang You’re Dead with Celebration Arts Sacramento Theatre

There is something uniquely special about a student produced and directed show. There is such earnestness and often out of the box thinking and risk taking that is admirable. As for the outcome, it is ultimately always subjective, but I can wholeheartedly say I walked away impressed and satisfied by all of the elements and the show itself.

Major kudos to directo Adelae Wong-Martinusen. Whether it was planned out in advance or organically created throughout the process, there were so many specific blocking, staging, acting, and especially lighting choices that help illuminate (literally and figuratively) the heart of the show. Excellent use of silhouettes for flashbacks and inner voice characterization.

Excellent work to the entire cast as well. Whether it be the foreman constantly introducing their prepared verdict to the dismay of the protagonist, or their dismissive public defender. From a wonderfully heightened portrayal of a mother and father or a stoic judge that wants to keep things moving, everyone played their part. A heavy portion of the show was carried by the five victims of the show. Their timing off of one another was terrific and conveying their youthful humanity in scenes compared to their stripped away remembrance versions was compelling. Of particular note is Mackenzie Hollander who played the most connected of the five to the protagonist and balances earnestness and understanding with underlying frustration at his growing poor decisions.

The aforementioned protagonist is absolutely not someone you root for, nor gain sympathy towards, but perhaps understanding and is played masterfully by Noah Perez. The show itself demands a constant ebb and flow of self-assuredness and conviction ricocheted into self-doubt and self-pity. I was absolutely impressed and engaged throughout.

So honored to have had the chance to catch this show and debut outing by a new director. Congrats to the entire cast and crew.

Theatre Review: Fat Ham at Capital Stage

Freaking unbelievable! I loved this show. It likely drops into my top 5 at Capital Stage and one monologue in particular is one of my favorite live theatre experiences ever. Period. I loved so many things about this show and to get it out of the way, absolutely make an effort to see this show if you are able before it closes April 19.

The set immediately invites you in as it always does as Capital Stage. The actual space is decreased quite a bit because there’s a literal porch and part of a house built on the stage with a barbecue, windows, a picnic table, and more. The set dressing is vibrant as ever as well. The lighting supports the story telling and I loved all of the music incorporated into the show, sometimes as setting a vibe or mood, and other times as specifically part of the plot. Costumes were also an integral part for nearly every character and helped support relationships and personality. And before getting into the performances, I loved the writing, utilizing the expectations of Shakespeare and storytelling tropes, subverting at times, creating moments that are called back purposefully later, mixing side splitting humor and heart wrenching anguish. I’d happily seek out more works by playwright James Ijames.

The cast was wonderful. Everyone had great singular moments as well as building the sense of community and at other times tension. I loved the self-assuredness and ownership of self with Kali Honeywood’s Opal. I loved the vulnerability and weakness displayed by Brooklyn T Solomon’s Tedra, yet also displayed strength in wholeheartedly supporting her son when he feels seemingly completely overlooked. I couldn’t help but grin ear to ear with Brandon Rubin’s portrayal of Pap and Rev, another clever writing decision character wise. There was enough nuance to make them different, but also clear similarities to help with a gag. He was able to switch between menacing to affable on a dime with eerie efficiency. And even with such standout performances as those, my MVP is Xzavier Beacham who played Tio. From the first scene to his triumphant return much later in the show, he was always captivating in line delivery, physicalization, and tactics. The written material provides a springboard, but Xzavier takes it to an even greater level. His performance exemplified how presence doesn’t require yelling or overt physicalization, but purpose and commitment and the audience will come right along. It was beautiful to see and more often than not, had me in stitches.

The show thankfully has a few weeks to go, closing on April 19. Make your way to Capital Stage if possible and have yourself a great time. Tickets and info at: https://capstage.org/the-plays/fat-ham/

Triple Theatre Review: Newsies with PFAA, Junie B. Jones Jr. with RCT, and Little Shop of Horrors with DMTC

What a lucky guy I am. To be able to see local theatre at all different levels and in this case, all for free. That doesn’t change the fact that I was thoroughly impressed at each performances and I’d like to go into each a little bit.

The first was Newsies at the Performing and Fine Arts Academy in Natomas. I am a teacher at the elementary portion of Natomas Charter School and knew many of the students so I am especially biased, but can say with a clear conscience that the dancing from the ensemble and principals was top notch, the emotion and scene work of Thomas LePage as Jack Kelly was tremendous, and the singing, acting, and everything else you could ask for was extraordinary by Katherine Lee who played Katherine Plummer. I told her myself that I felt like I was watching a performance akin to Sutton Foster who carries herself naturally with a grace and elegance and then is able to drop it for comedic expression which she did beautifully.

The second was Junie B. Jones Jr. at Rocklin Community Theatre. I had no idea what to expect, but was able to watch it for free by working in concessions. The show itself was delightful. The songs were numerous, but brief allowing a variety of performers to have a moment to shine and convey major story elements. The set was cute and colorful, with a really cool oversized notebook to stage left that opened on each new “chapter.” So many of the kids were fantastic, but the titular character was played with such confidence and commitment by Ellie Anderson and I was blown away. She sounded great, all of her intentions read off the stage, and she seemed to be having a lot of fun. Junie B. Jones Jr. just closed.

The third show was Little Shop of Horrors at Davis Musical Theatre Company. I was able to be a ticket scanner/usher and help in concessions. The show was fabulous. Nice set, excellent Audrey 2 plants, and wonderful costuming. The small cast each contributed to make the show something special starting with the top notch vocals on the Urchins played by Roselle-Angeline Castro, Honey Creer, and Ciara Spade and supported by the comedic timing of Mr. Mushnik played by Adam Russ and the bevy of characters played by Erik Catalan including Orin Skrivello, DDS. The plant was played to perfection by Omar Huerta and voiced by Jeremiah Krauss. And the entire show was anchored magnificently by Cassie Mosher and Danny Beldi played Audrey and Seymour respectively. Great scenework by both, wonderful vulnerability by Danny and Cassie sounded fantastic in her “Somewhere That’s Green” and “Suddenly Seymour.”

Theatre Review: The Drowsy Chaperone with UC Davis Department of Theatre and Dance

It was a little surreal seeing a show I was just in about two weeks ago, but I’m so glad I did. It was a beautiful thing to see that a show I love so much can be produced with different visions and concepts and be just as enjoyable in each. It was also my first experience at UC Davis and though parking and the actual seats in the space were my naot my favorite, the space itself was fantastic. The stage felt full, there was a great atmosphere for the show, this one in particular, there was fantastic support in the audience, and a great vibe overall. The set was great, nice use of lighting and sound effects, and having a live orchestra was a game changer. I enjoyed the costumes and so many of the performances.

The entire ensemble was excellent. Great enthusiasm, expressions, and dancing. I particularly appreciated Yini Qiu who I recognized from the show at Woodland Opera House. Timothy Austin brought a great youthful exuberance to Robert and I give props to anyone able to tap and sing at the same. Likewise, congrats to Liam Yao who played George. His tap looked fun and his opt up after “Cold Feet” was spectacular. I give Matthew Rivera a lot of credit as well. I know the energy that can go into the part of Aldolpho. He was fun, expressive, and had some wonderful physical moments during “Aldolpho” and a unique string trick for the cane drop reset.

His “partner” was the titular Drowsy Chaperone, played magnificently by Seona Sherman. Her commitment to the bit was fabulous and her “As We Stumble Along” was tremendous. She had great timing, expressions, variety, and was a delight. But speaking of timing, my personal MVPs were the duo of Gangsters played by Gray Engstrom and Joseph Fitzgerald. It was clear they put in the work to synchronize humorous bits, to imitate one another in choreographed moments with different angles and heights. They were so engrossing to watch and readily deserved the applause of the house after their first scene. Definitely the kind of performances that make you want to see what they’re up to next.

Theatre Share: The Drowsy Chaperone with Rise Up Theatre Company

I am 100% biased as I am in the show, but I feel very confident in saying that this is one of the best shows being put on in the Sacramento area. Behind the scenes I am acutely aware of the thoughtfulness of the costume, prop, and set design, of the work put into choreography and vocal direction, but also as a fan of theatre I am just as astounded and in awe of the performances night in and night out.

It truly feels like an ensemble show with the actual ensemble starting off as the foundational piece. Eric Charlone, Faye Crook, Lucy Marie Rosales, and Em Mireles work tirelessly to support scenes and often change them, all while maintaining character, charm, and whimsy. Jaelynn Carr as Trix the Aviatrix has the ultimate stage diva look and presence and slays her moments at the top and end of the show. Jake Brooks and Cooper Hinshaw have great synchronized comedic timing as the Gangsters and yet were able to create unique characters for each. Sean Savidge as Underling is the consummate professional both as his character and as a human being and his bits and beats with Monica Parisi’s Mrs. Tottendale personify the style and humor of the show being depicted. Jay Evans plays the despicable Mr. Feldzieg with such panache and charm that you can’t help but root for it to work out for he and Kitty. Kitty is played hilariously by Emma Rose Wehrli who commits to the schtick each and every time, trusting the material and the audience to uproarious results that immediately get them on her side.

Alec Hudson has continued to grow leaps and bounds and took on some tap for this show in addition to a highly manic character and always conducts himself with such generosity and ultimate joy befitting a best man. He plays best man to Robert Martin, embodied magnificently by Jordan Plumb. Distinct vocalization, physical traits, comedic timing, and always breathtaking singing make the entire show one not worth missing. Robert is engaged to Janet Van de Graaff played remarkably by Summer Smith. She flits so effortlessly between her character and her actress in her purposed reactions all while having terrific vocals and scene work. Her reactions are almost unilaterally towards the unhinged Drowsy Chaperone played hilariously by Courtney Conklin. Similar to the entire cast, she commits to the director’s vision of a stage diva “losing her way” throughout the performance allowing so many other characters to feed off her and react to her. Perhaps the most important of those is the Man in Chair, played humbly, charmingly, and stunningly by Kenny Brian. His characterization, his vulnerability, and his connection to the audience are commendable.

Theatre Share: Something Rotten! with El Dorado Musical Theatre

I had to sneak in a quick trip to EDMT to support some of my friends in one of my favorite shows. EDMT has a really cool space and its nice to see them opening it up to adult community members for shows as well. The costumes and set were spectacular for this one and I want to shout out some of the performances as well.

Isabella Vega was delightful as Portia bringing a light and energy to her scenes and discoveries. Isabella and Garret Blair sounded wonderful together with his singing as Nigel. Emma Barone brought an infectious energy as Bea into all of her scenes and her song in “Right Hand Man.” Alex Levy was smooth and sexy as the charismatic Shakespeare and had perhaps my favorite single moment of the show as he tip toed in tap shoes during “Bottom’s Gonna Be on Top.” Jared Singh was the anchor throughout the show as Nick Bottom. I love getting the chance to see Jared perform, but often as the strong, confident, heroic type and being able to see his range in this role as a foil, often frustrated, and sometimes wrong was magnificent.

Theatre Review: Neil Simon’s California Suite at Chautauqua Playhouse

I had an absolutely great time with this unique collection of four playlets (that’s the term) that all take place in one California Suite (thus the name) all in the 80’s. The aesthetic, costumes, props, and especially music really took me back and invited me in even if I was still less than 10 years old throughout it all. All four scenes felt unique and engaging in their own ways telling their own stories, often a mixture of humor and thoughtfulness. Congrats to all of the performers as well as the collaborative effort of having a different director for each of them.

I really enjoyed the third scene and the playful prodding between Michael Coleman and Deborah Bromley’s “Visitors from London.” Both were charming and used a variety of tactics as their character and with the additional “post award” scene, had the opportunity to demonstrate a wide range of emotions. The humor was then immediately ratcheted up to farce and slapstick (and I was here for it!) in the final scene “Visitors from Chicago.” Deni Scofield did an excellent job keeping the stakes up and acting as a catalyst to keep refreshing the scene. Teresa and Steve Gold were hilarious as the living embodiment of Deni and her husband’s frustrations and both committed to the idiocy of the situations whether clumsiness in a restroom or being wrangled on the floor. My favorite performance of the night was Rob Hayes who seemed to have so much fun effectively switching between rational and diplomatic to frustrated and manic. His transition during the early phone calls were particularly impressive. Add to that the physicality added into the scene and I tip my hat.

The show runs until February 1 and I highly recommend catching it if you are able to. Information for tickets can be found at: https://www.cplayhouse.org/index.html

Theatre Review: Sweeney Todd with The Stage

The crowd went wild for this one and it was fun to be at the closing performance and hearing audience members talking it up as many were seeing it for the second or third time. There were some great production choices and terrific performances.

I liked the set. There was a clear second level, then upstairs and still plenty of mainstage for the performers and a few set pieces. The painted walls worked well and the backstage had an intentional split or divide from dark to more light which was used at times for outdoor and indoor scenes in addition to any thematic elements. I liked the costumes. White suits really popped at the top of the show and there were some additional stand outs such as Mrs. Lovett’s. The choreography was also engaging. Early on there were some nice body rolls and isolations and later a really cool mass of people moving around with individuals popping up to deliver their lines or lyrics. The cast sounded terrific as well, so kudos to the music direction. The cast leaned into the humor and the audience ate it up.

The ensemble all were engaged and had nice lines and varied tempos during some moments where they enhanced a scene with their presence on stage. Because it happened right in front of me, it was awesome seeing Macie Pote twirling around slowly like one of those wind up ballerinas and getting nudged by the “scene” on stage and temporarily speeding up while staying in position and then getting back to her wind up doll speed. Duckie Linares sounded great as Johanna throughout and Angel Riley and Molly Pote as Sweeney Todd and Mrs. Lovett respectively had presence together while often purposefully bringing opposing energies. They both sounded great and had wonderful timing and delivery.

Jordan Plumb was as terrific as Tobias Ragg. He has such tremendous physical and vocal control. He was able to mine moments of humor that the audience ate up with his expressions and consistent delivery. My personal MVP was Cooper Davey as Beadle Bamford. It felt like he straddled the line of humor and perceived threat very well and sounded great especially in his often underutilized “Parlor Songs” section. He had great timing, delivery, variety, and physicalization.

The show just closed, but congrats to all involved.

Theatre Review: A Christmas Story with Rocklin Community Theatre

Wow! From start to finish I was impressed with the thoughtfulness of the production and the talent of the performers. For those familiar with the story you’ll get all of your expected moments delivered with wonderful nods to the original, and for those of you who are not, you will get a fantastic story dripping with heart and humor.

I appreciated the balance of set and projections and use of spotlights and moments in front of the curtain to assist scene changes. They were smooth and the show maintained a nice, continuous fluid momentum. The costumes appropriately evoked the original, as well as the period, and then the fantasy elements all with equal aplomb. The orchestra sounded amazing as did the singing so kudos to all musical direction. I also loved the choreography. I thought there was good balancing of the various sub groups in the cast, there was fun story supporting elements, and everyone seemed comfortable and having a good time.

The entire cast really did seem to be enjoying the show and sharing the spirit. A great example was during “Ralphie to the Rescue.” There are costume changes, various dancing groups, melodramatic acting, and from seemingly every member of the cast. It was magnificent. Everyone should be incredibly proud of the show they are putting on. I wanted to share that I was particularly impressed with the ease and charm of Matt Metcalf who opens the show and narrates as Jean Shepherd. I was also delightfully surprised by Stacy Ferguson in my first time seeing her in a full show and absolutely nailing character, humor, and expressiveness as both Miss Shields the teacher, and Miss Shields the nightmare. I also loved the entire Parker family and dynamic. Liam Johnson was adorable as the young Randy, but more impressively, he was able to hit the comedic moments holding his arms up and having them rebound, and then later singing short phrases as part of a difficult song while also picking up pieces of a lamp from the stage (part of the show). Ralphie was spectacular and had nearly no breaks once taking the stage and Jude Gothhold was up to the task. The character and emotion was there, the comedic timing was immaculate, and the singing wonderful. It had to be a lot of fun playing alongside his mom, Kirsten Gothhold, who was equally spectacular as his Mother in the show. She sounded amazing and grounded so much of the heart in the show. She also acted as a foil at times to The Old Man played by Dan Armstrong who turned in yet another of my favorite performances in recent history. He has such an easy charm on stage, and continues to sound better and better, and I loved his ability to play a variety of emotions whether frustrated, heartfelt, zany, or even demented (also in a nightmare). Fabulous work.

The show might be sold out, but if not, I highly recommend you catching one of their final two performances this weekend. Tickets and info can be found at: https://www.rocklintheatre.org/tickets

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