TJ's Theatre Reviews 25-26

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