UCB Student Produced BAREStage ends their season with HAIR.

"HAIR" HELPS MARK THE 50TH CELEBRATION OF THE FREE SPEECH MOVEMENT AT UCB

University of California Berkeley Barestage Productions, celebrates 50 years of Free Speech with a smart production of a 60's classic. BareStage is the oldest student-run theatre company at UCB, and has a great history of staging new and old works. The company features both Arts Majors and non. Any student can audition and their productions always prove the Berkeley campus is the home of excellent talent, from Engineers to Science majors. UCB Theatre Arts Major Senior Matt Bratko was asked to write this review. I wanted a Cal students point of view, Thank you Matt. 

By Matt Bratko. Great energy and spirit in a musical can cover over a multitude of sins, and in Barestage Production’s Hair, it unfortunately had to.

Directed by Jessica Slaght, this show was shrewdly chosen to coincide with the 50^th anniversary year of the Free Speech Movement, where Berkeley students fought for their right to political expression. The recent resurgence of controversial protests and activism also makes this show seem timely, and there are a few moments in the show when Hair feels relevant, especially when the tribe that makes up the cast of the show stages a “Be-In”, and the revolutionary fervor is placed front and center. 

Unfortunately these moments are few. Because of the liberal nature of the Berkeley campus, many of the numbers that initially struck audiences in the late sixties as incredibly controversial and radical fall on unimpressed ears. For students here singing about hashish and sodomy is just another day on campus. 

The notorious nudity sequence also felt anticlimactic. The cast slowly takes off clothes as they move upstage and the more modest ones hide behind signs and other detritus that is attached to the cyclone fencing that flanks the stage. While the director’s note explains the nudity as “asking audiences why we make a bigger fuss over the display of naked bodies on stage than the tremendous carnage in Vietnam,” the staging of the scene feels obligatory and almost ashamed. By moving the cast to the back and hiding them behind the fencing instead of presenting them front and center to show that nudity is harmless and natural, the show seems to be reluctant to commit to making that point.

The show’s vibe is very brightly colored and positive, full of innocence and energy. There are a few standout vocalists, with Dubravka Juric opening the show with an “Aquarius” that roars the house down and sets the bar high for the singers that follow her. Juric, Hussain, and Crossley are all strong singers who are sadly underutilized, especially Hussain, who had incredible power and precision in her standout moments in the ensemble.

The majority of solos go to the leading men Bennett Martin and Benjamin Schaub, who play Claude and Berger respectively. The standout lead was Madeleine Pla as Sheila, who could both act and sing and frequently did both very well at the same time.  Also notable were Olivia Uhley as the pregnant Jeanie, and Yoonji Jang, the standout dancer in the cast.

After a slow first act that felt like Cats on marijuana, both for its childish energy and the disjointed personality-based nature of its numbers, the second act picks up with the dynamic “Black Boys/White Boys” number and the action-packed hallucinations of Claude. The lighting design really worked to give shape to the changing settings/states of mind throughout that sequence. The cast was full of enthusiasm and humor, they committed to their actions and worked smoothly together. In the end, it was an enjoyable ride that felt a little too much like a fluff piece. (Bratko) 

BareTroupe Spring May 3rd Showcase

May 3 is the annual  for BareTroupe's Spring Showcase! The performance includes members of BareStage musical theatre troupe in numbers from Chicago,Les Miserables, Rodgers's + Hammerstein's Cinderella, The Full Monty, Curtains, and more! The FREE showcase is  Sunday, May 3rd at 8pm in the Choral Rehearsal Hall. This will mark their final production of 2014 -15 seasaon.

LINKS TO BARESTAGE INFO and more about their past season

https://www.facebook.com/events/1481880228725272/

http://www.barestage.org/

https://www.facebook.com/BareStageProductions?fref=ts

https://www.facebook.com/events/1392677767724016/

The Berkeley Playhouse - Entertaining show stopping HAIRSPRAY!

THE 60’S BOUNCE OFF THE JULIA MORGAN STAGE AS A HAIR HOPPER STEALS YOUR HEART.

Tracy Turnbald  and her quest to be part of the “nicest kids in town” brings the house down at the Berkeley Playhouses new sparkling production of HAIRSPRAY. Based on the 1988 film by my hero John Waters, book by Mark O’Donnell and Thomas Meehad, music by Marc Shairman. In 2003 the Broadway hit won eight Tonys, and went on to be a successful movie musical.

This home run cast assembled by Director Daren A.C. Carollo, is a perfect example of the quality theatre the Berkeley Playhouse is bringing to their family theatre. From the opening number “Good Morning Baltimore” Carollo direction is non stop fun. Set in 1962, at the height of the fight for racial integration, HAIRSPRAY is the story of plump Tracy Turnblad who is going to do whatever it takes to dance her way onto Baltimore's TV teen dance show.

Does the big girl with big dreams and even bigger hair - also win over Link Larkin the hottest boy on the show? Its a good chance that most reading this have seen HAIRSPRAY in one fashion or another yet a second or third time at the Corny Collins show is always fun.

Monica Turner returns to the role of Tracy and she is terrific. She is a Bay Area favorite who did the role for Cabrillo Stage Company, and now brings the sixties to the Julia Morgan stage. Turner projects the right amount energy and optimism. “I want every day to be negro day” one my favorite “Tracy” lines. Taylor Bartolucci is perfect as the villainous Velma Von Tussle, as is Chelsea Holifield as her spoiled-rotten daughter, Amber.

The talented scene stealer Andrew Humann brings the Elvis heartthrob karma as Link Larkin and his excellent “Without Love’ duet with Tracy. Glen Riggs is cast as Edna, Tracys mom, and he is divine in “Welcome To The Sixties”. Yet a highlight is the duet with Riggs and Joel Roster as Wilbur Turnblad, their chemistry is perfect in “You’re Timeless To Me”. Hanna Foster is busy and funny as Tracy’s best friend, the nerdy Penny. Scottie Woodard is delightfully smooth as TV show host Corny Collins.

Brandon Thomas brings some spark and amazing moves as Seaweed J. Stubbs, the dancer who ignites Tracy’s campaign to bring racial equality to the dance show. Brandon is a talented dancer and is a highlight. Khalia Davis is marvelous as Seaweeds sister, Little Inez with a load of talent and charm. Tielle Baker is cast as the female authority in a number of roles - her best being the hilarious gym teacher and prison guard.

Director Carollo needs to be applauded for perfect casting in the role of Motormouth Maybelle, played by Berwick Haynes in drag. His depth of highlighting the darker side of this fun is proved with the powerful number “I Know Where I have Been” is a show stopper. Haynes brought the sold out Berkeley Playhouse to a standing ovation stop.

The rich colorful "mod” set designed by Robert Broadfoot at times can upstage the talented cast, but its moving stages and back lit entrances are perfect for this romp through the sixties. Choreographer Alyssa Bond’s dance sequences gave the opening night crowd a few blisters on their hands from the get-up-and-dance after the other of excellent energy on stage.

Wigs, hair spray, and colorful sixties costumes by Liz Martin give the cast giggly camp. Tracy and Ednas coordinated first act dresses could have been a bit brighter, but later Edna shines in the satin, feather boas and loads of jewelry. The back lit set front and swinging cans of light designed by Mark Thomas, keep this show bright. Music Director Michael Patrick six man orchestra are on cue, yet I missed those “Bells” in “I can hear the bells”.

The signature Hairspray "can" designed by Props head Kristen Royston, for the closing “You Can’t Stop The Beat” fits the surprise of the classic dance number. Bond and Carollo fill their stage with some perfect energy for the close of the show.

One of my endearing hero’s in the film and theatre community is John Waters, from the first time I discovered Divine and her Cha Cha shoes. I feel Mr Waters, who is in the Bay Area often, would be pleased with this production in Berkeley. It is a must see and Carollo and his production team deserve every “standing O” they earn for every performance. Go catch the sixties, its energizing!

H a i r s p r a y

Presented by Berkeley Playhouse

Julia Morgan Theater, 2640 College Ave., Berkeley

7 p.m. Fridays, 1 and 6 p.m. Saturdays, noon and 5 p.m. Sundays; closes May 17

Tickets: $25 to $60

Contact: (510) 845-8542, ext.351, www.berkeleyplayhouse.org

Photos by Ben Krantz

PACIFIC COAST REPERTORY brings an excellent FIDDLER to the FIREHOUSE Stage

FROM ANATEVKA WITH LOVE PCRT CELEBRATES THE 50th YEAR OF A BROADWAY CLASSIC

The Pacific Coast Repertory Theatre celebrates Tevye 50 years on stage with an excellent production of the timeless musical.  FIDDLER ON THE ROOF is written by Joseph Stein, music by Jerry Bock and book by Sheldon Harnick. Director Christina Lazo assembled a talented cast for the small PCRT Firehouse stage, and its impressive. Lazo also choreographed some high flying numbers reminiscent of Jerome Robbins original dance numbers.

Staging a full production of FIDDLER is no easy task, the story comes with a large cast and some iconic songs that are part of American Theatre. Bay area favorite Dan Kapler was perfect as Tevya, he commanded the stage and was the heart of the show. Most of the performances are well acted, but Kapler is at his best in this role. Rachel Robinson as one of Tevya’s daughters, Hodel was also a standout. Most impressive was Burton Thomas as Motel the Tailor and his memorable “Miracle of Miracles”. Mr. Burton is endearing, and vulnerable. Tzeitel, played by Melissa Reinertson also is charming on stage.

The story of FIDDLER ON THE ROOF is full of well known songs and this cast for the most is on their mark. Annmarie Martin as his wife Golde is perfect in “Do you love Me”. Nick Sears as one of the Russians Fyedka and Scott Reardon as Perchik are both standouts. 

The wedding scene that closes out the first act is a busy one, it includes the bottle dance and “Sunrise, Sunset”. Lazo constructed this well, and “Tevye’s Dream” with Fruma-Sarah and the whole company. It was fun and the setting perfect using every corner of her small stage. The orchestra headed by Pat Parr is perched above the set and is on cue. Sherry Lewis plays the Fiddler and Lazo works her into many of the numbers

The small village of Anatevka is sometimes a scene stealer - Designed by Patrick Brandon, he used the color blue in the mix of the Village. In Judaism blue symbolises divinity the color the sky and sea. Brandon set includes a beautiful backdrop and textured space for the actors to work with. The lighting also has blue texture and designed spot on by Michael Oesch. Designer Margaret daSilva has fun with the costumes in the dream scene and she keeps the tradition of the costumes rich with the culture of the Jewish faith.

All the classic songs from this 50 year classic are all easy to recall and this company performed them all very well on such a small stage. “Tradition”, “To Life” and the wedding celebration all keep the spirit of larger productions. Lazo expands the cast to fill the small Firehouse Arts Center - and the villagers fill the aisles, a well staged move to bring the show into the entire space.    

Some other smaller roles I would like to mention include Steve Wilner as Lazar Wolf the butcher, Salim Razawi as the Rabbi son, Audrey Howitt as Grandma Tzeitel and Ali Lane as Yenta the Matchmaker.

For fifty years Fiddler on the Roof has earned respect as one of the greatest musicals of all time.  Songs like “Sunrise, Sunset,” “Matchmaker,” and “If I Were a Rich Man,” will always be a “Tradition” in the American musical theatre. This production at PCRT is the perfect musical to celebrate on this Pleasanton Ca stage. Congrats to the cast and production team.

FIDDLER ON THE ROOF

PACIFIC COAST REPERTORY, FIREHOUSE ARTS CENTER

DIRECTED BY CHRISTINA LAZO

April 17, 2015 – May 3, 2015 Fridays and Saturdays at 8pm Sundays at 2pm -  $17-$38 Season Subscription also available

(925) 931-4848 or online tickets at www.pcrtproductions.org

Running Time: 2 hours 20 minutes with Intermission.

OMG I LOVE THAT SHOW! a fun night for show tunes FORBIDDEN BROADWAY will make you smile.

VERY FUNNY TAKE ON BROADWAY CLASSICS IS TERRIFIC AND FORBIDDEN

Jill Gould as Carol Channing

OMG I love that Show! is a fact with their new rendition of the Fringe hit FORBIDDEN BROADWAY. Tony winners and some flops take a riff, as our favorite show tunes get a great re take in the hands of writer Gerard Alessandrini. “This show is a love letter to that wonderful American art form of musical theatre” says co-directors Ryan Cowles and Derek Travis Collard. The two also add their own very clever shtick and take on some classic bits from Broadway.

Gemma Bulos as Annie

I would guess that some Broadway icons would be insulted if their show was left out of this skewered fun. Cowles assembled a talented group of locals who all have a string of their own hits to be part of this funny clever show. Gemma Bulos, a charm as Eponine snaps a selfie of herself in the extended “Le Miz” bit as she sings “on my phone”. Michael Doppe with his classic voice works the crowd as one of the Monkeys from "Wicked". Jill Gould is the best Mary Poppins as this romp takes down a Disney classic. The brilliant Derek Travis Collard appeared in the cast the night I saw this, he was the pretentious narrator from “Into the Woods”

Broadway hero Producer Cameron Mackintosh is taken to task, both with his Le Miz and Phantom get very clever take offs. Cowles makes the famous turntable set of the original Le Miz an important part of the funny as his actors struggle to stay on the set. The lighting design very simple but well done by Eric Johnson is the key to visual fun in “One Day More”. The FORBIDDEN set is just one piece, lighted curtain for the team to enter in their many costumes and become the color of the show. Cowles wearing many hats for this production brings some easy to recognize flash to his actors look on stage. I found myself giggling as the sight of some of the costumes, knowing their shtick to follow.

This version is all very current, with a viscous take of NBC’s 'Sound of Music". With the miss cast country Carrie Underwood version of Maria Von Trapp,  played so well by Jill Gould. This satirical two hours has no boundaries and hardy any shame, and its perfect.

Diva Idina Menzel is not left out of the fun, “Adele Dazeem” makes her mark played perfect by Kathryn Hart, as she powerhouses “Let it Blow” from Frozen. Later Dazeem returns with her monkey and broom to fly into “Wicked”.

Some classics are easy to make us smile, like Michael Doppe as Tevye in “Fiddler on the Roof”, “A Chorus Line”, “Dolly” and “Music Man”. So ironic, on a stage a few feet from this black box show, is a huge CCMT production of Music Man taking place above the cast of FORBIDDEN BROADWAY. Did those “River city” vibes work their way upstairs.

Kathryn Fox Hart as Liza Minnelli

Of course not all made it to the Walnut Creek black box fun, "Book of Mormon" was missing and Pippin didn't make the cut. But not really missed as “The Lion King” riff was classic ridiculous and a hilarious mention of the heavy headed costumes that crossed to some “Cats” looking on from yet another Mackintosh parody. RENT also makes the song list and Gemma Bulos as the homeless lady steals the parody of “Season of Love”.

The six member cast is a charm of talent, not one of them misses a beat. Cowles keeps his cast moving with some cute song and dance gigs. I need to mention Kathy Hart return to many of the parodies, her best as Liza Minnelli . Matt Smart is the one man orchestra and music director, and at times it was great to just see him play and mix his Broadway tunes

I did have my FORBIDDEN favorites, Chita Rivera and Rita Moreno battle for the right to “Westside Story - America”. Along with Ethel Merman battle with The Phantom vs using a microphone to project featuring Jill Gould and very funny Chris Olson.  FORBIDDEN BROADWAY 2015 is a high octane flashmob of amusing high end camp, and not a drag queen in the group.

The cast self y

Forbidden Broadway: Greatest Hits

The Roast of Broadway

April 17 to May -3rd, 2015

OH MY GOD I LOVE THAT SHOW

Tickets 35.00 -  925-943-7469.

AT THE LESHER CENTER FOR THE ARTS

www.omgilovethatshow.com

Tickets 35.00 -  925-943-7469.

AT THE LESHER CENTER FOR THE ARTS

www.omgilovethatshow.com

Photo Credit: Tom Deans-Flegel

DOUGLAS MORRISSON THEATRE STAGES HANK WILLIAMS: LOST HIGHWAY

THE GRAND OLE OPRY COMES TO HAYWARD - HANK WILLIAMS JUKEBOX BIO IS OUTSTANDING

Hank Williams pioneered “hillbilly music” cross over to country pop that was created in the 40’s. His fame was brief but important, and his talent changed how we now remember country music. He was only 14 when he first hosted his own radio show, by 21 was married and a star on the Grand Ole Opry stage. At 28 he was divorced and soon after his music became legendary.

The Douglas Morrisson Theatre company - headed by Susan E. Evans, brings this important jukebox biodrama to her Hayward Ca. stage. Randal Mayler and Mark Harelik’s first teamed to create this production in 2002 for the Manhattan Ensemble in New York.

“HANK WILLIAMS: LOST HIGHWAY searchers for the elusive man behind the American myth. And in doing so, uncovers a lot about both the man and country” says Director Ben Randle.  The two hour story and song list is an outline of the “Lovesick Blues” singers climb to success. The musical numbers give this concert Bio its arc and wonderful history of why country is so successful.

Cast as Hank Williams is the talented Kevin Singer,  who in 2014 headed the cast in Ray of Lights production of “Yeast Nation”. He now wears appropriately a cowboy hat that fits him perfect in the role of Williams. His performance is spot on as the young Hank without creating that pop style impersonation, and his charm steals the audiences hearts. Williams was not the most likable person, drinking a lot and performing at times drunk on stage and abusing his team.  Much the same when we see other singers careers who left us too soon.

With the use of first person monologues the cast recreates exploring Williams career and meeting the influence of his sound, Rufus Payne “Tee-Tot”, played so well by Dwight Mahabir.  Tee-Tot shadows Williams in this story as we see his climb to fame and fall to fast times. Dwight simply at times steals the performance from Hank with his amazing baritone voice in his solo song “The Blood Done Sing My Name”.

Rebecca Failoa plays his dominating stage mother Mama Lilly, the likes of Mama Rose in “Gypsy”.  Rebecca is excellent in this role as she describes her son’s lank built “he is skinny enough to change clothes inside a shotgun barrel”. But the book has some holes and Mama is missing most of the second act. Williams addiction to drinking is a brief mention of a back injury, he actually suffered from spinal bifia, but the story does not explore what demons really drove the singer to his constant drinking and pill popping. The song “I am so Lonely” is the key.

The backup band for Hank is the heart of this show. Ben Randle had to cast actors that were just as talented playing their instruments. The Drifting Cowboys are tremendous with James Touzel, Dylan Collins, Kyle O’Brien and Paul Chianese. The band members share their moments working with the man. Burrhead, played by Collins, points out “The only place he’s comfortable is out in the middle of nowhere or here on stage in the middle of everywhere”.

The story also misses William's second marriage, but Sarah Coykendall is great as his first wife Audrey Williams. She has a humorous number singing off key “I’m Telling You” as the manager Fred Rose (Tom Reardon) has to fire her.  The other female in a featured role is the Waitress played by Sarah Mitchell who also holds much of the story told from her radio at the Diner. Reardon as “Pap” Fred Rose is excellent, who also wears other hats as Old Opry hosts an announcers.

The set resembling the Old Opry is impressively designed by Liliana Duque Pineiro. The lighting design to resemble a concert look is spot on by Allen Willner. Hanks white suits and hats - the bands overalls and eventual uniform scarf country look is excellent, designed by Valera Coble.  Musical direction by Olive Mitra needed to keep his musicians on stage most of the time, both as actors and artists and that mix was perfect.

Director Ben Randle staging of the performance of Williams is excellent. The flash backs and story move well and his entrance for his actors were clever and I especially enjoyed the cast emerging from what appeared from under the set.  Randle has a way in staging important stories on bay area stages and this musical is evident of his talent. The use of the Radio as a memory to Hanks legend was perfect.

I was very impressed with this production. Susan Evans continues to bring the DMT Hayward Ca. stage excellent Bay Area Theatre. Hank Williams is a tight assemble creating a memorable moments of a life lost way too soon. See this current production, it only has 6 performance left (as I post this) and seats are going fast.

HANK WILLIAMS: LOST HIGHWAY,

by Randal Myler and Mark Harelik. Directed by Ben Randle

CAST: Paul Chianese, Dylan Collins, Sarah Coykendall, Rebecca Faiola, Dwight Mahabir, Sarah Mitchell, Kyle O'Brien, Tom Reardon, Kevin Singer and James Touzel

Douglas Morrisson Theatre

22311 N Third St, Hayward, California 94546

April 16, 2015. 8pm  - Sunday, April 26th , 2015. 2pm

Tickets Online - www.dmtonline.org

Photos by Terry Sullivan and Claire Rice

SANDBOX SERIES Premiere of a Word Puzzle Mystery

WORLD PREMIERE OF THE 

BRILLIANT NEW PLAY BY LAUREN YEE. IN A WORD  AT THE SF PLAYHOUSE

San Francisco Playhouse SandBox Series at the Tides Stage on Sutter st., continues its sixth season of new plays with the National New Play Network Rolling World Premiere of Lauren Yee’s “in a word”. Directed by Giovanna Sardelli, this drama explores the loss of a child. - ‘in a word’ is my attempt to theatricalize that feeling you get when you're missing something, or something lurking on the edges of your periphery” says playwright Lauren Yee.

I keep trying to correct the way Yee writes (in a word) with no caps or “ “ , but just the way the title suggests this play mines words and phrases. A word craft of holes in words, thoughts and memories. Yee is a brilliant new writer, her other work includes “Ching Chong Chinaman”, a hit at the Impact Theatre. Later this spring her new play “Hookman” opens at the at Zspace.

This 70 min one act, Yee brings a family torn dealing with their missing child. The wordplay she creates for this piece is so absorbing that its easy to see her missing son could be part of the wordplay we hear in the script. One of the main word mines in the story “leave of absence” comes of “leaf”.  A word puzzle for sure as you can see with Catalina Nino s perfect set design with refrigerator words posted all over the set and toys scattered.

The cast is excellent, Jessica Bates plays the mom Fiona, neurotic and still suffering from this loss. Cassidy Brown, plays her husband Guy, who tries to keep his wife grounded.  Just an attempt to celebrate Fiona’s birthday that happens to be the same day her 8 year old son goes missing. Tristan is played by the talented Greg Ayers, who wears many hats in this story. Greg also plays the miss-directed detective and Tristans principal. In the wordplay of this mystery, Greg also stands-in for the possible stranger who took the boy.

Director Giovanna Sardelli, keeps her actors moving on stage and works well with Yee’s mystery of the missing boy. The mood she created in the small Tides black box theatre is extremely visual.

Yee is clearly a playwright who is looming in current theatre here in San Francisco and around the country.  ‘in a word’ is excellent and will open your whims to understanding the sounds and rhythms to lost words and the space between those words a place to hide.

‘in a word’ runs through April 25th at the Tides Theatre.

In a Word:  By Lauren Yee. Directed by Giovanna Sardelli.

Through April 25. $20.

San Francisco Playhouse, Tides Theater,

533 Sutter St., S.F. 70 minutes.

http://www.sfplayhouse.org/sfph/