The 2010 Music Circus Season

The 2010 Music Circus Season was perhaps the strongest one in recent years. The lineup of shows, going in, wasn’t the most exciting I’ve ever seen (Joseph and the…Dreamcoat, again? Really??) but the performances were strong throughout. Most years one or two of the casting choices given the spotlight under the tent leave one wondering what they were thinking, but I really can’t name a single lead that wasn’t outstanding this year.

That being said, it’s a shame that the region’s economic doldrums (and perhaps lingering fallout from last year’s Proposition 8 backlash) have continued to limit audiences. We attended on Friday nights this year, and none of the shows appeared to even scare a sell-out. Sad, really, but perhaps things will perk up by next year.

Herewith, mini reviews of the seven shows (in reverse order):

42nd Street

The verdict: Ahhhhh, tap dancing!

Um, yeah, if you like dancing - especially if you like tap-dancing! - then have we got a show for you! While sporting one of those forgettable and improbable depression-era plots, 42nd Street is never going to be mistaken for great art. But the dancing was lively and creative, and the game cast was wildly enthusiastic. Every time the silly plot threatened to undermine the spirit of the thing, and other tap dance extravaganza would break out to living things up.

Overall, a fitting end to what was a very strong Music Circus season.

The Marvelous Wonderettes

The verdict: The token 'small' musical is a downright delightful and harmonious success

Each year Music Circus mixes in one small-scale musical, often something largely unknown to the audience, to counterbalance (I suppose) the more familiar and overly familiar traditional favorites. If you want Evita, you have to tolerate Swing; to get Les Miserables, you're gonna have to sit through Smokey Joe's Cafe. But, more often than not, these smaller musicals fit Music Circus' intimate space better than do the larger extravaganzas. This year's entry in the small-show-you've-probably-never-seen-before category is the Marvelous Wonderettes, a tuneful little bit of fluff that is engaging, familiar and friendly.

The show features a cast of four very talented ladies, the Wonderettes of the title, who, in the first act are performing at their 1958 high school reunion and, in the second, at the 1968 ten year reunion. The plot, what there is of one, revolves around the relationships between the four girls and their various boyfriends and, memorably, audience members, who serve as stand-ins for various people in their lives.

All four of the performers are fun to watch and great singers. Bets Malone as Suzy and Lindsay Mendez as Betty Jean stood out, but Misty Cotton as Missy and Lowe Taylor as Cindy Lou were also great. And special recognition is due to the anonymous audience member who was singled out as "Mr. Lee" in several numbers. What a good sport!

Funny Girl

The verdict: A bravura performance by Vicki Lewis makes this musical well worth seeing!

Two years ago, when Music Circus announced it's summer lineup, I was less than thrilled to learn that the iconic role of Mama Rose in Gypsy would be played by...wait for it...noted TV comedienne Vicki Lewis. It had been years since I'd seen Music Circus engage in that kind of stunt casting (Wilbur from Mr. Ed in Showboat, anyone!?) and I couldn't imagine how a woman who I knew best for mugging on a mediocre sitcom could possibly, remotely, conceivably pull off the role made famous by Ethyl Merman.

Well, guess what? She was absolutely incredible. Instead of wondering what a B list TV star was doing headlining an iconic musical, I came away wondering how such a powerfully talented musical dynamo had been slumming in TV for years. Vicki Lewis was incredible. Amazing. An absolute star!

She followed up that performance with a solid turn as the Baker's Wife in Into the Woods last summer, and I must say I was honestly eager to see how she would handle the role of Fanny Brice in Funny Girl this year. Well, while she didn't reach the heights of her performance of Mama Rose, she turned in another bravura performance as Fanny Brice. And, supported by a particularly strong supporting cast, Funny Girl was a highlight of this year's season.

Dirty Rotten Scoundrels

The Verdict: Another outstanding entry in this year’s strong Music Circus Season!

The point when "Dirty Rotten Scoundrels” begins to take flight comes early in the first Act. We have already met Laurence Jameson, the suave grifter who bilks rich women of their money and jewelry by pretending to be the Royal scion of some obscure but embattled European monarchy. The "Prince" woos these women and then persuades them to part with their riches to support the war effort, before slipping off to rejoin his forces for the coming battle. By "giving them what they want" (a thrill, a sense of danger and adventure and the romantic attentions of the dashing and handsome Prince) the bilked women go away happy, not missing the money because they have plenty more where that comes from.

The set up for this premise is somewhat belabored, as we meet Lawrence, his accomplice Andre (who rather conveniently holds the title of Chief of Police in the small French town where the scams take place), and some of the women who are the Prince's targets. Anyway, the moment I'm referring to takes place when one of Jameson’s targets, a gregarious American named Muriel of Omaha, begins singing the song "what was a woman to do," in which she recaps in comical detail (“He wore an aura of nobility…I wore these Ferragamo shoes”) exactly how she was won over by the Prince and convinced that she, and she alone, was privy to his secrets. But soon several other women join Muriel in glorious harmony, each in a different aisle of the theatre, capped off when an usher joins the song as well. It’s a pretty amazing moment, and the show pretty much takes off from there.

Like "Spamalot" which opened this years Music Circus lineup, "Dirty Rotten Scoundrels” is one of the recent wave of Broadway musicals based on movies. In this case (and unlike both “Spamalot” and “The Producers”) the transfer to the stage keeps the story largely intact. In other words, if you've seen the 1988 Steve Martin/Michael Caine movie of the same name you've pretty much seen this production, minus the songs of course. Obviously, the addition of songs and dancing make it a different viewing experience, but the show lends itself to this musicalization (no, I don't now if that's really a word - perhaps I just coined it). The score is by David Yazbek, who also wrote the music for "The Full Monty," an equally entertaining movie-turned musical comedy.

This production is carried by it's stars – Burke Moses as the sophisticated Lawrence Jameson and Timothy Gulan as Freddy Benson, the crude and decidedly unsophisticated American con artist that Jamison is persuaded (well, blackmailed) into taking under his wing. Both are excellent, each bringing a surprising amount of physicality to their roles, and each sporting superb singing voices. Jessica Rush plays Christine Colgate, the American “Soap Star” that the two men end up battling over, both romantically and as a potential target for their chosen profession. Despite a somewhat shaky start on the delivery of her big entrance number “Here I Am,” Ms. Rush was excellent in the role.

John Scherer, who plays the French police inspector Andre, and Cynthia Ferrier, who plays the aforementioned Muriel of Omaha also deserve mention for their strong performances.

Joseph and the Amazing Technicolor Dreamcoat

The verdict: how much more can they pad this show?

I wasn't excited about seeing yet another presentation of the Andrew Lloyd Webber/Tim Rice musical scavenger hunt that is "Joseph and the Amazing Technicolor Dreamcoat." The show is so familiar and ubiquitous that the biggest question mark going in is: which Elvis will the Pharaoh impersonate -- young sexy Elvis or old fat Elvis (young Elvis was the answer this time).

In my opinion, there's nothing wrong with "Joseph" that wouldn't be solved by making it a compact, entertaining one-act musical. Let's face it, that's exactly what Lloyd Webber and Rice wrote oh those many decades ago. But for some reason, producers have taken just the opposite tack with the show -- padding it with repeats and reprises so that, by the end, you feel like you've been bludgeoned with the same songs over and over again. There are some nice tunes in "Joseph," but they would benefit from fewer repetitions. The energetic Mega-Mix at the end of the show, in which the cast joyfully dances and sings while reprising the entire score, is particularly painful to sit through (although I'll admit that the audience seemed to love it).

After all that, you might be surprised to learn that I quite enjoyed this production, due mainly to the performance of Max von Essen as Joseph and the strong ensemble cast that surrounded him. Von Essen was particularly impressive on the ballad "Close Every Door" near the end of the first act. His delivery of what is clearly the best number in the show was worth the price of admission. The three eclectic songs delivered by Joseph's 11 brothers -- the country-western "One More Angel in Heaven," the French ballad "Those Canaan Days," and the Calypso-inspired "Benjamin Calypso" are also high points, as was David Engel's rocking performance as Pharaoh.

Oklahoma

Verdict: if you judge "Oklahoma" by the movie, you really haven't seen it. And you should see it.

Up until a few years ago I was one of those who considered "Oklahoma" to be an outdated and, let's face it, rather boring artifact of Broadway's Golden Age. Chock full of great tunes, to be sure, but not having much emotional depth.

I was wrong. The current season's Music Circus production shows just how emotionally relevant the show can be, and the performance of Jeremiah James as Curly and Brandi Burkhardt as Laurie owe much more to the Hugh Jackman revival of the 1990s than to the dated Hollywood version starring Shirley Jones and Gordon MacRae. As Curly, Mr. James brings equal doses of frontier confidence, overgrown boyishness and determination to the role. Ms. Burkhardt presents Laurie as a much more conflicted and confused presence than expected, and her inability to express her true feelings or make the decisions she should lead to the sense of danger that exists in the love triangle between Curly, Laurie and the dangerous ranch hand Judd Fry that eventually develops. As Judd, Kevin Earley has an excellent singing voice although his physical resemblance to the comedian Will Ferrell detracts a little bit from the sense of menace he is meant to portray.

The rest of the ensemble is very strong as well, which is certainly a consistent hallmark of this year's Music Circus run. And one of the real stars of this show is the scenic design by Michael Schweikardt. Rarely has the Music Circus stage been more effectively transformed than it is during the confrontation between Curly and Judd that takes place in the smokehouse. The combination of space, lighting, smoke, and minimalist set pieces somehow evokes the claustrophobic confines of Judd's living space better than any traditional set could. Kudos!

Monty Python's Spamalot

The verdict: It's a very silly show - and that's a very good thing!

There are few things quite as enjoyable as a little dose of Monty Python, and I will take it whenever I can get it! "Spamalot" is the decidedly irreverent re-imagining of the classic movie comedy "Monty Python and the Holy Grail," and it is a goofy and delightful experience. I can't help but see it through the prism of familiarity that comes with being a huge Python fan, but it seemed to me that even the old folks sitting around me (many of whom stomped out of last year's "Alter Boyz" with righteous indignation stamped on their scowling faces) seemed to be laughing their heads off at this one. Gary Beach (of "The Producers" fame) was great as King Arthur, emoting and scowling and mugging with abandon. He was aided and abetted by a stellar cast, who effectively re-created many of the most cherished comedy bits from the original movie, and also delivered on the new pieces that were not part of the movie. Mika Duncan, who plays Sir Lancelot and, in true Python style, many other parts, shined in particular as the French Tauntor, hurling over-the-top insults at King Arthur and the Knights of the Round Table ("Your mother was a hamster and your father smelt of elderberries!").

This version, though necessarily scaled down from the over-the-top Broadway original, was well done, although a few of the bits needed a tad more polish (we saw it on opening night). Along with Mr. Beach and Mr. Duncan, Lesli Margherita was a standout as the Lady of the Lake. She was very entertaining, particularly during her second act rendition of "Whatever Happened to my Part."

CURTAINS at Runaway Stage

The verdict: There's a lot of murderous fun (ouch! did I really say that?) at Runaway Stage's "Curtains"

It is opening night of a new Broadway-bound musical and nefarious deeds are afoot. The show - "Robbin' Hood of the Old West" - is a rollicking retelling of the Robin Hood saga set in frontier Kansas. The show's star, the notoriously untalented Jessica Crenshaw, drops dead during the final curtain calls, setting off a murder investigation involving the entire company. The Boston police arrive and end up confining the entire cast and crew in the theatre while the investigation proceeds. Mix a multitude of suspects, a bit of blackmail, some fractured and tortured romances and, oh yeah, a show that badly needs fixing before it moves to Broadway and you have "Curtains," the recent Broadway musical making its Sacramento debut at Runaway Stage.

"Curtains" is the final collaboration between renowned Broadway writers John Kander and Fred Ebb, the team that produced such classics as "Chicago" and Cabaret." Based on an original book by Peter Stone, "Curtains" was actually completed following the death of both Stone and Ebb, and Rupert Holmes was brought in to finalize the script. It debuted on Broadway in 2007, garnered several Tony nominations (and a win as best actor for David Hyde Pierce), and ran for a couple of seasons. It is that most rare of animals in today's world - an original musical not based on a movie, play or TV Show. It seems to be a rare treat these days to go to a show for the first time and not know what is going to happen because you've seen it in some other medium in the past.

There is a lot going on in "Curtains," and for the most part it all works. The talented actors gave it their all, the premise was cleverly conceived and the songs were enjoyable. The resident orchestra, led by James Lohman, did its usual outstanding job. There was just that pesky little bit that didn't that kept the experience from being truly enjoyable. As one of the characters says about the show-within-the-show "It's kinda lackluster. It lacks... luster."

But, first, the good stuff, and there was plenty of it. As Detective Frank Cioffi, the Boston homicide detective investigating the backstage murder, Darrell Strohl may be a bit understated to carry the show. But he plays the role with sincerity and a puppy dog earnestness that manifested itself anytime he got to be near his real love, the theater and its denizens. And he gets extra bonus points for the show's excellent choreography.

One of the strong casts' standouts was Andrea St. Claire as the amusingly innocent Niki,who strikes up a romance with the Boston detective while somehow constantly implicating herself in the murder (what was with all those fingerprints, anyway?). Ms. St. Claire and Mr. Strohl show convincing chemistry as their budding romance blossoms, and their extended second act song and dance to "A Tough Act to Follow" was a high point. The always enjoyable Liliian Baxter plays Carmen Bernstein, the show's coarse but driven producer, who is determined to see the show move to Broadway despite the pesky inconvenience of an ongoing murder investigation and the cast's indifference. Like Mr. Strohl, Ms. Baxter performs double duty, as she also designed the show's outstanding costumes.

Kate Richardson and Dan Masden play the former songwriting team of Georgia and Aaron. Both are outstanding singers, and Mr. Masden's performance of "I Miss the Music" in the first act is perhaps the show's finest musical moment. Kris Farhood, as Carmen's ditsy daughter Bambi Bennett, also has some nice moments throughout.

Stealing almost every scene he appears in, however, is Michael McElroy, who plays renowned British director Christopher Belling, who prowls and prances and delivers his lines with flamboyant Britishy abandon. McElroy's enthusiasm was apparent, and he often seemed to show up just in time to breathe new life just when the show started to drag.

Much of the genius of "Curtains" (and I use the term "genius" guardedly, as the show's frequent high points are often offset by sections that drag and by a too complicated plot) lies with the homages to and ripoffs of classic musical theatre tropes. Their "show within a show" bits were especially right on, with the songs perfectly spoofing such Broadway classics as Oklahoma, right down to a rousing chorus that spells out the name of the state and finishes with a loud "hurrah!" They also had some fun with Broadway's obsession with "Stunt casting" - the doomed Jessica Crenshaw is apparently a TV star devoid of Broadway-worthy talent ("She just has tits," is how the producer Carmen Berstein sums up Jessica's qualifications). And there was a little bit of the old 'let's put on a show in the barn' theme running through the production, as Detective Cioffi, while trying to crack the murder case, also sets out to solve the crime that is "Robbin' Hood."

I will be honest that, despite all the good stuff I've just mentioned, I really wanted to like "Curtains" more than I actually did. There were too many moments when the show seemed to drag. For such a light bit of entertainment, the running time was far too long, and I found myself quietly checking my watch throughout the second act. The dense plot seemed to include too many elements that were neither fleshed out nor brought to a satisfying conclusion - the eminently talented Scott Woodward was pretty much wasted in the role of Bobby Pepper - his character's entire motivation for his actions throughout the show were revealed in one brief line that I nearly missed, as it was delivered almost in passing. And some sub- sub-plots were barely hinted at, although they seemed to have quite a bearing on the overall plot. I came away thinking the entire show would have benefited from one final re-write - maybe it needed a real life Detective Cioffi to work out the final kinks.

("Curtains", directed by Bob Baxter, is playing at the 24th Street Theatre, 2791 24th STreet, from July 9 through August 1, 2010)

Cinderella at Runaway Stage

The verdict: It's Cinderella (if you think that's a good thing, I'm sure you'll enjoy the show)


A riddle to begin this review: how are Superman and Cinderella alike?

Any comic book fan can tell you what the fundamental flaw is in the Superman story: that it's impossible to believe that nobody ever realizes that mild mannered Clark Kent is, in fact, the man of steel. I mean, come on, right!? It's not like he's adopted any sort of disguise (and don't get me started on the little curl of hair that drops down his forehead when he's in Superman mode...like that's gonna fool anyone).

Anyway, after watching two tellings of the Cinderella story in the course of one weekend (Into the Woods at Sutter Street and Cinderella at Runaway Stage), it suddenly dawned on me that this story suffers from the same failure of basic logic. So, the Prince attends the ball, dances the night away with Cinderella, falls in love with her, but then doesn't recognize her the next day when he goes around trying to find the maiden who's foot fits the glass slipper? Right, what a dunce!

But, OK, it' a fairy tale. I get it. So on with the review.

Runaway Stage's Cinderella repeats the current conceit of having males play the wicked stepsisters in drag. It's a guaranteed crowd-pleaser, and this show is no exception. Jesse Larrosa and Daryl Clark play the two evil sisters with scene-chomping abandon, and the crowd loved it. I laughed right along with them, although ultimately I wondered why?

One thing is certain about this show: Katie Veale was born to play Cinderella and she was ably complimented by Scott Woodard as her Prince Charming (well, technically, Prince Christopher, but why quibble?). Ms. Veale is a delight - lovely and innocent, able to portray Cinderella's basic goodness but also to show an inner depth that is very attractive. Woodard and Veale make an exquisite couple, and are the clear standouts in the cast. Which takes me back to the original point, about the males-in-drag approach to storytelling. Why bother? Why distract from such an attractive cast with tall, dorky men playing annoyingly cloying women? Obviously, for laughs.

And the audience loved it. So, again, why quibble?

Cinderella is a typically strong RSP offering. The cast, top to bottom, is very good. The resident orchestra really shines. The pacing is brisk and the singing excellent.

And you get to see a couple of large, ugly stepsisters upstaging the story and the lead actors.

So, if you like that kind of thing, by all means, go see it.

Into the Woods at Sutter Street Theatre

Verdict: Against all odds, this show lives happily ever after.


Sutter Street Theatre may well be in contention for the title "the little theatre company that could". I mean, let's face it - the idea of tackling Stephen Sondheim’s Into the Woods had to be considered somewhat daunting for the Folsom company. How would they accommodate the relatively large cast on Sutter Street’s tiny stage? How would they create sets expansive enough to give the impression of deep dark forests, tall towers and angry roaming Giants? How would they manage to harness the complex Sondheim arrangements and where would they find the singers to deliver the demanding songs?

Those were certainly questions in my mind as we made our way down to Folsom. I'd been to exactly one previous show at Sutter Street, the decidedly less ambitious Hats last year, but the memory of that performance didn't fill me with confidence that they'd be up to the challenge of Sondheim.

But you know what, I think they pulled it off. How? It starts with the cast, an impressive collection of Sacramento theatre veterans (Ruth Phillips, Lauren Miller and Michael Coleman, to name three), and talented youngsters and complementary players. Add to that a friendly atmosphere and the appreciative audience enjoyed the whole experience. Certainly that cast and its talents overcame the obvious drawbacks of the place - mostly the lack of stage real estate and the disconcerting absence of live musical accompaniment.

Into the woods is a little piece of Sondheim brilliance in which several well known fairy tale characters - including Cinderella, Little Red Riding Hood, Jack (of beanstalk fame), and Rapunzel - cross paths in interlocking stories with a Baker and his wife and the not so neighborly Wicked Witch who lives next door. It's an intricately plotted and orchestrated bit of briliance that perfectly does what an overstuffed musical like All Shook Up fails to do: make you care about each of the characters.

There were four standouts in the talented cast: Lauren Miller as the Baker's Wife, Stephanie Zito as Cinderella, Stephanie Lawson as Little Red Riding Hood and Mark Ettensohn as Cinderella's Prince. Ms. Miller brought to the role of the Baker's Wife an outstanding singing voice and a believable sense of long-suffering Weltschmerz that was affecting and effective. Her scenes in act two with Cinderella's Prince were comically poignant. Ms. Zito as Cinderella, by contrast, was all optimism and practicality. Ms. Lawson's Red Riding Hood had a youthful air of optimism and resiliency, rebounding from repeated misfortunes with believable spunk. Finally, Mr. Ettensohn's Prince was all preening and vapid arrogance, infusing his character with all the self-importance and entitlement that comes from a life of indulgence and privilege. The song Agony and it's second act reprise has always been a particular favorite of mine, and Mr. Ettensohn and his brother, Rapunzel's Prince (played by a too-young-for-the-part Jacob Goodyear) delivered it with gusto.

Director Susan Mason keeps the parts moving briskly, and the pace never lags. The staging includes very creative use of props and scenery, although I'm not sure they ever truly succeed of evoking the threatening oppression of the woods. At times the action does appear cramped, particularly during ensemble numbers featuring the entire cast. Actors are often forced to squeeze past other actors as they weave around the square trees and other set pieces, unavoidably bumping into or barely missing each other. At those moments one is pretty acutely aware of the cramped space and small stage.

But, as I said above, by and large this is an impressive accomplishment and I highly recommend it.

All Shook Up at Woodland Opera House

The verdict: Sit back, fix yourself a peanut butter and banana sandwich, and enjoy a frivolous night of theatre

A musical like All Shook Up really has no good reason to exist. It's not like the songs of Elvis Presley were crying out to be re-imagined as harmony-heavy ensemble numbers in a Broadway show. And let's face it, rock classics like "Jailhouse Rock," "Blue Suede Shoes" and, yes, "All Shook Up" are not improved when given the Broadway show-tune treatment.

The plot is silly; the dialogue, on paper anyway, is ridiculous. Try this line, spoken by one character to another in the show, on for size:

"I dig hot art. And I dig hot women. And when I find a hot woman who digs hot art I say 'Hot Diggity!'"

Ouch.

And yet...

Somehow, when presented by an enthusiastic cast of performers, the show works – and by “works” I mean it delivers a fun time with a lot of laughs. Even the line I quoted above gets a good laugh when presented by Chad, the Elvis-like roustabout who has descended on a cloistered town with a talent for getting a rise out of repressed women and broken jukeboxes alike.

Although it features the music of Elvis Presley, All Shook Up is neither a biography nor a tribute to the King. Rather, the songs are used to tie together a thin plot that is part Twelfth Night, part Footloose and part Grease. It centers on the aforementioned Chad (Lafras le Rax), who rides into town on a deteriorating motorcycle and meets Natalie, the pretty mechanic played by Amber Jean Moore. Natalie is immediately smitten with the newcomer, but her feelings are unrequited. So pretty Natalie dons a hunting cap, creates a beard with a smear of engine grease, and reinvents herself as man’s man Ed. Her plan is for Ed to get to know Chad as one of the “guys”, and convince him that Natalie is the girl for him.

Natalie/Ed’s plan is complicated by Chad’s subsequent infatuation with the town’s new museum director, Miss Sandra (Whitney Roeder), who of course rejects him for Ed (really Natalie), who in turn is loved by Dennis (Elio Gutierrez), the town’s nerdy would-be dentist. If this all sounds complicated, it gets worse. We are asked to follow and care about no fewer than ten main characters, most of whom are either secretly, foolishly or confidently in love with another character. The plot twists are predictable and, of course, all is resolved happily in the end. Other key denizens of this befuddled town are Mayor Matilda (Nancy Agee) who is determined to stamp out all sin and degradation in town; Sherrif Earl (Steve Mackay), the Mayor's mostly wordless enforcer; The mayor's military-school attending son Dean (Eric Alley); Natalie's widowed father Jim (Jeff Nauer); the feisty bar owner Sylvia (Priscilla Harris) and her rebellious daughter Lorraine (Megan Sandoval). Wooey!

As Chad, Mr. le Rax is almost right. Tall, with a airy confidence and a goofy manner, he doesn’t bring quite the level of sexual power the role obviously calls for, but he is entertaining. His singing voice is good, but not powerful enough to override the fairly loud rock music emanating from the strong orchestra, so that his performances are sometimes over-matched by the music.

That is not a problem for the gifted Ms. Moore, who is plucky and engaging in the role of Natalie/Ed. One of the negatives of having so many leads is that we get to hear too little from those, like Ms. Moore, who ought to be offered more of a chance to shine. Her Act II performance of the heartfelt “Fools Fall in Love” is one of the show's highlights, and it would have been nice if she'd been given a few more moments in the spotlight.

Another standout performer is Megan Sandoval. Every time she appears, Ms. Sandoval simply lights up the stage (note to self: next year’s New Year’s Resolution is to stop using clichés like “lights up the stage”). Whether leading a vigorous tap-dance to "That's All Right Mama" (and where, but in a Broadway musical, could one even remotely fathom the idea of tap-dancing to "That's All Right Mama?"), belting out "It's Now or Never," or enthusiastically shouting out "It's the Roustabout!" every time Chad makes an appearance, Ms. Sandoval is endearing and fun to watch.

The songs of All Shook Up range from the familiar to the obscure. Any show associated with Elvis would almost have to feature "Can't Help Falling in Love" and "Jailhouse Rock." But some of the more effective performances were of songs that were less well known. The plaintive "It Hurts Me," sung by a distraught Dennis, and the lovely "There's Always Me," sung by the heartsick Sylvia, are good examples of lesser-known songs that are movingly delivered. "Can't Help Falling in Love" is one of the more familiar songs that does receive a very impressive treatment, closing act I with the entire ensemble blending from positions surrounding the audience - it's powerfully performed.

So would I recommend All Shook Up? Sure. I mean, if you're looking for a mindless but entertaining romp, look no further (and I'm not one of those who thinks mindless entertaining fun is a bad thing). It won't leave a lasting memory or change the way you think about theatre (or about Elvis), but you'll laugh a lot and I bet you'll have a good time.

Reefer Madness at Artistic Differences, April 2 - May 2, 2010

The verdict: See it; enjoy it; don't think too much about it!

Artistic Differences, the young Sacramento theater company, promises to be the home of "the best musicals you've never seen." Certainly Reefer Madness, the latest Artistic Differences offering, which opened last week, lives up to the second part of that slogan. I'm guessing not many people have ever seen this particular musical - and probably not many have seen the schlocky cult film upon which it is based. Whether it is one of the "best" musicals you've never seen? Well, that can be the topic of some spirited discussion. There is no question, though, that the audience thought it was one of the best and funniest things it had ever seen, judging from their rather over-the-top reaction to virtually everything that happened on stage.

Reefer Madness is a campy and entertaining spoof of what was a campy and entertaining film. The talented cast gets as much out of its one-joke premise as possible, but it does wear a little thin at times. Of course, any musical about marijuana starring an actor named Brad Bong obviously can't take itself too seriously, and there's no danger of that here.

The show takes the form of one of those 40s-era public service movies about the dangers of marijuana. It starts with a stern-voiced authoritarian lecturer (Jes Gonzales, who then plays several other roles throughout the performance) admonishing the audience about the dangers of marijuana. One of the humorous angles of the show is that Mr. Gonzales, in character, also presents the usual 'turn-off-your-cell-phones' speech before the action properly begins, but in language that reflects his early 20th century knowledge of technology.

The aforementioned Mr. Bong is very good in the lead role of Jimmy Harper, all-American boy turned murderous drug fiend. But it is Kelly Daniells who really shines as his fresh-faced girlfriend Mary Lane (couldn't they have just named her Mary Jane and been done with it?!). Ms. Daniells is a remarkably talented young lady, and her own brief, drug-induced transformation from innocent school girl to sex-crazed dominatrix is probably the show's humorous highlight. Reefer Madness' energy and entertainment level picks up whenever Ms. Daniells is onstage, and lags a bit when she's not.

The rest of the cast is also strong - but these are not roles that call for subtle character development. If you like to see actors who chew the scenery, spit it out and then chew it up again, this is the show for you. The leading scenery-chewers are Tony Wichowski as Jack, Joshua Glenn Robertson as Ralph, and Bevin Bell-Hall as Sally - three denizens of the town's cannabis-scented den of iniquity. Wichowski, who was so good in Runaway Stage's recent production of the 25th Annual Putnam County Spelling Bee, shows his range as the domineering and soulless owner of the marijuana den, who recruits high school kids as his customers and delights in turning them into drug-crazed junkies. Robertson is a giggling, scene-stealing ham and Bell-Hall his slutty co-conspirator. Jessica Goldman is the junkie-with-a-heart Mae, whose attempts to show compassion for the addled Jimmy only earn her beatings and humiliation.

And if that's not enough, Ian Cullity shows up (unbilled, curiously) midway through the first act as Jesus, if Jesus were a 50s-era Vegas performer. His "Listen to Jesus, Jimmy" is a highlight of the first act, as is Mr. Bong's performance of "The Brownie Song" in the second.

Ultimately, the show is a kick, I'll give it that. There are questions that I think we're supposed to care about - will Jimmy find release from the insidious hold of demon marijuana? Will he continue to sink into the depths of sin and degradation? Will sweet innocent Mary Lane succumb to the tempting weed's siren song? Will Mae break free of her twin aditctions - her boyfriend Jack and his easy access to marijuana? But that's all sort of just window dressing for the antics going on on-stage.

I found myself wavering as the show progressed. I was really into it at first, then it got a little too convinced of its own cuteness, but then the rollicking musical numbers drew me back in again. Finally, the performances - particularly of Ms. Daniells, but also Mr. Bong, Mr. Wichowski and Ms. Goldman - won me over. I really enjoyed Reefer Madness - and I applaud Artistic Differences for staging it. While it may not be one of the "best" musicals you've never seen, I'm pretty certain it will be one of the most bizarre, memorable and enjoyable musicals you have seen.

Alter Boyz at Runaway Stage - March 2010

The verdict: Fun cast doing its best with the material at hand

So they tell me Altar Boyz is a gas; a rollicking send-up of the boy band phenomenon mixed with a good-natured but humorous take on religious sensibilities. Or something like that.

I guess I just don't get it. Maybe I'm not in the target audience. I was already out of college in the era of 'N Sync and Boyz II Men, and the appeal of such sappiness always eluded me. So maybe what Altar Boyz is best at at eludes me as well, since I don't get the premise they are sending up. I can and do appreciate the harmonies of the songs, and the skill on display is impressive. But interest me? Keep me involved in the "plot" or the story? Not so much.

Alter Boyz was one of this past summer's selections at Sacramento's Music Circus, which was the first time I saw it. I didn't enjoy it. Not for any religious objections - the night we went several seasoned theatre-goers walked out during one of the early numbers (a rap number about Jesus' various miracles) muttering under their breath about sacrilege and abomination and eternal damnation (or so it seemed). Not being particularly religious myself, I found nothing objectionable in the content. But by the end of the relatively short production (it is presented as a single act without intermission) I found myself envying the early departures.

When it turned out that Runaway Stage was doing the show as part of its 2010 season, I didn't plan to attend, but relented at the last minute, deciding to give the show a second chance. Maybe it would grow on me. My experiences with RSP's shows has been largely positive (see my recent review of The 25th Annual Putnam County Spelling Bee), so maybe I'd have an awakening and see the light (please forgive all the religious imagery - it seems somehow appropriate in the present context).

I will say this - I enjoyed the show a lot more at RSP than I did at Music Circus. The energetic and talented cast infused the show with such good will and fun that it made it much more, um, bearable to sit through. I still can't say that I enjoyed Altar Boyz very much, and I can't imagine being talked into seeing it a third time, but RSP did a pretty good job of bringing it to life.

The show takes place in real time, as the five members of the Altar Boyz (Matthew, Mark, Luke, Juan and Abraham - the latter an incongruous Jewish member) close out their national tour attempting to save souls and harmonize to the word of God. Each of the members has a distinct personality, which comes into clearer focus as the concert wears on. The conceit of the show is that the group has a technologically miraculous "Soul Sensor DX-12" that scans the audience and determines how many souls are in need of saving. It's a somewhat forced gimmick, in my opinion,and one which, try as they do, doesn't really generate the emotional heft it is supposed to.

Doing their best with this iffy material are five very talented performers. Scott Woodard, as Matthew, the group's leader and driving force, is typically strong and shines in various featured songs. Joseph Boyette, as Mark (who I recently praised in my review of The Producers at Davis Musical Theatre Company) stands out again as the sexually conflicted Mark. His performance on the ballad "Epiphany" is one of the really funny moments in the show. He draws out the words "I... am..." and the entire audience knows the next word is going to be "gay," but of course it isn't.

RSP regular Benjamin Herrera plays Luke, the group's tough guy with the checkered past, and he manages to generate sympathy for his crotch-grabbing bad boy, particularly with his comic discussion of his past, stressing his "EX-AUS-TION." Peter Giovanni play Juan, an orphan hoping to find, as he tours as an Altar Boy, his lost birth parents. This story line results in what could have been a touching moment, but is undone by Mr. Giovanni's tendency to overplay his emotional reaction to some personal news.

Finally, Tyler Robinson plays Abraham, the lyrically gifted Jewish member of the group, whose motivations for joining and touring with the Altar Boyz is never really made all that clear. Mr. Robinson is very gifted, however, and is a standout performer in the show.

The pacing is, typical for RSP, fast and frenetic, which is a good thing. The onstage band is tight and impressive. The cast is talented and energetic. But, somehow, the whole is much less than the sum of the parts.