Chad Jones’ Theater Dogs

June 28, 2008

`Chorus Line’ seeks next singular sensation

Before we get started, here’s a taste of A Chorus Line with current cast member Mario Lopez and the cast on “Dancing with the Stars”

If you think you’re “uncommonly rare, very unique, peripatetic, poetic and chic” then this contest may be for you.

In preparation for the arrival of the A Chorus Line national tour at San Francisco’s Curran Theatre July 8-27, SHN/Best of Broadway is taking part in a talent competition called “Be the One.”

Head to http://auditions.achorusline.com/san-francisco and create an online audition profile (you’ll also find the rules and regulations there). Then you can show off your talents (nothing dirty) through video clips, photos or blog entries that help explain why you should “Be the One,” or in other words, why you are one singular sensation, every little step you take.

The contest is now through July 13, and once your audition is online, the public will vote on their favorites. The four men and four women who receive the most votes will win a “Be the One” prize package: two tickets to A Chorus Line, a $50 gift certificate for dinner, the new cast recording of “A Chorus Line” and a signed poster from the cast. The only thing better might be joining the famous gold-spangled kick-line at the end of the show.

The eight finalists will also be entered into the next round of competition against finalists from other cities on the Line tour, where they will fight for the national grand prize: a trip to New York City (airfare included), hotel accommodations, tickets to Broadway shows, backstage tours, show merchandise, meet-and-greets and more. (No worries about seeing A Chorus Line again because the Broadway revival that spawned this tour is closing Aug. 18 after what will have been more than 750 performances, a far cry from the original’s nearly 15 years. Even with Mario Lopez in the cast, the show can’t quite draw the crowds.)

A Chorus Line runs July 8-27 at the Curran Theatre, 445 Geary St., San Francisco. Tickets are $25-$99. Call 415-512-7770 or visit www.ticketmaster.com or www.shnsf.com. For podcasts and other backstage tidbits, visit http://shnsf.com/podcast/index.asp.

June 19, 2008

Review: `Tuna Does Vegas

Filed under: Greater Tuna, Jaston Williams, Joe Sears, SHN/Best of Broadway, theater review — Chad Jones @ 9:18 am

Opened June 18, 2008 at the Curran Theatre

Jaston Williams (left) is Tasty Kreme waitress Helen Bedd and Joe Sears is her co-worker and compatriot Inita Goodwin in Tuna Does Vegas, the fourth Tuna show, now at San Francisco’s Curran Theatre. Photos by Brenda Ladd

Fourth serving of Tuna sprinkled with sins, smiles
«««

There’s no such thing as too many visits to Tuna, Texas, the legendary (and fictional) Texas town with a virtual population of two: actors Joe Sears and Jaston Williams, who play all of the town’s eccentric, lovable citizens.

Since the arrival of Greater Tuna in the early ’80s, audiences have grown to love the world of Tuna as created by Sears, Williams and director/co-writer Ed Howard. After the sequels A Tuna Christmas and Red, White and Tuna, we thought the trilogy was finito, and it was goodnight, Tuna. But you can’t keep a good Texan down, apparently, because here comes No. 4: the self-explanatory Tuna Does Vegas, now in a short run at San Francisco’s Curran Theatre as part of the SHN/Best of Broadway season.

My favorite show of the quartet is still A Tuna Christmas, but the new Vegas show is a worthy entry into the Tuna canon.

The first appearances of characters such as Bertha Bumiller or Pear Burras (both played by Sears) or Vera Carp (Williams) elicit rounds of applause as if greeting the arrival of an old friend and that’s pretty much true. There’s just something comforting seeing the hefty Sears wobble out in Aunt Pearl’s bright floral dress, petite hat and cane that inspires good humor.

The first half of the two-plus-hour show is set mostly in Tuna as Bertha and her husband, radio host Arles Struvie (Williams

June 10, 2008

SHN/Best of Broadway’s new season


Megan Hilty (left) as Glinda and Eden Espinosa as Elphaba from the original LA company of Wicked. Photo by Joan Marcus

Old friends, new winners mark 30th anniversary season

Carole Shorenstein Hays and Robert Nederlander’s new SHN/Best of Broadway season marks a milestone: 30 years of bringing Broadway to the Bay Area.

The new season, announced today, kicks off in February 2009 with a “third time’s the charm” production of Wicked, the monstrous hit musical that had its world premiere at San Francisco’s Curran Theatre. This time around, the musical about the witches of Oz, will play the Orpheum Theatre.

In March of 2009, Grease is the word. This is the production directed and choreographed by Kathleen Marshall that got famous for being the first Broadway musical to cast its leads on national television (through the NBC show “Grease: You’re the One That I Want.” This is also the production that marries the original stage version with the movie version, so songs such as “Hopelessly Devoted to You” and “You’re the One That I Want” are included.

Things get exciting in April 2009 with a world premiere musical. Ever After, with a book by Marcy Heisler and Theresa Rebeck, music by Zina Goldrich and lyrics by Marcy Heisler, is directed by Doug Hughes (a Tony winner for Doubt). Ever After, which plays the Curran, is based on the 1998 movie starring Drew Barrymore and is a new twist on the Cinderella story by banishing all the bibbi-dee-bobbi-dee boo elements and focusing on a spirited young woman defying societal constraints.


In August of 2009, the theater scene gets hot with Tracy Letts’ August: Osage County, this year’s Pulitzer Prize winner for drama. The Steppenwolf production (currently scorching Broadway) is directed by Anna D. Shapiro. The San Francisco production at the Curran Theatre kicks off the national tour.

A final show is yet to be named, but is described in press materials as a “Broadway blockbuster.” The show will be revealed, according to the Web site, in July.

Not part of the season but a “special attraction” is the umpteenth return of a Bay Area favorite: Andrew Lloyd Webber’s The Phantom of the Opera. The show will run Nov. 26 through Jan. 4 at the Orpheum. Tickets go on sale Sept. 7.

For the new SHN/Best of Broadway season, subscriptions are $170 to $551. Call 415-551-2050 or 877-797-7827 or visit www.shnsf.com for information.

Listen to a podcast about the new SHN/Best of Broadway season here.

June 8, 2008

More Sin City morsels of `Tuna’

Filed under: Greater Tuna, Jaston Williams, Joe Sears, SHN/Best of Broadway, theater news — Chad Jones @ 9:38 am


Joe Sears is new character Shot and Jaston Williams is Vera Carp in Tuna Does Vegas, the latest in what is now the Tuna Quartet, at San Francisco’s Curran Theatre. Photos by Brenda Ladd.

My first-ever San Francisco Chronicle story can be found in today’s Pink Section. It’s a feature on Tuna Does Vegas, the fourth in the Tuna Chronicles series, which comes to San Francisco’s Curran Theatre as part of the SHN/Best of Broadway series June 17-28. Check out the article here.

I talked to co-writer/stars Jaston Williams and Joe Sears, along with the usually-silent third partner, co-writer and director Ed Howard. I couldn’t get everything into an 800-word story, so here are some tasty Tuna leftovers.

Jaston Williams: “This one is sick even by our standards. The research was fun. I made three trips to Vegas, and that place just cracks me up. I had an extremely good time — within reason. My partner and I adopted a boy from China three years ago, and I took him to Vegas with me. We were in the shops at Caesars, where everything’s Roman, and there’s an FAO Schwartz with a giant Trojan Horse. I just couldn’t help it. I told the guy in the story that the Trojan Horse had nothing to do with ancient Rome. They didn’t like me looking down on their horse.

Joe Sears: I’m cooking up a batch of black-eyed peas. They’re healthy and delicious and Aunt Pearl knows how to cook ‘em. In fact, at the Central Market Cooking School here in Austin, I teach a class in Aunt Pearl’s Comfort Food. I dress up in my hat and dress and do that two or three times a year. You’re guaranteed good food.
I have been to Vegas a couple times in my life but before the big bang with the pirate ships and things like that. Vegas is a whole new thing. As Joe Bob says in the show, “It’s like Broadway without the intermission.” What I know about Vegas is that the people there have a great sense of humor. Like Texans, they can laugh at themselves. As long as the satire is good, funny and in good faith, they don’t mind.

Ed Howard: The heart of any Tuna show is the biggest part of it. Vegas doesn’t have a heart, and that’s the point. I think this one completes the story. We’re not taking ourselves serious for a moment. The message of the show is one that has been coming to me, and hopefully to us all: It’s time to stop being afraid and to enjoy. The best Greater Tuna could offer up back in the ’80s was a prayer for salvation early in the Reagan years. We’re so enamored of these characters. If that hadn’t happened, the show would’ve been a flash in the pan. The characters have taken over our lives, and we want to do them justice.

Jaston Williams: We started out satirizing the Moral Majority. What was satire in 1980 is the presidential cabinet today. It’s so scary. In the Reagan years, even these people were a joke. Now they got the good seats on the plane. Really terrifying. The new show doesn’t get too political, but they get their licks in. They all liked Huckabee, but he was awful liberal. When he said, “I’m a Christian but I don’t hate anybody,” that really cost him in Tuna. Years ago, we had lunch with Huckabee, believe it or not. We were playing Arkansas, and we had a nice lunch at the Governor’s Mansion. His wife’s the scary one. I wouldn’t mess with her if she had a gun. She’d been out getting her rifle license or something. She was nice, but we didn’t give her any lip.

Joe Sears: (above as Aunt Pearl Burras) I don’t want to jinx anything but Jason and I have been together longer than Laurel and Hardy. We’re what they call a long-lasting comedy team. We still have fun together and laugh together. We were babies in the ’70s having fun. Now we’re all about our families. He and his partner have a special-needs boy from China, and I’m helping raise my granddaughter, who’s about to be 13 — Becky Pearl. She was raised backstage. At intermission she’d put on my Aunt Pearl earrings. She’s well aware how crazy her grandpa is. I didn’t care as long as she grew up a liberal child. She turned out to be liberal and very religious. I love that — liberalism and a belief in God — and it’s right.

Ed Howard: I don’t like Vegas. I hate gambling. Jaston and I went out to Vegas and went to marriage parlors, toured casinos, walked the streets. Vegas is a satire of itself, which made it convenient for us. There’s nowhere tackier.

Jaston Williams: It’s amazing we’re all still together. It’s interesting that we’re closer now than we’ve been since the very beginning. We had to go through a lot of life. When you’re young you don’t imagine the kind of things you’ll have to deal with — they’re all somebody else’s issues. We’ve lost friends and family. I had a child from when I was young and lost him in an accident 10 years ago. We’ve gotten each other through hard times and good times. When you do live this long and experience this much, the petty stuff becomes obvious. We’ve all learned the difference between disappointment and tragedy. You put it in perspective. I’m grateful every day I’ve gone through life with these people. So many things could have changed — we could have done other things, but this is what we’ve chosen to do. It’s been a gas.

Tuna Does Vegas runs June 17-28 at the Curran Theatre, 465 Geary St., San Francisco. Tickets are $25-$75. Call 415-512-7770 or visit www.shnsf.com or www.ticketmaster.com for information.

June 4, 2008

`Chorus Line’ closing, `Spring’ awakening

News of Broadway just because:

The revival of A Chorus Line will close Aug. 17 after 759 performances. The production, which had its premiere in San Francisco before heading to Broadway, recouped its costs in only 19 weeks.

Fans shouldn’t mourn. The touring production lives on and will play July 8-27 at San Francisco’s Curran Theatre as part of the SHN/Best of Broadway season. Visit www.shnsf.com for information.

And because they’re still adorable, here are the kids from Spring Awakening performing a medley from the show on “Good Morning America” last March. It’s also a chance to say goodbye to Jonathan Groff and Lea Michele who have since departed the show (Groff is starring in Hair in Central Park this summer). Please appreciate the re-working of “Totally Fucked” for television broadcast.

Remember the national tour of Spring Awakening kicks off in San Francisco Sept. 4 at the Curran. Click here for information.

May 8, 2008

Review: `A Midsummer Night’s Dream’

Filed under: SHN/Best of Broadway, Shakespeare, theater review — Chad Jones @ 9:04 am

Opened May 7, 20008 at the Curran Theatre, San Francisco


The cast of A Midsummer Night’s Dream. Photos by Tistram Kenton

Beautiful, challenging, rewarding – those are three words that immediately come to mind when thinking about the production of Shakespeare’s A Midsummer Night’s Dream now at San Francisco’s Curran Theatre. I’d also use the word shocking, but not so much about the show, more about the audience. More on that in a minute.

Part of the SHN/Best of Broadway season, this well-traveled Midsummer was first produced in India about three years ago and has since been produced in Stratford-on-Avon, London, Verona and Australia. The cast and crew is all Indian and Sri Lankan, and the play is performed with three live musicians at the sides of the stage (traditional South Asian instruments, heavy on the percussion) and in seven languages: Hindi, Tamil, Malyalam, Marathi, Bengali, Sanskrit and Shakespeare’s native tongue, English.

The goal of director Tim Supple seems to be the creation of a universal Shakespeare production that through music, dynamic production, dance, song, excellent acting and clarity of intent communicates the story even when the text is in a foreign language.

To a large and satisfying degree, Supple succeeds. Certainly it helps if you have some familiarity with Midsummer and its romantic tangle of a plot (if you don’t, and if you arrive at the theater a half hour early, you can read the two-page “synopsis” slipped into the program). But even if you come as a blank slate, you’ll get it. There’s just enough English to coax us along as the plot unfolds.

The first striking thing about the production is the work of set and costume designer Sumant Jayakrishnan. Everything is simple but effective on his stage. The colors of the costumes – gold, pink, orange, cyan, magenta – are stunning, and his set is a rough wood scaffolding covered with what looks like white tissue paper but is actually something much sturdier as we come to see when the action shifts from the court in Athens to the wilds of the woods and the cast members clamber all over that scaffolding like 12-year-old gymnasts.

There are two moments in Act 1 that stick out in my mind. The first is when Titania, Queen of the Fairies (Archana Ramaswamy) asks to be sung to sleep, so her fairies put on a dazzling pageant for her enjoyment. At this point, the show turns into a mini-Cirque du Soleil, with actors twirling up and down ropes and performing acrobatic feats on great swaths of red fabric dangling from the rafters.

The other moment comes toward the end of the act when mischievous Puck (a mohawked Ajay Kumar) has turned a quartet of runaway Athenian lovers into a magically mismatched mess. While the lovers – Yuki Ellias, Prasanna Mahagamage, Chandan Roy Sanyal and Shanaya Rafaat – fight, Puck begins weaving a rubbery web around them – literally roping them in – so that when he’s finished, they can hardly move with becoming entangled and ensnared. It’s an amazingly apt visual image, and it tells the story beautifully even if we don’t understand a word of what’s being said.

Then came intermission and the great exodus. The number of people who bailed on Act 2 on opening night was shocking. I can understand that a) watching Shakespeare and b) watching Shakespeare in a foreign language without supertitles is a challenge. But this is San Francisco. People here are supposed to welcome challenge and not be such cultural cowards. Looking across the orchestra section I saw to center rows, each with three people in them.

If the production were appalling, I could understand the impulse to bail, but this Midsummer is wonderful. I will say that the people who stayed responded mightily with appreciation in an effort to make up for the empty seats.

Too bad for them. They missed an immensely satisfying performance by the rude mechanicals – the blue collar workers who take it upon themselves to present a tragic play for the entertainment of the royals. As Bottom, the overly inflated actor who, for a dreamy night, is turned into an ass, Joy Fernandes (speaking mostly in English) captures the innocence and exuberance of Bottom, both qualities that make his ego easier to tolerate.

The evening ends on a stage filled with deep reds, wonderfully bad acting (by the rude mechanicals) and rousing song and dance. The twists and turns of Shakespeare filtered through another culture still manage to end in the same happy, fulfilling place. This Midsummer’s Night is truly a dream.

A Midsummer Night’s Dream continues through June 1 at the Curran Theatre, 445 Geary St., San Francisco. Tickets are$35-$80. Call 415-512-7770 or visit www.shn-sf.com or www.ticketmaster.com for information.

April 18, 2008

One singular sensation one more time

Bay Area audiences were the first to see the most recent revival of A Chorus Line before it headed to New York (where it’s still running at the Gerald Schoenfeld Theatre).

Now, as the Broadway production moves beyond its 500th performance (celebrated last January), it’s time for the Line to hit the road. The national tour will return to the Curran Theatre July 8 through 27 as part of the SHN/Best of Broadway season. This is the same theater that launched the very first A Chorus Line national tour in 1976.

Michael Gruber, who plays Zach on tour, was actually a member of the line during the original A Chorus Line’s record-breaking, nearly 15-year run on Broadway. He was in the final company playing Mike, who sings “I Can Do That.”

Another notable name in the cast is Nikki Snelson, who plays Cassie. Bay Area audiences saw Snelson in TheatreWorks’ world-premiere musical Kept and again in that company’s Smokey Joe’s Cafe. Snelson originated the role of the accused murderer/exercise guru in Legally Blonde, which had its pre-Broadway tryout at San Francisco’s Golden Gate Theatre.

Tickets go on sale May 4 and will run $25 to $99. Call 415-512-7770 or visit www.shnsf.com or www.ticketmaster.com

April 16, 2008

Bay Area defines NYC culture

Even 3,000 miles away, San Francisco helps define New York.

This according to New York magazine, whose 40th anniversary issue pays homage to the so-called 196 (why 196? why not 212 or a more conventional 25?) “most essential New York works of art from the past 40 years” that best defined the city since the magazine’s birth 40 years ago.

The only producer to have two shows included on the list is San Francisco’s own Carole Shorenstein Hays, the force behind SHN/Best of Broadway, whose two entries on the list were August Wilson’s Fences and Richard Greenberg’s Take Me Out (labeled on the list as “the argument starter”).

Also on the list, shows such as Hair, Company, A Chorus Line, Chicago, Jennifer Holliday singing “And I Am Telling You I’m Not Going,” AIDS plays The Normal Heart and As Is, The Heidi Chronicles, Angels in America (also a show that started in San Francisco), Rent, The Lion King, The Producers, the 2005 revival of Sweeney Todd, Tom Stoppard’s trilogy The Coast of Utopia and the current Broadway musical In the Heights.

Congratulations to Ms. Shorenstein Hays, and let’s keep showing those New Yorkers what for.

Here’s the article.


Photo from the New York Times.

Theatrical blogosphere

We here at Theater Dogs love the idea of blogs, obviously. We used to love newspapers, but now, not so much. They’re so…what’s the word?…pagebound. Sure there are good writers at newspapers (really good writers, actually), but on blogs, you can be sassy (snap!), you can be quick and you can add as many photos and videos and Web links as you want. Do that dumb ol’ pile of newsprint.

I just got back from a trip to the Midwest (and the dang airlines couldn’t get us back in time for the opening of High School Musical at the Orpheum Theatre in San Francisco, so you’ll just have to go yourself and send me the review so I can share it with other Theater Dogs, or you’ll just have to re-read my interview with the delightful star of the show, Arielle Jacobs, from Half Moon Bay). Anyway, in the Great Midwest (Indianapolis, actually) I found myself with some time on my hands at a computer with a dial-up modem. That made blogging not such a possibility, but I did spend 12 hours looking at two Web sites (dial-up is slooooow). Kidding. I checked out a bunch of theater-related Web sites, some local some not, some blogs, some not, and wanted to make sure you knew about them as well.

The two big nationals I check all the time are Playbill.com and BroadwayWorld.com. They have a lot of the same news, but they also have a lot of original content and make a genuine effort to include news from outside New York. Other good ones include TheatreMania and Broadway.com.

A really cool site that gathers theater news from around the country is the Ohio-based Theatreforte.

A national site with really good local coverage with an excellent (and active) chat board is TalkinBroadway.com. The chat board is called All That Chat, and you want the West Coast edition.

One of my favorite local bloggers is San Francisco playwright Tim Bauer, whose Direct Address blog directly addresses local productions as well as the daily life of a — you guessed it — San Francisco playwright. Another is Peter Sinn Nachtrieb, whose I Will Dance for You is just a delight to read and will keep you up to date on the life and work of the Hunter Gatherers author. And speaking of local playwrights, Prince Gomolvilas used to be local, but he’s in the Bay Area a lot, so he qualifies. Check out his Bamboo Nation blog for a very good time.

Berkeley’s Impact Theatre maintains a pretty active blog called Impact Splatter. Check it out.

Foothill Music Theatre keeps up a terrific blog with great input on theatrical subjects of all kinds (especially FMT when there’s a show going). Check it out.

When the California Shakespeare Theater season gets rolling, they have excellent blogs — usually directors, actors, etc. checking in when the rehearsal process starts, right up through the production. Check it out here.

And then there are some of my favorite newspaper writers who maintain excellent blogs: Karen D’Souza at the San Jose Mercury News and Chloe Veltman at the SF Weekly.

I know that’s just the tip of the theatrical blogosphere iceberg, so to speak, so please let me know what I’ve missed. I’d love to include more.

Write me at chiatovich@gmail.com or post a comment.

April 11, 2008

Arielle Jacobs: From Half Moon Bay to `High School Musical’


Arielle Jacobs is Gabriella Montez and John Jeffrey Martin is Troy Bolton in the touring production of Disney’s High School Musical coming to San Francisco’s Orpheum Theatre. Photo Credit: Joan Marcus

Growing up in Half Moon Bay, Arielle Jacobs wanted to be a pop singer – the next Mariah or Whitney. She’s not there yet, but she did manage to snag a leading role in one of the hottest properties of the 21st century.

Jacobs is starring as Gabriella Montez. If you’re a tween (around the ages of 9 to 12), that name is enough to elicit squeals of delight. For those of you a little out of that demographic, Gabriella Montez is one half of “Troy and Gabriella,” the jock and the brain, the Romeo and Juliet if you will, of Disney’s cultural phenomenon known as High School Musical.

HSM, as it’s known in cyberspace, was an original musical made for the Disney Channel. No one quite expected the level of popularity it found. The TV movie sequel, aptly titled High School Musical 2, became the most-watched TV program ever on cable.

There’s an entire HSM empire as only Disney could create it replete with every product imaginable, burgeoning pop careers for all the movie’s young stars (Zac Efron, who plays Troy in the movies, even has potential as a breakout movie star after his star turn in last summer’s Hairspray movie) and even a touring ice show (which played the Bay Area last year).

Jacobs’ take on Gabriella can be seen beginning April 15 at San Francisco’s Orpheum Theatre when the touring stage production of High School Musical opens for a two-week run as part of the SHN/Best of Broadway season.

On the phone from a tour stop in Des Moines, Iowa, the chipper Jacobs, 24, says she and her family lived in Half Moon Bay until she was 14, when the Jacobs clan moved to New Jersey.

But Jacobs has fond memories of our little coastal hamlet. “I remember the pumpkin festival, of course,” she says. “To this day I’m obsessed with pumpkins. At one of our tour stops, we went to a glass-blowing factory, and I blew a glass pumpkin.”

Jacobs also recalls clam chowder at Barbara’s Fish Wrap as “the best in the whole world” and remembers riding horses on the beach and through the eucalyptus forest.

“That smell still reminds me of the beach there,” she says. “And you can’t beat those sunsets.”

As a kid, Jacobs was truly serious about being a singer. She took voice with Teddi Lightfoot in San Francisco, and she and her brother, Adam, joined a group called Razzle Dazzle Kids and did little cabaret and Christmas shows around the Bay. One year she was Raggedy-Ann then worked her way up to Mrs. Claus.

She also studied music at the San Francisco Conservatory, and though guided toward classical music, she fell in love with show music.

“I really liked performing and communicating story through song,” she says. “I started to lean in the musical theater direction, and my parents were really supportive, and I have to tell you, I was famous for starting something and getting bored half-way through. I started playing soccer because my brother played soccer. My parents took me to all the practices and bought the equipment. I was 7 or so. I went to the first game and quite at half-time.”

Luckily her interest in theater remained constant. And so did her brother’s. Apparently the Jacobs family ate show-tune Wheaties for breakfast. The two Jacobs siblings made their professional theater debuts in 1994 in TheatreWorks’ Honor Song for Crazy Horse. Adam was Little Hawk and Arielle was Blue Swan. Jump ahead a few years, and while Arielle tours the country in High School Musical, her brother recently finished a gig on Broadway in Les Miserables.

“My parents don’t know quite what they did, but they’re really proud of us,” Jacobs says.

Even before there was a stage version of HSM, Jacobs says she was alerted to the movie because friends and casting directors kept telling her she looked like the original Gabriella (played by Vanessa Hudgens). So when auditions rolled around, Jacobs felt primed.

“I could relate to Gabriella,” Jacobs says. “I didn’t just look like her, I am a lot like her.”

Being on the inside of the HSM phenomenon, Jacobs says she can understand why the show has become such a hit. “The story is very universal,” she says. “It’s very much a model for kids to show them what high school is going to be like and how it’s possible to pursue different things and follow your dreams and get the support of friends, family and teachers.”

Keen HSM observers will notice differences between the TV and stage versions. For instance, onstage there’s a new narrator character, Jack Scott, the school announcer. There are also some new songs – “Cellular Fusion” recalls “The Telephone Hour” from Bye Bye Birdie as the students of East High blaze up their cell phones spreading rumors about Troy and Gabriella and the school talent show – and some new complexity in the relationships, most notably between brother and sister Ryan and Sharpay. Drama teacher Ms. Darbus and basketball coach Bolton also have a new level of adult interaction.

Touring to cities large and small has been a wearying but ultimately satisfying experience for Jacobs, who also paints and takes photos. When she’s done with the tour, she’s heading to Brooklyn, where she just bought an apartment. Her next goal: to star in a Broadway show, of course. But there are other things to do first.

“I’m going on an artist’s retreat,” she says. “I’m going to paint for four days during a break in the tour. I’m also hoping to write some music. I wrote a children’s book and want to get that published as well.”

As if she weren’t busy enough touring and maintaining an official backstage blog (highschoolmusicalblog.com), she also has her own Web site (www.ariellejacobs.com) and an environmental site called www.helphealtheearth.com, which opens with a photo of Jacobs literally hugging a tree.

“I like to direct a lot of the HSM fans to that site,” she says. “It’s all about helping the environment and appreciating nature. It’s really hard on the road to find people who care about recycling. I’m trying not to get depressed too much that people don’t seem to care.”

Spoken like a true Half Moon Bay kid.

High School Musical runs April 15-27 at the Orpheum Theatre, 1192 Market St., San Francisco. Tickets are $23-$85. Call 415-512-7770 or visit www.shnsf.com or www.ticketmaster.com for information.

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