Disney’s Newsies seizes its musical day

Feb 19

Disney’s <i>Newsies</i> seizes its musical day

Newsies that unlikely Broadway hit that started out as a flop movie musical, isn't so much about groundbreaking theater as it is a sterling example of how efficient Disney can be at creating solid, broadly appealing entertainment.

The Broadway production closed last fall, but the tour dances on. If ever there was a show meant for the road, it's Newsies, a high-energy, stick-it-to-the-man ode to unions of all kind (labor, romantic, brotherly). Now at the Orpheum Theatre as part of the SHN season, Newsies is the definition of crowd pleaser.

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A hitch in the getalong: Looking back at 2014′s best

Dec 22

A hitch in the getalong: Looking back at 2014′s best

Reviewing the shows I reviewed this year, I was struck by two things: first, and as usual, there’s an abundance of talented people doing great work at all levels of Bay Area theater; second, this was a lesser year in Bay Area theater. Perhaps the reason for the later has to do with the changes in the Bay Area itself – artists are fleeing outrageous rents,...

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A Kinky kick in the pants

Dec 04

A <i>Kinky</i> kick in the pants

Kinky Boots is the kind of musical comedy that leaves no unpleasant aftertaste. There's no guilt in enjoying its pleasures, and though it's not exactly an emotional feast, neither is it empty calories. This is a well-crafted, tuneful show whose only aim is to entertain and uplift. It succeeds on both counts.

A huge hit on Broadway, where it racked up six Tony Awards and is well into its second year, Kinky Boots is based on the 2005 film of the same name, one of those distinctly British underdog feel-good movies they do so well over there. Harvey Fierstein, adapted the movie, Cyndi Lauper made her Broadway composing debut with the score, and Jerry Mitchell (last seen in these parts with the Broadway-bound Legally Blondereview here) directs and choreographs in his typically efficient, ebullient manner.

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Party People at Berkeley Rep: Necessary

Oct 25

<i>Party People</i> at Berkeley Rep: Necessary

There are ovations and there are ovations. The opening of an envelope gets a standing ovation these days, so the stand and clap doesn't really mean much anymore. But at the opening night of UNIVERSES' Party People at Berkeley Repertory Theatre, the audience was instantly on its collective feet at show's end, applauding thunderously, shouting and hooting. The appreciative cast bowed, expressed gratitude and exited the stage. The house lights came on, and still the clamor continued. A few audience members exited the theater, but mostly the noise grew in intensity until the surprised cast had to return to the stage and bow yet again.

It seemed a fittingly over-the-top reaction to an ambitious, over-the-top show that leaves you feeling moved by the wheels of history and the vagaries of the human heart.

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Blitz bombs but TheatreWorks’ Sweeney still soars

Oct 12

Blitz bombs but TheatreWorks’ <i>Sweeney</i> still soars

Tory Ross' sublime performance as Mrs. Lovett, maker of the "worst pies in London," threatens to hijack the TheatreWorks production of Sweeney Todd: The Demon Barber of Fleet Street and turn it into Nellie Lovett: People Who Eat People Are the Luckiest People.

There's no escaping the genius of Angela Lansbury's indelible performance (captured on video) in the original production of what composer Stephen Sondheim describes as a "dark operetta," but that star turn was a Victorian cartoon, a manically genial grotesque with shadings of a real flesh-and-bone woman under all the goofiness.

But Ross is a whole lot less cartoon and a whole lot more human being.

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Emily Skinner waltzes away with Moon’s Waltz

Oct 06

Emily Skinner waltzes away with Moon’s <i>Waltz</i>

A love letter to Emily Skinner...

Dear Ms. Skinner,I had the pleasure of seeing you perform in 42nd Street Moon's production of Do I Hear a Waltz, and I was completely captivated by your Leona Samish, the lonely American tourist who travels to Venice for a taste of life. I have fond memories of Moon's 1998 production back when they were doing staged concert productions with actors holding their scripts. That was my first encounter with Waltz, a 1965 Broadway curiosity that matched three musical theater masters – Richard Rodgers , Stephen Sondheim and Arthur Laurents. The show, by all accounts, was a misery to create, primarily because Rodgers, lacking confidence in his abilities in the wake of Oscar Hammerstein's death, was a miserable and stubborn collaborator

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