Dr. Dolittle - California Musical Theater, Sacramento

The classic tale of the animal-loving Dr. Dolittle done as only Tommy Tune could do it is brought to life for all to enjoy in this finale to the 2005-2006 Broadway Series Season. Song, dance and puppetry are brought together in a festive and exciting show in this production of Dr. Dolittle. Dr. Dolittle's search for innocence from the accusations of murder and the famous Great Pink Sea Snail lead the audience on a 90 minute, intermissionless adventure.

Dr. Dolittle is the show to see if you want to bring your children to the theater this season. The fast-paced nature of the show and short run-time are ideal for children. The plot is easy to follow and is rapidly pushed forward at the speed of a child's imagination. This can lead to some confusion for adults, but as has been proven time and again, when it comes to imaginative adventures children are clearly much more agile and fit for the challenge! The entire show is based on fun, love and open-heartedness. There is not a single moment that does not exude these qualities.

Patti Colombo's and Joel Blum's choreography is the shining star of this production. The exciting tap numbers keep the audience tapping their toes and are very clearly extremely fun for the actors. Kenneth Foy's sets and Ken Billington's lighting designs are elegant and impressive from start to finish. And of course, Tommy Tune's performance shines just as brightly now as it did when he started his career in 1965. Dee Hoty (Lady Emma Fairfax) is an able match for Tune's stage presence and the two compliment each other's styles very well. One of the more entertaining and endearing qualities of this show is the puppetry. All of the animals in their elegance and liveliness come to life by their talented puppeteers.

Though this show isn't any profound piece or incredible score, the show is fantastically fun and a wonderful hour and a half of enjoyment.

The Complete Works of William Shakespeare Abridged - Absurd Reality Theater at the Northwest Actors Studio

Is is possible for three men to perform all thirty-seven of William Shakespear's plays in one hour and a half performance? Apparently it is! The Complete Works of William Shakespeare Abridged combines modern rap, classical theatre, improvisation, all of Shakespeare's plays and Chuck Taylor All-Stars. This production, managed by Amanda Stoddard and created by the artistic team as a whole, takes the skeleton of a play that has been laid down by writers Adam Long, Daniel singer and Jess Winfield and gives it it's guts and skin. However, the guts and skin don't hold together too strongly. In this short play, timing and delivery are painfully important and difficult to control. Neither of these elements are as solid as they need to be. For the most part, the deliveries seemed a bit forced and inauthentic. Aside from the acting elements, the technical aspects also seemed a bit off kilter. The sound cues all seemed to be having volume difficulties, either too loud or much too quiet to fit with the action on stage.

Though there are some pitfalls to the production, it is extremely entertaining! Though the sound cues are somewhat troublesome, what they are are hilarious. The song choices and use are fantastic. Also, the simplicity of the set with the humorous and fun swirl design on the curtains add the aspect of whimsicalness to the set that exists in the play itself. Brandon Ryan, one of the three actors, does an outstanding job in his roles and Tracie Owens (Light Operator) is as precise as the lights themselves.

This is a fantastically fun production to see and experience and even participate in. Enjoy the couches and the wacky fun of the show!

King John - Upstart Crow Productions at Capitol Hill Arts Center

Though King John's soul may have elbow room, there is certainly no room for anything to be lacking in Upstart Crow's production of King John at the Capitol Hill Arts Center. The story of King John is a bloody and treacherous slippery slope of war and murder. From King to warrior to corpse, King John fights his way to the top then clamors down the other side of the mountain, taking everyone he can down with him - or should I say her? Rosa Joshi's (director) production of King John is comprised of a fully-female cast attired in the powerful suits of the Twenty-First Century mixed with the crests and skins of the Twelfth. This lends an interesting slant and interpretation to this ancient history. The succession implications that are readily apparent in our war-stained world today are dealt with through the writing of William Shakespeare in the telling of the story of this King John. With the costumes - by Melanie Taylor Burgess - transcending any specific time restraint, the set, too, has to go beyond any specifics. This is fantastically accomplished by the set team originally led by Jennifer Zeyl. The blood spattered metal-plated floors and walls give the audience a feeling of an abandoned meat locker in a butcher's shop with the crests of England and France on either end of the long refrigerator. The simplicity and subtleness of the set is wonderfully complimented by the lighting design of Pattie West. The fades and spots that match the action and sound cues by M. Elizabeth Eller keep the audience perpetually on seat's edge. Rosa Joshi's direction of this production is phenomenal. Her interpretation of modern implications an the ways in which the actors deliver these centuries-old lines and still make them part of our own time are very precise and meticulous which gives the audience the ability to sit up and enjoy the rollercoaster ride. The cast is, overall, extremely strong. Amy Thone's portrayal of King John is incredible and Peggy Gannon's work as Philip the Bastard is equally impressive. Their stage presence is undeniably captivating and their emotions are felt by each member of the audience.

This production is an incredible work of art and I regret not having a chance to see it until the closing performance. However, look for more from Upstart Crow productions in the future!

Les Miserables - 5th Avenue Musical Theater Company

Possibly the epitome of musical theater of our time, Les Miserables is the tragic and beautiful telling of a war-torn love story to a degree not reached by any other medium. It has been produced in countless forms and productions and locations. This production being one of them, and quite a powerful rendition, indeed.

Jean Valjean's escape from parole in nineteenth century France and care for the poor Cosette are all acts of repentance for his seemingly-minor crime of years ago. He is hunted through the years by Javert, the God-fearing, law-upholding officer. All the paths intersect in the French Revolution with the school-boy rebellion and tragic love story of Cosette and Merius.

This production requires an incredible amount of skill and work to complete in a manner as amazing as the 5th Avenue's production turned out. Had not the performers been as powerful and impressive as they are, they could easily have been upstaged by the lighting and stage design. David Hersey's lighting design is an amazingly impressive masterpiece. With his skill combined with John Napier's production design, the transitions are seamless and invisible. Sets change and disappear faster than anyone can notice that the stage has turned to hide the shift in the perfectly placed shadows. The use of darkness and skrims in this production make invisibility and true stage magic completely possible. The lighting and incredible mechanics of the set augment the show to a completely unbelievable level of excellence.

There is not one performer who can be singled out above another. There is also not a weak link in the cast. Randal Keith (Jean Valjean) has power and presence to be envied by any performer. His stage presence is immediately noticeable, even from the back of the balcony. His power is matched by Robert Hunt (Javert) which makes for a frightening and intimidating spectacle when the two forces clash together. Melissa Lyons' (Eponine) sweet and lovely vocal talent could sooth the most ferocious heart to a lovable cloud. Her presence is also absolutely undeniable. Anthony Skillman's (Gavroche) eight-year-old power is amazing. His power and talent will be seen for years to come on the professional stages of the world. Rachel Schier (young Cosette) will also be seen for years to come. At nine years old, she is already a force to be reckoned with.

This production is a must-see. The show's staying power will keep it around for years and years, but this cast will soon dissolve. Catch it while you can.

Miss Witherspoon - ACT

Who knew death could be so hilarious? Who knew it could be so frequent, either?

Miss Witherspoon deals with the ideas of the afterlife from an extreme array of philosophical and religious perspectives as well as the comedic genius of writer Christopher Durang. This production is one of the most tight-knit creations I’ve seen in quite some time. It’s an extremely complicated script and an even more complicated and convoluted plot. However, the actors and designers met every single challenge of every aspect.

Director M. Burke Walker has created an art piece worthy of envy. The way in which this production comes together and never falters is incredible. Along with the design team and the actors, Walker has used every resource of artistic ability to create an absolutely stunning show. Bill Forrester’s set design is outrageously clever and precise. The use of trap space and fly space and the absence of hiding space develop a world in which the audience can easily get lost. Frances Kenny’s costumes are also a spectacle to see. Though one may not realize it by the end of the show, the costumes are extremely fitting, exact and hilarious. The lighting design, too, by Rick Paulsen, is a world of wonderment. The fades and lifts mirror the exact feelings of the play and the audience remarkably well.

There is no way that one actor can be singled out from this cast as more memorable than another. Each and every character is as vibrant and full of life as the next and each next is more vibrant than the last. However, the load that Anne Allgood (Veronica) and Christine Calfas (Maryamma) carry is unbelievable. Their exactitude and skill is a gift that can, as with the rest of the show, easily be envied.

For all intents and purposes, this is easily one of the best shows I’ve seen this year. I apologize that I am posting this so late in the run. However, if you can see it before it’s close on Sunday, please do!

The Broadway Hour - 05/25/2005

Other Jello - The Lee Center for the Arts

If it's an exploration of the human psyche through dance and some dialogue that you're looking for, then the Maureen Whiting Dance Company is the troop you must follow. To try to describe any of the scenes or actions of the performers would be impossible. However, the use of body was extremely impressive and the acting skill was equally precise. The use of the emptiness of the space was also very thought-provoking and the opening of the mechanical door into the whited-out scene shop brought forth a feeling of a great void and emptiness and yet a notion of completeness as well.

In short, this is a great company and a very fun show. It's short and sweet and a great watch. No top three, but a very fun show.

Pippin - The 5th Avenue Musical Theater Company

What matters most: the brief but eternal spotlight or a content and simple life? The struggle between the glitter and glamour of the star's life and the simple but sufficient existence of humble happiness is ages old, even as far back as Charlemagne. As Prince Pippin, Charlemagne's first-born son strugles to find his way in life and his true calling, the world seems to be running away more and more with each day. Try as he may, he can't seem to stop the evil or even slow down his own life and take each day at a time.

Stephen Schwartz's (Wicked, Children of Eden, Godspell, etc.) progression and development as a writer/composer of musical theater is clearly seen and heard in Pippin. Traces of his other musicals, each more unique than most composers can accomplish, can be ever so faintly noted in Pippin. Though the story is confusing and disjointed throughout the play, the very last moment ties it all together in a very poignant finale.

This production sported an extremely powerful cast and production team, making it quite a spectacle. Tom Sturge's set and lighting are extremely precise and beautiful while the costumes of Bradley Reed nearly steal the show on their own. The fly-in set pieces and functional wall surrounding the on-stage orchestra gives the audience a feeling that their world and the world of the play are very truly melding together. Pieces such as the transitioning ramp and fly-in sing-along board bring the audience into the story deeper and deeper as it progresses.

David Armstrong's work in the past directing many shows with the 5th Avenue and other major theater shines again in his direction of this cast. The talent pool is ripe for the picking and his work with each individual shines through into the precision of each moment. Clearly, though, no director can go anywhere without the cast as her/his vehicle. Keith Byron Kirk's outstanding work as the Leading Player is captivating and enticing throughout every moment he's on stage. Mimi Hines's portrayal of Berthe is just as powerful and excitingly fanciful.

Aside from the obvious markers of a show's quality, the way in which Pippin fits into our modern world subtle, but powerful. The references to war as a game for men to gain glory and gold and the not-to-subtle and pointed references to sexual orientation and expression provide a biting commentary on our society today. Armstrong's decisions in this are very well-founded and well-thought-through.

Though not a must-see, it is an entertaining show. If you can make it to the end without getting too lost, it's worth the journey.

Verdi's Macbetto - Seattle Opera

The scene is set in… well, nowhere really. This English written, Italian composed and Scottish set play/opera in this production is placed in a timeless and homeless dwelling of frightfully occupied blank space. The story is still the classic Shakespeare and the setting is still alluded to Scotland in the libretto, but visually one feels more like the audience has been transported to Italy if anything.

The vocal talent in this production is incredible. Across the board, the singers were extremely strong and skilled. Gordon Hawkins, playing Macbeth, is an extremely powerful Baritone. However, his stage presence was non-existent. His still movements or lack thereof are very distracting and irritating. Andrea Gruber’s performance as Lady Macbeth is also wanting of some control. Vocally, she is a very powerful singing, albeit rather shrill and standoutish in the ensemble times. Her twitching at the end of every high note or song is also very overacted and distracting. The highlight of the vocal performance is clearly and undeniably Joseph Calleja as Macduff. His breathtaking tenor is captivating and his stage presence is phenomenal. His portrayal of Macduff’s pain at losing his children is clearly shown and felt by all. His high notes are not too high or harsh, but are appropriate and powerful. The rest of the cast is also extremely impressive.

Visually, the actors and singers were nearly upstaged by the lighting and set. Chris Akerlind’s lighting shows exactly why he was awarded the Tony for Light in the Piazza. The slow fades and color use is spectacular. The use of shadows in such an open space is magnificently impressive. One almost forgets how open the space is when the shadows cast are as distinct as they are. Bobby Israel’s set is the single most impressive piece of this production. The plain white walls and use of mechanical doors and opening hatch create a continuously morphable world in which this timeless production can be housed. The sleepwalking scene, though not overly impressive vocally or musically is stunning when the walls begin to bleed as Lady Macbeth recites her heinous crimes. There are many confusing aspects to the attire, however. Even though I know the purpose of the wedding and funeral dresses, I could not bring myself to accept the use of them. They seemed completely out of place and awkward. Otherwise, the uniforms and combined Italian, Scottish and non-specific costumes work very well.

The direction of this production is very well-thought out and precise. There are aspects of the direction that do not fit, however. For example, the killing of Macbeth at the finale by Macduff is extremely poorly done. To have Macduff shoot Macbeth when he’s already down is totally inappropriate.

Overall, this is a good show. It’s nothing that will rank in my personal favorites of all time; however it is a good show. If for nothing else, it is worth seeing simply to hear the beautiful orchestration and the powerful music of Verdi and witness the incredible design talent of Bobby Israel and lighting of Chris Akerlind.

Oyster - Mondavi Center

If you have ever had an interest in modern dance, Inbal Pinto Dance Company's Oyster is a show that you should find and follow. The obscurity and magnificence of the show are completely hypnotizing. There is not a moment of the show that can be called out above any other. Each section of the show - though it is really more of one cohesive unit than a set of parts - has a fair share of drama, comedy and skilful and humble spectacle.

Oyster is set loosely in a classic circus. The costumes allude wonderfully to this. A large theme of the show is impairity. A lack of arms, an extended arm, the inability to stand upright or even a giant with two heads who turns out to be nothing but two weak little men stack on top of one another.

The set, by Inbal Pinto and Avshalom Pollak, is extremely simple at first glance, but becomes part of the dancers as they express their whims through movement. The Lighting, by Yoaan Tivoli brings the attention of the audience to wherever it should be mostly focused, but allows for the audience to notice and continue to focus on the more subtle activities on the stage. One of the more impressive aspects of the production is the costume design accomplished by Pinto, Pollak and Gila Lahat.

Overall, this is easily one of the best shows I've ever seen. It is simple, extravagant, and enthralling.