To give easier access to past "Great Local Shows" reviews, they have been moved to the Placer Performance Calendar. To find them, go to www.placerperformancecalendar.com, and click on the "Reviews" button on the left side of the home page.
Reviews will be left here (but none added) until October 2014, after which they will all be removed.
Sunday, July 20, 2014
Saturday, July 12, 2014
She Has a Name
As I write this, human trafficking is at the top of the news: (1) "FBI
rescues 168 children in sex trafficking crackdown," (2) "In growing US
sex-trafficking business, majority of victims are American-born," and
(3) "FBI's Sacramento office finds 9 child sex-trafficking victims in
region." All this after seeing FreeFall Stage's production of She Has a Name
– the first U.S. community theatre production of Andrew Kooman's play.
I saw this show on the last weekend of its 8-week run, and now FreeFall
Stage is trying to raise the money to take it on tour throughout
Northern California. Deservedly so. In introducing the show to the
audience, FreeFall Stage President, Deanne Eldridge described it as "the
most important" project she's been associated with in a lifetime in the
theatre.
The plot is simple. A Cambodian girl of 15 is working in a brothel in Bangkok, Thailand. She is visited by an American investigator posing as a john, but who is secretly trying to build a case to put the brothel out of business and rescue this girl, identified only as "Number 18" (and presumably the other girls). He has to win her trust and persuade her to testify against her captors.
Although the audience may not have known the details of the plot at the beginning, everyone knew what this play was about, and the warnings of "viewer discretion advised" and "not recommended for those under 15" were sobering. One came to this production, not to be entertained, but to understand and feel the human dimensions of this social scourge.
And that feeling comes through a variety of dramatic devices. First, there are the three women playing "The Voices" – a Greek chorus that comments on the action and serves as the tortured conscience of Number 18. Then there are the interactions between the American investigator and his wife (via Skype) and his local female boss. These interactions are full of angst and passion, and they reveal many unexpected consequences of human trafficking: no one is unscarred by it.
But the success of this show hangs on the quality of the acting, which is superb. Number 18 is played by Supatchaya Sunpanich, originally from Thailand and now a student at American River College. She played the many moods of her role convincingly, and the memory of her screams still makes my skin crawl. She demonstrated both the torment and the ambivalence of the victim when offered a way out of that torment. Chris Quandt, as the American investigator, had the most time on stage, and he had me with him all the way as he navigated his way through compassion, frustration, determination, self-doubt, despair, and many more emotions. One can't help but spot occasional weak acting in a community theatre production. Not so this one. Surely the actors' native talent was a factor, helped no doubt by their commitment to the seriousness of the subject matter. And surely the effectiveness of the whole presentation was due in no small part to the skill of young director, Emma Eldridge.
There was no release from the discomfort inherent in this production. Heeding a warning by Deanna Eldridge at the beginning that we may not feel like applauding at the end, only a few of us did. And I hope actors and director took it as a symbol of respect for their work. Instead, most audience members interacted with the actors one-on-one and viewed the exhibits of the five anti-trafficking organizations that were "partners" in this production.
This show has closed, but you can track FreeFall Stage's plans for its tour on the company's website: www.freefallstage.com. And you can contribute to their Kickstarter campaign at this link: https://www.kickstarter.com/projects/758931939/she-has-a-name-on-tour.
The plot is simple. A Cambodian girl of 15 is working in a brothel in Bangkok, Thailand. She is visited by an American investigator posing as a john, but who is secretly trying to build a case to put the brothel out of business and rescue this girl, identified only as "Number 18" (and presumably the other girls). He has to win her trust and persuade her to testify against her captors.
Although the audience may not have known the details of the plot at the beginning, everyone knew what this play was about, and the warnings of "viewer discretion advised" and "not recommended for those under 15" were sobering. One came to this production, not to be entertained, but to understand and feel the human dimensions of this social scourge.
And that feeling comes through a variety of dramatic devices. First, there are the three women playing "The Voices" – a Greek chorus that comments on the action and serves as the tortured conscience of Number 18. Then there are the interactions between the American investigator and his wife (via Skype) and his local female boss. These interactions are full of angst and passion, and they reveal many unexpected consequences of human trafficking: no one is unscarred by it.
But the success of this show hangs on the quality of the acting, which is superb. Number 18 is played by Supatchaya Sunpanich, originally from Thailand and now a student at American River College. She played the many moods of her role convincingly, and the memory of her screams still makes my skin crawl. She demonstrated both the torment and the ambivalence of the victim when offered a way out of that torment. Chris Quandt, as the American investigator, had the most time on stage, and he had me with him all the way as he navigated his way through compassion, frustration, determination, self-doubt, despair, and many more emotions. One can't help but spot occasional weak acting in a community theatre production. Not so this one. Surely the actors' native talent was a factor, helped no doubt by their commitment to the seriousness of the subject matter. And surely the effectiveness of the whole presentation was due in no small part to the skill of young director, Emma Eldridge.
There was no release from the discomfort inherent in this production. Heeding a warning by Deanna Eldridge at the beginning that we may not feel like applauding at the end, only a few of us did. And I hope actors and director took it as a symbol of respect for their work. Instead, most audience members interacted with the actors one-on-one and viewed the exhibits of the five anti-trafficking organizations that were "partners" in this production.
This show has closed, but you can track FreeFall Stage's plans for its tour on the company's website: www.freefallstage.com. And you can contribute to their Kickstarter campaign at this link: https://www.kickstarter.com/projects/758931939/she-has-a-name-on-tour.
Thursday, June 26, 2014
Structure of the Symphony - Placer County Youth Orchestra
by Letha Dawson
How proud all of us who live in Placer County can be of the Placer County Youth Orchestra. Standing applause must go to each and every member for your dedication and your achievement. You are a talented group of musicians. The Intermediate Orchestra, the Theatre Orchestra which played Les Misérables at Del Oro High school earlier this month, and the Symphony Orchestra, all performed Monday night, May 19, 2014, to a high standard and transported the audience with wave upon wave of musical panoramas of passion, color, and beauty. Marjorie Hartung, artistic director, invited other organizations to collaborate with PCYO, as Del Oro High School did, to create additional performance opportunities for these excellent young musicians.
Two young boys early in the program with sky-scraper-high confidence entertained the hundreds of proud parents and friends listening. Ethan Freedman sang “Little People,” from Les Miserables with the same spunk and showmanship as when he was on stage at Del Oro High School with a chorus of little people. Monday night, Ethan stood in his Les Mis costume of torn rags, alone in front of formally attired musicians. Tuxedoes didn’t phase Ethan. He belted out his brave determination as if he were at the barricades.
Wey Wey Chen, in formal attire, shouldered his instrument and with bravado played from the Violin Concerto in B Minor, Op. 35, of O. Rieding. The audience understood why Wey Wey Chen was the Division I winner in the Auburn Symphony’s Young Artist Competition. Artistic Director, Marjorie Hartung graciously thanked him after his performance from the podium with a very grown-up handshake for his outstanding achievement.
The Placer County Youth Symphony Orchestra then proceeded to fill out the evening by performing works by Tchaikovsky, Mozart, Haydn, Schubert, and Beethoven with skill and heart. Two splendid performances capped the evening: Schubert’s Unfinished Symphony with the incomparable Marjorie Hartung conducting and Beethoven’s Symphony No. 5, with charismatic Wayland Whitney conducting. What a glorious evening of music.
Review of the PCYO Performance, May 19, 2014, at the Valley Springs Presbyterian Church, Roseville, CA
How proud all of us who live in Placer County can be of the Placer County Youth Orchestra. Standing applause must go to each and every member for your dedication and your achievement. You are a talented group of musicians. The Intermediate Orchestra, the Theatre Orchestra which played Les Misérables at Del Oro High school earlier this month, and the Symphony Orchestra, all performed Monday night, May 19, 2014, to a high standard and transported the audience with wave upon wave of musical panoramas of passion, color, and beauty. Marjorie Hartung, artistic director, invited other organizations to collaborate with PCYO, as Del Oro High School did, to create additional performance opportunities for these excellent young musicians.
Two young boys early in the program with sky-scraper-high confidence entertained the hundreds of proud parents and friends listening. Ethan Freedman sang “Little People,” from Les Miserables with the same spunk and showmanship as when he was on stage at Del Oro High School with a chorus of little people. Monday night, Ethan stood in his Les Mis costume of torn rags, alone in front of formally attired musicians. Tuxedoes didn’t phase Ethan. He belted out his brave determination as if he were at the barricades.
Wey Wey Chen, in formal attire, shouldered his instrument and with bravado played from the Violin Concerto in B Minor, Op. 35, of O. Rieding. The audience understood why Wey Wey Chen was the Division I winner in the Auburn Symphony’s Young Artist Competition. Artistic Director, Marjorie Hartung graciously thanked him after his performance from the podium with a very grown-up handshake for his outstanding achievement.
The Placer County Youth Symphony Orchestra then proceeded to fill out the evening by performing works by Tchaikovsky, Mozart, Haydn, Schubert, and Beethoven with skill and heart. Two splendid performances capped the evening: Schubert’s Unfinished Symphony with the incomparable Marjorie Hartung conducting and Beethoven’s Symphony No. 5, with charismatic Wayland Whitney conducting. What a glorious evening of music.
Review of the PCYO Performance, May 19, 2014, at the Valley Springs Presbyterian Church, Roseville, CA
Tuesday, May 20, 2014
Les Misérables (Del Oro High School)
By Letha Dawson
Les Misérables, a cultural phenomenon, has been exciting and thrilling audiences since 1980 when Alain Boublil and Claude-Michel Schonberg adapted Victor Hugo’s novel, Les Misérables, for the stage in France. In 1985 the English language version of “Les Mis” opened in London, and since then more than 500 million theater-goes have thrilled to the music and spectacle of courageous men, women, and children rising up in revolution, standing tall in conviction to bring an end to their oppression. May 3, 2014, at Del Oro High School, les misérables sang again of their misery and determination to change the world. Under the baton of Margie Hartung, the Placer County Youth Orchestra played superbly. Les Mis was brought to life under the direction of "Sir" Jeffery Johnson and Shere Freedman. Authentic costume creations by Gina Musilli and Noelle Young transported the audience to France. And Shere Freedmen, wearing a second directorial hat, guided and brought the voices of the students to heights even they didn’t know they could reach. Therefore, Les Mis thrilled another several hundred people. It’s no easy task to bring a musical of this size and complication to the stage, but the artistic directors at Del Oro accomplished the feat with flying colors.
Each of the thirty-nine actors, singers, and dancers, and all ten of the junior cast carried us away to the streets, brothels, and drinking houses of France in the 1800’s with sincerity and heart, singing their parts well and genuinely looking like prisoners, prostitutes, and street urchins. The choreography, lighting, and music from the talented orchestra members, particularly Keegan McLean’s trumpet, Breanna Daley’s flute, and the ethereal string section, all came together to create a nimble, yet intense musical experience.
Seth Beam as Valjean sang and moved with emotion. He adapted to each role, whether the prisoner, the mayor, or the father with power and kindness. Mason Beseler looked and sang the part of of Javert. David Reyes, with his smooth voice, certainly fit the role of Marius, the young man in love. Hannah Massagli brought spunk with jabbing elbows and personality to the role of Madam Thenardier. Keirsten Hammond, Alec Irwin, Camerion Riggs, and Amberley Sewell, as well as all the other vocalists, sang the complex score with skill.
Special mention is demanded for the mobs. The choruses of singers were outstanding in their crowd movement, their cohesion, and their sound. The Company chanting the prologue, the unemployed, children and factory workers singing “At the End of the Day” and “Look Down” and “Little People” and “One Day More” -- these numbers were fantastic. The costumes again set the mood. The choreography of the group as a whole moved and surged. The stand-out came in the character of Gavroche, sung by Ethan Freedman. This child was the very bright star in this production. Ethan Freedman, a half-pint urchin, marched out on stage, and punched every line, swinging his arms, stamping his feet, and holding his ground as he sang like the tough little man the streets had made him. The audience loved him, shouting their delight every time he appeared. Hopefully, audiences will be seeing a lot more of this talented boy, for he’s only in first grade at Live Oak Waldorf School.
All in all, a standing ovation for the cast, Placer County Youth Orchestra, and all the artistic and production staff for bringing theatre lovers a great production of Les Mis.
Review of the May 3, 2014 performance at Del Oro High School.
Les Misérables, a cultural phenomenon, has been exciting and thrilling audiences since 1980 when Alain Boublil and Claude-Michel Schonberg adapted Victor Hugo’s novel, Les Misérables, for the stage in France. In 1985 the English language version of “Les Mis” opened in London, and since then more than 500 million theater-goes have thrilled to the music and spectacle of courageous men, women, and children rising up in revolution, standing tall in conviction to bring an end to their oppression. May 3, 2014, at Del Oro High School, les misérables sang again of their misery and determination to change the world. Under the baton of Margie Hartung, the Placer County Youth Orchestra played superbly. Les Mis was brought to life under the direction of "Sir" Jeffery Johnson and Shere Freedman. Authentic costume creations by Gina Musilli and Noelle Young transported the audience to France. And Shere Freedmen, wearing a second directorial hat, guided and brought the voices of the students to heights even they didn’t know they could reach. Therefore, Les Mis thrilled another several hundred people. It’s no easy task to bring a musical of this size and complication to the stage, but the artistic directors at Del Oro accomplished the feat with flying colors.
Each of the thirty-nine actors, singers, and dancers, and all ten of the junior cast carried us away to the streets, brothels, and drinking houses of France in the 1800’s with sincerity and heart, singing their parts well and genuinely looking like prisoners, prostitutes, and street urchins. The choreography, lighting, and music from the talented orchestra members, particularly Keegan McLean’s trumpet, Breanna Daley’s flute, and the ethereal string section, all came together to create a nimble, yet intense musical experience.
Seth Beam as Valjean sang and moved with emotion. He adapted to each role, whether the prisoner, the mayor, or the father with power and kindness. Mason Beseler looked and sang the part of of Javert. David Reyes, with his smooth voice, certainly fit the role of Marius, the young man in love. Hannah Massagli brought spunk with jabbing elbows and personality to the role of Madam Thenardier. Keirsten Hammond, Alec Irwin, Camerion Riggs, and Amberley Sewell, as well as all the other vocalists, sang the complex score with skill.
Special mention is demanded for the mobs. The choruses of singers were outstanding in their crowd movement, their cohesion, and their sound. The Company chanting the prologue, the unemployed, children and factory workers singing “At the End of the Day” and “Look Down” and “Little People” and “One Day More” -- these numbers were fantastic. The costumes again set the mood. The choreography of the group as a whole moved and surged. The stand-out came in the character of Gavroche, sung by Ethan Freedman. This child was the very bright star in this production. Ethan Freedman, a half-pint urchin, marched out on stage, and punched every line, swinging his arms, stamping his feet, and holding his ground as he sang like the tough little man the streets had made him. The audience loved him, shouting their delight every time he appeared. Hopefully, audiences will be seeing a lot more of this talented boy, for he’s only in first grade at Live Oak Waldorf School.
All in all, a standing ovation for the cast, Placer County Youth Orchestra, and all the artistic and production staff for bringing theatre lovers a great production of Les Mis.
Review of the May 3, 2014 performance at Del Oro High School.
The Music Man
After looking forward to the El Dorado Musical Theatre’s production of The Music Man
for months, I saw the show last Saturday afternoon – the first
performance after opening night – and I wasn’t disappointed. As is
typical with everything EDMT does, what I saw was brilliantly and
professionally executed. In fact, this show was dazzling from the
moment the curtain opened. A steam engine that appeared to be 12 or 15
feet high looked like it could run right into the audience. But then it
turned and opened to reveal a passenger car full of travelling salesmen
in the song called “Rock Island,” which imitates the sounds of a train.
(You remember “what d’ya talk” and “but you gotta know the territory,”
don’t you?) This was just the first of many spectacular sets. With
their help and the always period-perfect costuming, it didn’t take a
lot of imagination to believe that the year was 1912 and that you were
in River City, Iowa.
There are two casts in this show (I saw the River Cast), and I hesitate to comment on one set of actors, because I’m sure that both casts are equally outstanding. But I have to say that Andrew Wilson (Prof. Harold Hill in both casts) captured the jaunty self-confidence of that now-beloved con man with his typically excellent singing and acting. Opposite Andrew was Julia Adams as the winsome librarian and piano teacher, Marian Paroo. She won my heart, as much as she won Harold Hill’s. But as excellent an actress and singer as is Julia, and as charming a couple she made with Andrew, I’m sure Olivia Kaufmann – the other Marian – with her outstanding voice and acting would be just as appealing.
I’m especially sorry to have missed Olivia because, for her and Julia, and several other EDMT performers, this will be their last show. Having seen them sing and dance over several years, they have become my favorites, and I am sad to see them age out, go off to college – or embark on a professional career. If it makes me sad, I can only imagine how everyone at EDMT feels. But this happens every spring. And even as I was thinking about the young performers I would miss, I noticed – for the first time – even younger ones who seemed to have the spark of natural entertainers, and now I’m anxious to monitor their progress in future productions.
The Music Man is such a timeless and beloved part of American musical theatre. There are so many wonderful songs and such a clever, engaging and ultimately satisfying plot. I remember so many details from the movie version, and the EDMT production was true to all the best that I remembered. But then there was the choreography. Could the movie that I think I remember so well have had such intricate, precise, energetic, creative, and ultimately exhilarating dancing? It couldn’t possibly have. The numerous dance routines in this show – and their brilliant execution – showed once again why El Dorado Musical Theatre offers some of the best entertainment in the Sacramento region – with consistently professional standards.
Do yourself a favor, and see this show before its short run ends. It is a faithful presentation of an American classic, and it has all the charm of the show you remember. And if you’ve never seen it, how I envy the delight you will experience in seeing The Music Man for the first time.
There are two casts in this show (I saw the River Cast), and I hesitate to comment on one set of actors, because I’m sure that both casts are equally outstanding. But I have to say that Andrew Wilson (Prof. Harold Hill in both casts) captured the jaunty self-confidence of that now-beloved con man with his typically excellent singing and acting. Opposite Andrew was Julia Adams as the winsome librarian and piano teacher, Marian Paroo. She won my heart, as much as she won Harold Hill’s. But as excellent an actress and singer as is Julia, and as charming a couple she made with Andrew, I’m sure Olivia Kaufmann – the other Marian – with her outstanding voice and acting would be just as appealing.
I’m especially sorry to have missed Olivia because, for her and Julia, and several other EDMT performers, this will be their last show. Having seen them sing and dance over several years, they have become my favorites, and I am sad to see them age out, go off to college – or embark on a professional career. If it makes me sad, I can only imagine how everyone at EDMT feels. But this happens every spring. And even as I was thinking about the young performers I would miss, I noticed – for the first time – even younger ones who seemed to have the spark of natural entertainers, and now I’m anxious to monitor their progress in future productions.
The Music Man is such a timeless and beloved part of American musical theatre. There are so many wonderful songs and such a clever, engaging and ultimately satisfying plot. I remember so many details from the movie version, and the EDMT production was true to all the best that I remembered. But then there was the choreography. Could the movie that I think I remember so well have had such intricate, precise, energetic, creative, and ultimately exhilarating dancing? It couldn’t possibly have. The numerous dance routines in this show – and their brilliant execution – showed once again why El Dorado Musical Theatre offers some of the best entertainment in the Sacramento region – with consistently professional standards.
Do yourself a favor, and see this show before its short run ends. It is a faithful presentation of an American classic, and it has all the charm of the show you remember. And if you’ve never seen it, how I envy the delight you will experience in seeing The Music Man for the first time.
Monday, May 5, 2014
Little Women
By Letha Dawson
William Jessup University, in its first theatrical production, brought Little Women, the musical, to life with verve and spunk, to the delight of a packed audience Sunday afternoon. Little Women, a story of four girls on the verge of womanhood, book by Allan Knee, lyrics by Mindi Dickstein, and music by Jason Howland, based on the novel by Louisa May Alcott, brims with strong vocalists – vocalists an audience can love. Musical Director, Amy Malekos selected singers whose voices were perfect for their parts, dressed in period costumes from the 1860’s. Directed and choreographed by Derek Martin, Little Women moved along at a trot as excited sisters and young men are thrilled to do.
Singing over recorded music supplied by Music Theatre International, every vocalist delivered an outstanding performance. Each voice was right for his or her character’s part. William Jessup University has an outstanding group of talented students this year. Kayla Krogh, as Jo, the older sister, is a stand-alone star. Her clear voice, exactly enunciated words, and facial expressions revealing every emotion a New England girl feels when she yearns for New York and publishers who will applaud her writing, is completely convincing in the role of Jo. Amanda Duisenberg, playing Meg, brings absolute beauty to the music, and a sweetness of character that comes from within. Pulling from the professional music world, Amy Malekos brought in Tamra Rogers to sing Marmee’s part and Elizabeth Stanley, Aunt March. What great vocalists they are. Tamra Rogers with sweet sensitivity and a voice of satin, brings forth the motherly love of her character; while Elizabeth Stanley, in a strong alto, communicates the no-nonsense authority of the elder aunt. Kelly Dunn, another excellent vocalist, dances and tumbles and leaps, and still sings with energy to spare. Brett Patterson, playing Laurie, the neighbor’s son, with his wonderful, strong tenor voice, acted his part as determined boyfriend with humor and lightness. All the singers were delightful to listen to, are extremely talented and were convincing in their roles: Allison Coupe, as Beth; Lexi Ivey, as Mrs. Kirk; Robi Quick, as Professor Bhaer; and Ken Duisenberg, Mr. Laurence. Well done, William Jessup University Creative Arts Department! Theatre audiences will be looking forward to more great theatre.
Review of the 4-27-14 performance of Little Women at William Jessup University.
Monday, April 21, 2014
Thoroughly Modern Millie
Forget that this show is being produced at Oakmont High School because
it is better than you’ll see at many theatres. In a nutshell, it’s
smashing! From the lead vocalist, Kristen Brown, to all the members of
all the ensembles, every actor in this show, every musician, every
dancer, they’ve each given it heart and talent and made it theatrical,
thrilling, wonderfully musical and lively for the audience.
The choreography was so tight, so snappy, that it told the story without dialogue. The phenomenal Speed Test with all those toes tapping like typewriter keys was amazing. The dancers, all sitting behind desks while their feet did the typing, tapped in-time and synchronized. Either they practiced and practiced, or these dancers have natural talent. Drummer, Trevor Hall, deserves a big round of applause for all his on-time drumming, clacking, tapping, and cymbal work.
This show should be extended. More music lovers should get the pleasure of listening to Kristen Brown, Nicolas Valdez, Maria Sanders, Iven Webster, Sarah Allen, and Haley Buckmaster. Kristen Brown is a beautiful new talent on stage. Ms. Brown not only sings, but dances, and she sings while she dances, and connects with her audience. She lives the part of Millie Dillmount. This upcoming star deserves a stage. We’ll be seeing more of her. Haley Buckmaster, another entertainer with immense talent, is so at home in front of an audience. One harkens back to Lisa Minnelli when Haley takes the stage. Given a difficult part, that of a hardened trader in human beings, Haley carries the role with oomph, iron determination, and a strong, musical voice. Haley Buckmaster has talent to spare.
The individuals in the ensembles were excellent dancers and singers. Their many flapper- period costumes were colorful and interesting. The stereotypical Chinese twins provided comic relief, especially when pushed around by Haley Buckmaster, Mrs. Meers.
Lead by David Saul Lee, the orchestra, while just six musicians, sounded like twenty. Their music filled the house. Special mention must be made of the marvelous flute, saxophone, and clarinet work of Levi Saelua, the trumpet of Colin Matthewson, and the trombone of Kari Estrada. What a colorful accent Kari added every time she pulled her slide trombone. Mention was already made of Trevor Hall, drummer, but good comments cannot be over-stated. He was on cue for each action that wanted punctuation, and always at the right volume. Dominique Salazar-Turner, bass, kept the rhythm for everyone, and David Saul Lee, on piano, led them all superbly.
A word about the sets. They, too, were innovative and clever, taking us as they did to the skyscrapers of New York, the boarding house of Mrs. Meers, the typing pool, and the office building ledge 24-stories up. But special mention must be made of the elevator going up, up, up, while the want-to-be starlets waited inside. How clever. Of course we wouldn’t have this great production without the talent and hard work of Alison Sundstrom and Samantha Howard, choreographers. Finally, the overall direction of Samantha Howard made this all possible--Thoroughly Modern Millie--a top-notch production.
(April 12, 2014 performance at Oakmont High School, reviewed by Letha Dawson)
The choreography was so tight, so snappy, that it told the story without dialogue. The phenomenal Speed Test with all those toes tapping like typewriter keys was amazing. The dancers, all sitting behind desks while their feet did the typing, tapped in-time and synchronized. Either they practiced and practiced, or these dancers have natural talent. Drummer, Trevor Hall, deserves a big round of applause for all his on-time drumming, clacking, tapping, and cymbal work.
This show should be extended. More music lovers should get the pleasure of listening to Kristen Brown, Nicolas Valdez, Maria Sanders, Iven Webster, Sarah Allen, and Haley Buckmaster. Kristen Brown is a beautiful new talent on stage. Ms. Brown not only sings, but dances, and she sings while she dances, and connects with her audience. She lives the part of Millie Dillmount. This upcoming star deserves a stage. We’ll be seeing more of her. Haley Buckmaster, another entertainer with immense talent, is so at home in front of an audience. One harkens back to Lisa Minnelli when Haley takes the stage. Given a difficult part, that of a hardened trader in human beings, Haley carries the role with oomph, iron determination, and a strong, musical voice. Haley Buckmaster has talent to spare.
The individuals in the ensembles were excellent dancers and singers. Their many flapper- period costumes were colorful and interesting. The stereotypical Chinese twins provided comic relief, especially when pushed around by Haley Buckmaster, Mrs. Meers.
Lead by David Saul Lee, the orchestra, while just six musicians, sounded like twenty. Their music filled the house. Special mention must be made of the marvelous flute, saxophone, and clarinet work of Levi Saelua, the trumpet of Colin Matthewson, and the trombone of Kari Estrada. What a colorful accent Kari added every time she pulled her slide trombone. Mention was already made of Trevor Hall, drummer, but good comments cannot be over-stated. He was on cue for each action that wanted punctuation, and always at the right volume. Dominique Salazar-Turner, bass, kept the rhythm for everyone, and David Saul Lee, on piano, led them all superbly.
A word about the sets. They, too, were innovative and clever, taking us as they did to the skyscrapers of New York, the boarding house of Mrs. Meers, the typing pool, and the office building ledge 24-stories up. But special mention must be made of the elevator going up, up, up, while the want-to-be starlets waited inside. How clever. Of course we wouldn’t have this great production without the talent and hard work of Alison Sundstrom and Samantha Howard, choreographers. Finally, the overall direction of Samantha Howard made this all possible--Thoroughly Modern Millie--a top-notch production.
(April 12, 2014 performance at Oakmont High School, reviewed by Letha Dawson)
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