Gilbert and Sullivan’s The Pirates of Penzance has long been an audience favorite ever since it debuted in New York City in 1879 (just barely). Billed as a comic opera, it’s a little closer in style to our modern Broadway musical format than some of the other works in the Gilbert and Sullivan (G&S) oeuvre. Like much of their work, it pokes fun at 19th Century life, exaggerating stereotypical societal roles and attitudes for the sake of humor. The storyline is typical G&S fare. A young man is accidentally indentured as an apprentice (and accompanied by his nurse) to a pirate instead of a pilot until he reaches his 21st birthday (not to be confused with his 21st year of life). Shortly before his release, he falls instantly in love with the daughter of a Major-General, and the two seem fated to spend the rest of their lives together, that is until a rather unique paradox complicates their lives. Now for the Bay Area Opera Collaborative (BayOp) production, strike that, reverse it (with respect to gender anyway), and you’ll find that all of the humor remains and even grows beyond expectation. Continue reading
Palo Alto Players’ Tarzan is a Disney favorite suitable for all members of the family. The show is based on the 1999 animated film of the same name, with music and lyrics by Phil Collins and book by David Henry Hwang. The original Broadway show made its debut in 2006 and has delighted audiences worldwide since then. It’s a visually spectacular show with actors singing and swinging across the stage (and over the audience at times). In true Disney form, the heroes and villains loom large, and the story careens through a fairytale sequence of tragedy, joy, suspense, and finally, exuberant triumph in the familiar tale of two worlds colliding in the jungle. Continue reading
The regional premiere of a crisp, new Karen Zacarías play is the latest TheatreWorks production. Native Gardens is a very topical take on just what it means to be a good neighbor when a young couple moves into an old, established Washington, DC neighborhood. This tight, 90 minute production, presented without intermission, covers many of the issues facing the U.S. today through an extended interaction between neighbors starting with the best of intentions. Initially welcoming and friendly, the old neighbors meet the new neighbors. Over the course of the play, an intense backyard drama ensues over the position of the fence dividing the two properties. The dispute takes on monumental proportions and serves as a microcosm of the country, and perhaps even the world at large as the Butleys fight for the status quo on their side of the fence, while the Del Valles’ challenge their long-held views of their neighborhood, their culture, and their property’s borders. The story is at turns gentle, humorous, contentious, and thought-provoking, challenging audiences to perhaps consider a neighborly border dispute in a new light. Zacarías penned the story in 2015, and it has increased in its societal relevance ever since. Continue reading
This summer, Stanford Repertory Theater’s festival is aptly entitled Nevertheless They Persisted in tribute to the strength and perseverance of women throughout history striving to overcome oppression. Rush Rehm again helms the live theatrical portion of the festival, directing a work that he and Courtney Walsh (the star of the production) adapted and combined from two of Euripides’ plays, Hecuba and Helen. This new adaptation, Hecuba/Helen, is presented in two acts running approximately two hours including a short intermission. Rehm, a professor of Theater and Classics, has long noted the relevance and value of Greek tragedies, and through a stroke of inspiration pursued combining these two stories of strong women from a time and patriarchal culture when women had no official power. He sees many lessons for today’s societal turmoil in these ancient writings and is excited to bring this adaptation to Stanford Rep audiences. In his program note, Rehm reveals the relevance of Euripides’ writings from a societal perspective:
“Disturbing and terrible, recognizable and even funny, Euripides’ plays have much to offer us – a society that aggressively denies its own obvious limitations and has so little interest in the lessons of the past.”
This year, Foothill Music Theatre (FMT) is presenting that long-time family favorite, The Sound of Music. The show, with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and book by Howard Lindsay and Russel Crouse, made its Broadway debut in 1959 with Mary Martin heading the cast as Maria. Today, far more people are familiar with the 1965 film version of the show as they picture Julie Andrews singing at the top of her lungs while running around an enchanting Alpine meadow. There’s a lot to love about The Sound of Music, and it has made the stage rounds in regional, community, and scholastic theaters for decades. The music is familiar to theater-goers young and old, and the story is touching with more than a hint of danger, a danger that has recently become all too recognizable. Long time standards from the show (and the movie) include “Edelweiss”, “My Favorite Things”, “Climb Ev’ry Mountain”, “Do-Re-Mi”, and the title song, “The Sound of Music”. There are a number of lesser known songs as well. The stage version has a few songs that were not in the movie and vice versa. FMT’s production keeps the best songs unique to the stage version, and adds a couple written for the movie to make the show more familiar to newer audiences. Continue reading
In 2013, Raissa Marchetti-Kozlov realized a portion of a dream she has held from the time she was 18. In working toward her goal of owning (and running) a theater company, she began doing some independent consulting working with San Francisco Bay Area schools on inclusive programs in theater arts. Over time, her outreach grew to include community theater groups in addition to several local schools. Her program provides training to inspire performers, designers, and technicians in theater arts and assists with various theatrical productions of both classical and new works. In 2016, her program formally became Redwood City Players (RCP). Now in July 2018, her company is mounting the first production of its own. That production is Dogfight, sponsored under the Fractured Atlas 501(c)(3) public charity, and the show opens on 14 July in McDonald Hall on the Redwood City American Legion post. Continue reading
Homo Deus: A Brief History of Tomorrow, is the second, recent, international best seller by Israeli historian Yuval Noah Harari. In it, Harari draws heavily on his previous book (also an international best seller) Sapiens: A Brief History of Humankind. In fact, Homo Deus can stand alone and give the reader a nice synopsis of the earlier work. Harari compresses his previous book’s crucial concepts about the various developmental revolutions that humanity has weathered into half as many pages before broadening those concepts and presenting some possibilities of where humankind might be headed in the twenty-first century and beyond. Homo Deus was first published in an Israeli Hebrew edition in 2015. The first English translation appeared in the UK in 2016, and it finally made it to the United States market in 2017. As of spring 2018, it has been translated (in order) into English, Spanish, Portuguese, Turkish, Chinese, German, Dutch, Hungarian, Croatian, Italian, Korean, French, Norwegian, Greek, Czech, Lithuanian, Romanian, Russian, and Bulgarian. While it hasn’t quite caught up to the 45 languages Harari’s earlier work has so far appeared in, this latest book is well on its way. Continue reading
Each summer, A Theatre Near You takes an aspiring group of teen actors bent on pursuing careers in theatre or film, sometimes supplemented by a few strategically cast older actors, and presents an original work designed for the cast to experience, explore, and expand their theatrical awareness and depth. This year’s offering, Children of an Idle Brain, takes these eager thespians across the boundary between real and surreal. Playwright Tony Kienitz’s script begs the questions, what is reality? Are dreams real? Can one trust their perceptions? And finally, is there any crossover between one’s dreams and one’s waking life? Continue reading
TheatreWorks’ current offering is a riveting family history reaching back into one of the darkest times in living memory. Playwright Joe Gilford, son of Jack and Madeline Gilford, tells his parents’ harrowing tale through his 2013 play, Finks, currently on stage at the Mountain View Center for the Performing Arts. His parents, like many of their friends in the entertainment industry, were brought up before the House Un-American Activities Committee (HUAC) to testify in the early 1950s. They were bullied by the committee in an attempt to get them to turn on, or “fink” on their friends and loved ones as many in the industry did to reclaim their careers after being blacklisted for holding “subversive” beliefs. Those subversive beliefs were what today would be considered pro-labor or progressive. Continue reading
Peninsula Youth Theatre’s production of Joseph and the Amazing Technicolor Dreamcoat will rock the Mountain View CPA this May. This family-friendly favorite opens on 12 May 2018 and runs through the 20th. This Andrew Lloyd Webber/Tim Rice collaboration has the distinction of being their first musical to be performed publicly. The show started its evolution as a school concert piece in 1968. A Decca Records release followed in 1969, and then in 1970, the first stage production appeared. The first West End production debuted in 1973, and it finally hit the Broadway stage in 1982. Since then, the show has been revived multiple times though it’s still a very tight rock opera telling the biblical story of Joseph and his coat of many colors. The show runs just under 90s minutes (including intermission).
Director/choreographer Marcie Shapiro and music/vocal director Steve Shapiro have shaped two very enthusiastic casts to bring their vision to life. The Shapiros have been heavily involved in community theatre and youth theatre in the area. They have a great affinity for inspiring these young actors (aged 8-18) to tell the story with confidence and verve and to execute some very challenging choreography with energy and precision. Some big messages in this show are the importance of community, believing in one’s self, and making one’s dreams come true.
The Shapiros have some powerful experience with the messages in this story, and they have incorporated an adoring tribute to Eric Sun in this PYT production. Eric brought a vast community together last fall as he fulfilled a final life dream in a recent local production of Fiddler on the Roof. The Shapiros collaborated on that show as well, and although it was not specifically a youth theatre production, several Joseph cast members were also in the Fiddler cast. The story in Joseph begins in a schoolroom. The Shapiros have named the school SunDream Elementary in loving memory of this inspiring man and all that he brought to the community.
While most of the music from Joseph isn’t particularly well-known outside of the show, it is catchy and uplifting. It’s a combination of pop and rock with a little jazz thrown in for good measure.
There will be no A Good Reed Review review of this one as yours truly will be in the pit playing in band. The musicians include:
- Bass: Andrew Lawrence;
- Cello: Rob Gloster;
- Drums: Jeff Baker;
- Horn: Jerry Simon;
- Keyboards: Steve Shapiro (keyboard/conductor), Doug Forsythe;
- Percussion: Bob Wylie;
- Trumpet: Ken Thomas;
- Woodwinds (two per performance): Ande Jacobson, Asa Stern, Ron Bowman.
This is a lively and touching show that is appropriate for all ages, so don’t miss it. Get your tickets now before they are all gone.
What: Joseph and the Amazing Technicolor Dreamcoat
Where: Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View, CA.
When: 12-20 May 2018, see: Joseph and the Amazing Technicolor Dreamcoat at PYT for more information.
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