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Some great actors in tame “Rocky Horror” at Ringwald (Review) September 30, 2017

Posted by ronannarbor in musical theater, Musicals.
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The Rocky Horror Show arrived at the Ringwald Theatre in Ferndale last night, and there is some fun to be had, mostly by way of some terrific cast members.

Suzan M Jacokes is a terrific Frank N Furter. In fact, you could say that this entire production belongs to her. Singing, dancing, acting, prancing, or running around with a chainsaw, she is hilarious. Kevin Kaminski is also hilarious as Brad Majors, with optimum physical fun, great vocals, and minimal mugging. Casey Hibbert is a fine Narrator and taps a mean dance interlude. Nick Yocum is very good as Rocky. Richard Payton, as usual, is terrific in the role of Riff Raff. He makes it his own and its a hoot. I also very much liked Nicole Pascaretta as a very athletic Columbia, and she was the source of my biggest laugh of the night. While everyone is generally okay, there are some performances that are not up to the level of others.

Vocal Direction by Jeremy St Martin is solid, and the choreography of Molly Zaleski keeps things moving appropriately although it is stronger in the second act than the first. Jennifer Maiseloff’s scenic design is minimal but serviceable, and the same can be said of Erin Benjamin’s costume design and Dani Hamm’s lighting design.

I’m always conflicted when I go to review a Ringwald show, and I usually err on the side of not reviewing them. These are hard working folks with big hearts. But the shows always feel unpolished and unfinished — as if somewhere along the line, what starts with greater intentions eventually becomes a “okay, well, that’s good enough, lets just leave it.” And that is evident here — the set doesn’t feel quite finished, and tinsel used later in act 2 hangs around in clumps in act 1. A cool set piece of dials and electronics is tucked away in a corner where you can’t see it.  Choreography isn’t polished, though generally serviceable. Action in larger sequences is unfocused — where should I be looking? — “Hot Patootie” has so much storyline going on underneath the number, but unless you know what’s supposed to be happening, much of it is unfocused and you wouldn’t really have a clue that Eddie is about to meet his end.

Rocky is also a weird show at this point in time — you either get it, or you don’t. There were plenty of perplexed looks in the audience last night, with its mix of local Ferndale theater goers, and guests of cast members scattered from a larger area. The pre-show “virgin” sequence fell flat because the Phantoms’ schtick was unpolished and people jumped over each others “moments”. (Word to the uninitiated — do NOT volunteer that you are a Rocky virgin). I’m not sure if that is because people kind of have forgotten most of what the audience participation is about, or if they never knew it to begin with. Younger audiences are sure to not recognize the routines and patter, despite director Joe Bailey’s valiant attempt to keep patter going from the back of the house.

So you have, well, a mixed bag. Some great performances which make the evening worthwhile. Some fun, but overall, a show at a theater that often takes risks, erring on the side of a tamer production of this show than this writer has seen (in probably ten different stage productions over the years). Isn’t that ironic?

See it if you want to. You’ll have fun.

The Rocky Horror Show continues at the Ringwald through October 30th. See theRingwald.com for tickets and information about times (including some late night shows). 

 

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Fiendishly Marvelous “Sweeney Todd” at Encore Musical Theatre Company (Review) September 29, 2017

Posted by ronannarbor in musical theater, Musicals, Theatre.
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Sondheim’s “Sweeney Todd” is back at the Encore Musical Theatre Company, and it has arrived with a vengeance. You better get your tickets right now before the word of mouth and rave reviews send sales soaring — as best they should for this superior production.

Set in a 40’s London factory, Encore’s players “tell the tale” just beautifully, and with such terrific vocal direction and orchestra blend (by the always terrific Tyler Driskill) that you understand every word. And while Sondheim himself would cringe at the use of the term “opera” to describe this piece, that is, in essence, exactly what it is.

Staged non-traditionally in a fully immersive environment in which the audience surrounds the stage on three sides at various levels, and where actors interact in the aisles and stairways throughout, this is a whiz-bang production both directed and designed by the adroit and skilled Matthew Brennan, with actual scenic execution  by Sarah Tanner, Lighting Design by Tyler Chinn, Costume Design by Sharon Larkey Urick, Properties Design by Anne Donevan, and Sound Design by Chris Goosman and Joshua Thorington. I list all of these folks first because they are inseparable and they have done a tremendous job of bringing the technical aspects of this stunning production to fruition.

The show is nothing if you don’t have remarkable leads – and this production sure does. David Moan is exquisite as Sweeney Todd – his voice and acting are remarkable and lend the character both an eeriness and a liveliness that blend well in the intimate setting. Its a great performance and will resonate with you long after the evening has reached its grisly conclusion. Sarah Briggs is one of the best Mrs Lovett’s you could ever imagine. She is able to instantly convey humor, horror, and pity (sometimes at the same time) and she captures every moment with thoughtful acting and great vocal work. As the first act’s black and white schema bleeds away into a more colorful second act, so do their interactive moments which grow to a crescendo in the final moments. Well, that’s the play and we wouldn’t want to give it away, right? Though I doubt many of the folks going to see this musical don’t know that it ends badly for these two.

Sebastian Gerstner sounds great as Anthony, and Emily Hadick is lovely as Johanna. The couple have the musical’s prettiest songs and they are very up to the task. Emily Rogers is spot-on as the Beggar Woman and sings and acts beautifully. Keith Kalinowski is excellent as always as Judge Turpin (and what a joy to hear his very well acted and sung “Ladies in their Sensitivities Mea Culpa”, almost universally cut from productions) — though you might not know from the staging that he is committing self-flagellation unless you are already familiar with the show (but now you know).

Dan Johnson is very good as the Beadle, and his sometimes befuddled look on stage lends itself well to this multifaceted role, subservient to the Judge while trying to represent decorum and order at the same time to the outside world. Jamie Colburn is an entertaining Pirelli. Toby (“Nothing’s Gonna Harm You”) is well-performed by Billy Eric Robinson, though twice the size of Mrs Lovett, you never really get a strong sense of menace or that he is in any imminent type of danger. In fact, that is a running theme throughout the evening — while favoring character over menace, you never quite get a sense of your heart quickening or the hair standing up on your arms, like you do at some other productions of “Sweeney Todd”. Everything is kept to a symbolic minimum here but it works very well in this staging.

The entire ensemble is strong and the vocal work is outstanding. Most of these folks have played leads in other Encore shows and on other area stages so its like a who’s who of local theater: Logan Balcom, Nick Casella, James Fischer, Leah Fox, Bryana Hall, Angela Hench, Marlene Inman, Michael Jones, Chris Joseph, Gayle Martin, Dan Morrison, and Alexandra Reynolds populate the town, play all of the assorted characters from quirky to sympathetic, and carry chairs around. A lot. Leah Fox plays a mean accordion in a brilliant staging concept.

Oh, there is blood. Plenty of it in the second act. THANK YOU! The Encore’s last iteration of this show was a bloodless affair. There is plenty of it here, and it is well-staged and realistic. Although keeping with the evenings staging, everything is ultimately done symbolically. There is no tipping chair that dumps a body through the stage floor, down a slide, and into the bakehouse below.

To say that this production is excellent is an understatement. It is most likely the best production of this musical you are likely to see locally. It is a marvelous interpretation by a masterful director who well understands that you will never be able to stage the production like it was originally staged on the Broadway stage in this small house. So instead he takes what might be seen as a shortcoming and transforms the entire theater into something special. I loved the addition of “skylights” in the Encore’s ceiling and fans and electrical equipment to the walls to lend a sense of being a real space. The show is organic and feels like the building was  purpose-built for this production, rather than the other way around. (For the uninitiated, the original Broadway production actually imported the workings of a real factory from London to the stage of the Gershwin (then Uris) Theater).

I will leave it to the theater goer to ponder what’s up with the organ-versions of show tunes both before the show and during intermission (some of which are from the golden era of musicals, not from the 40’s). It left me scratching my head.

Very Highest Recommendation.

Sweeney Todd runs through October 22nd at the Encore Musical Theatre Company in Dexter MI. Tickets at theencoretheatre.org or 734-268-6200. Get them while you can. This is a don’t-miss production.

 

 

 

 

 

 

 

 

 

 

Beautiful “Beauty and the Beast” at Croswell Opera House (Review) September 24, 2017

Posted by ronannarbor in Croswell Opera House, musical theater, Musicals.
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If you are one of the lucky ticket holders to the sold-out Beauty and The Beast at Croswell Opera House, you are in for a delightful (and beautiful) evening of musical theater. I’m going to be upfront and say that BATB is one of my favorite musicals, the first in the long, successful run of Disney-on-Broadway hits.

There is great Direction by Sue Smith, wonderful Musical Direction by Dave Rains, and lovely Choreography by Sarah Nowak, together with scrumptious costumes by Pam Krage, spot-on Lighting Design by Tiff Crutchfield, and lovely Scenic/Projection Design by Patrick Lord — the production is of the highest quality. The show moves at a fast clip, scene changes are seamless, and everything looks and feels exquisite.

But this show is nothing without a terrific cast, and you have that in droves (literally in some ensemble numbers). Kristen Fandrey is a beautiful and fine-voiced Belle, and she is a great actor too. Jarrod Alexander ranks among the best Beasts I have seen, and his is a performance that is not to be missed. Peter Crist is hilarious as Gaston while Matthew Johnson is very strong all-around as LeFou. The wonderful David Blackburn steals every scene he is in as Lumiere (which is to be expected), and Michael Yuen is a delightful Cogsworth. But there is more! Maria Porter-Mohler plays a lovely Mrs. Potts, Margaret Hyre is great as Madame de la Grande Bouche, and Abby Dots is very fun as Babette. Mark Hyre is also a terrific Maurice. The rest of the supporting cast and ensemble are very strong.

Mix a beautifully written show, with a fantastic-looking production and this strong cast, and Croswell Opera House finishes out its summer season with true theater magic. The show run through October 1, but it is sold out. Check the box office for cancellations and last minute releases, or check online at croswell.org

How to fix your iPhone or iPad after your iOS 11 update September 21, 2017

Posted by ronannarbor in Apple, Gizmos.
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If you have downloaded iOS 11, you have no doubt noticed all the exciting new horrible “features” that change the way you interact with your phone. Here’s how to fix at least some of them:

HOW TO GET RID OF THE DO NOT DISTURB WHILE DRIVING “FEATURE”:

Settings>Do Not Disturb>Do Not Disturb While Driving> set this to Manually.

This will keep the Apple Police at bay and your iPhone will function as usual in the car.

HOW TO KEEP YOUR PHOTOS AND MOVIES COMPATIBLE WITH EVERYTHING ELSE YOU OWN:

Apple switched the way it captures movies and video in iOS 11 — change this IMMEDIATELY — Unless you want to live in photo and video hell when you go to share or save things, Apple changed the format in which it stores photos and movies (no longer JPG or MP4)….go into

settings>camera>format and choose MOST COMPATIBLE

This will force the format back to JPG and MP4 and your photos and videos will once again share properly with your other apps, message programs, etc.

HOW TO FIX THE DOCK ON YOUR IPAD:

Unless you want to go insane with the new dock “feature” — go to

Settings>General>Multitasking and Dock> and TURN OFF the Show Suggested and Recent Apps.

While you are at it, you will want to drag the FILES app they put on your dock off of it and into your Apple Crap folder.

ASSORTED FIXES:

Under Settings>Emergency SOS> turn OFF Auto Call

 

I’ll add other tips as I come across them