Mostly Musical Theatre

Hilarious “Mrs Bob Cratchit’s Wild Christmas Binge” at the Dio (review)

Christopher Durang’s (2002) hilarious play with songs, Mrs. Bob Cratchit’s Wild Christmas Binge” has stormed and taken over the Dio stage in Pinckney, and its a giddy blast.

Take one part “A Christmas Carol” and one part “Its a Wonderful Life”; throw in a dash of Saturday Night Live and one-liners that wouldn’t have been out of place on Laugh-In, and a pinch of politics…plus lots of booze, and Benny Hill without the boobies…and you have an irreverent backward tale of holiday woe — and a non-stop laugh riot.

What happens when the ghost(s) of Christmas Past, Present, and Future take Scrooge around to visit scenarios and they all play out better with dysfunctional endings! And what would Queen of Mean Leona Helmsley have to say about it all?

The fun ensues because of the swift, fun direction by Steve DeBruyne, and the excellent cast that delivers the jokes deadpan and spot-on. Dale Dobson plays Ebenezer, Vanessa Sawson the troubled wife of Bob Cratchit (Steve DeBruyne). They all turn in funny performances with great timing. Brendan Kelly has the evening’s funniest role as Tiny Tim (and later something else I won’t give away here). Jared Schneider made me laugh simply by throwing out random Spanish phrases during a bar scene. Mark “the third will visit when the clock strikes three” Bernstein has a hilarious turn as Jacob Marley’s ghost. The rest of the cast are all outstanding in their many various small roles including a maid in drag (Victor McDermott), kids (Gavin Burwell, Dominic Ignagni, and Kylie Scarpace), Little Nell (don’t ask) Amanda Durham, also Ebony Hull as all three Ghosts and Natalie Rose Sevick as “nice Mrs Cratchit”. Bravo to these merrymakers.

To say that the piece is unusual is an understatement — but it is filled to the brim with some of the funniest stuff to grace a holiday stage in a long time — and it is highly recommended.

Tickets, if any remain, can be purchased online at diotheatre.com or calling (517) 672-6009.

Surprisingly excellent “School of Rock” at the Winter Garden Theatre (Preview review)

For the record, School of Rock is still in previews at the Winter Garden Theatre in NYC, though I can’t imagine it isn’t frozen (or close to being frozen) at this point. Seen at the Wednesday Evening Dec 2nd performance, this is a rocking, excellent surprise — and I am going to predict that it gives Hamilton a run for its money at award time.

Featuring almost all of the songs from the original movie, with 14 additional new songs by Andrew Lloyd Webber, the musical follows the Mike White script pretty closely (re-written for the stage by Julian Fellowes, but don’t worry, you won’t miss any of the signature lines from the movie which all remain). Glenn Slater wrote the additional lyrics for the new songs.

Alex Brightman turns in a superstar performance in the Jack Black role of Dewey Finn (aka Ned once he assumes his “teacher” role). Sierra Boggess turns in a lovely vocal performance as principle Rosalie (though her talent is a bit wasted in this small role), but it is as it should be, because the stars here are Brightman and the kids — and oh, those 13 kids. First, yes, they DO play their own instruments on stage, and the multiracial casting is sublime. Second, you can’t take your eyes off of them — I started picking my favorites, but within a few songs I loved every one of them — and judging from the ecstatic audience reaction last night, so will you. The show receieved a standing ovation before it was even over following their big Battle of the Bands performance.

The entire supporting cast is excellent — but really, it is those kids and the remarkable musical numbers that will keep audiences flocking to the Winter Garden for years, and New York is the perfect market to supply a steady stream of new young talent as these kids grow up and age out of their roles. And you know what, I’ll be back to see them as soon as I can, because I simply loved School of Rock. And you can feel free to take your entire family — the crudity from the movie is toned down, and there isn’t an out-of-place joke that won’t leave you either doubled over or groaning.

It all plays out on a gorgeous accordian-like set that slides, moves, tilts, turns to create school hallways, house interior, classrooms, stages, theatres. The lighting is remarkable for its austerity at the beginning and its outstanding visuals once you hit the rock concert sequence at the end. In fact, its some of the best lighting design I’ve ever seen in a Broadway show (Natasha Katz, of course!).

The last time I felt like this when leaving a theatre was at Kinky Boots — and we all know how that turned out. Expect tony nominations for musical, book, score, Best Actor, lighting, set design, choreography, orchestrations, Scenic design, costume design, sound design.

Family Friendly “The Wizard of Oz” at Encore (review)

There’s a fun, family-friendly Wizard of Oz currently on the boards at The Encore Musical Theatre Company. Its not all smooth sailing, but it will please its target market (i.e. families with young kids) and is sure to be a sell-out throughout the holiday season.

What works well? The cast, the set, the costumes, the remarkable projections, and the material itself which is critic and audience-proof. This production uses the British 1987 RSC version of the adaptation of the MGM movie musical (it expands on some of the music and dialogue, though not significantly so). There are terrific performances from Gayle E Martin as the Cowardly Lion, Dan Morrison as the Tinman (who remarkably does not break his neck walking up and down and dancing on the steep raked steps of the set), and Nick Brown as the Scarecrow. There is a fantastic performance from Daniel A Helmer as Professor Marvel/The Guard/The Wizard — and a great video special effect features him larger than life. Wendy Katz Hiller is a fine and nasty Wicked Witch of the West (though beware, the RSC version of the show gives her groaner one-liners, ugh). Lawrence Havelka continues to grow as an actor in the role of Uncle Henry, and audience favorite Lauren Norris has fun in the dual-role of Aunt Em/Glinda. There are rotating Dorothy’s (pretty-voiced Mariah Colby at my performance) with Maeve Donevan and Jennie Rupp at others. There is a fine (though under-utilized) adult ensemble, and an all-female children’s ensemble of Munchkins.

What doesn’t work that well? An all-female children’s ensemble of Munchkins for one (even at a children’s level, boys are in demand, and there are 18 local holiday productions this season). There is some choreography by Phil Simmons which doesn’t always create stage magic. And while there is a very detailed multi-level set, it isn’t always well utilized. Characters don’t always “connect”, and there wasn’t an underlying level of emotion – so that by the time you get to Dorothy’s goodbye to Scarecrow, its more of a “whatever”.

But there are excellent (partially rented) costumes and set pieces. The projections are remarkable not only for their style, but for the most technical production ever at Encore. Snow on the poppyfield is magical. The Wizard effect is riveting (even if it did not work later in the show). Oh, and then there is the Winkie Marching song, which I’ve been humming all day.

But problems aside, this is a fun two-hour holiday production, and all the children sitting around me last night were rapt in paying attention to the live story on stage — and really, that’s all you can ask for with a production of The Wizard of Oz. (Well, plus also that Winkie song).

The Wizard of Oz continues at The Encore Musical Theatre Company through December 23rd. Tickets at theencoretheatre.org, or 734-268-6200

Hilarious and Exquisite “The Mystery of Edwin Drood” at WMU (review)

Western Michigan University’s University Theatre presents a hilarious and exquisite evening of musical theater in their production of Rupert Holmes’ whodunnit “The Mystery of Edwin Drood” I saw it in Central park, the original on Broadway, and the revival just a few years ago — not to mention working on two separate productions of the show, and seeing probably ten regional or college productions over the years. In short, I know this show like the back of my hand.

Director/choreographer Jay Berkow and his student actors/technicians choose to go the bawdy fully-emersive music-hall route (rather than the more established musical theater set within a music hall as its framework route). Its not always successful, but it is creative and always very funny.

Costume Designer Julianne Babel has created remarkable character clothing; Scenic Designer MacKenzie Willy’s set is fully realized and looks fantastic. Vocal Director Jeremy Ryan Mossman and Musical Director/Conductor Matthew Shabala keep the show moving along quickly and sounding terrific under Ryan Williams sound design. Matthew Knewtson’s lighting design is colorful and moody.

Don’t know the show? It’s an old chestnut for most of us, but for a younger generation they have most likely not heard of the show or the story — the mystery is Charles Dickens’ final novel — which he had the poor taste to die in the middle of writing and left it without a murder or a conclusion (indeed, was there even a murder?). The musical sets up the premise of members of a music hall cast taking the parts of the characters in Drood and enacting them, and then the audience votes on whom they want as detective, murderer, and lovers. All of the cast leads need to learn the ending based on whom the audience votes-in each night (in reality, at any production of this show, there are only a few combinations that seem to get “elected” performance after performance.)

And what a student cast it is — Payton Reilly plays an excellent Edwin Drood – fine voiced and energetic to the end. Blake Price is a triple threat as singing/acting/dancing John Jasper (although why this production chose to cut Jasper’s Vision ballet in the opium den is beyond my comprehension). Mike Perlongo leads the proceedings as an excellent and charismatic Chairman. Audience favorite Matthew Kurzyniec plays a charming and hilarious Bazzard. Brother/Sister Landless siblings are acted to hilarious effect by Kendall VanAmburg and Lindsay Powers. Love interest Rosa Bud is sung beautifully by Colleen Bielman, and Princess Puffer is astutely played by Gabriella Smurawa, no mean feat for an actress under the age of 60 for this part. Reverend Crisparkle is well played by Aaron C Rutherford, and drunken Georgie-cum-Yorkshire-accented Durdles by physically comical Nicky Mendelsohn.

Everything moves swiftly, though I would quibble with the choice to set everything in big, comic strokes, rather than allowing the more dramatic moments to shine through. This is particularly bothersome in the comic staging of the serious “Moonfall”, the omission of the ballet, and the weird staging of what should be a very earnest “Perfect Strangers.” Its fun to watch “bad actors” (played by very good actors) do “bad acting” at times, but not for the duration of the show, when it grows tiresome.

Another miss is that the one character most tasked with conveying the “narrative offstage story” (i.e. I saw the guy get carried into the crypt, and then I saw so and so in the shadows) has such a thick accent that the story is virtually indecipherable. And that’s a big problem when you leave your audience scratching their heads and going “huh?”, even if all that dialogue is just throwaway.

Still, minor troubles aside, this is a fantastic production and it is very highly recommended. It is one of the sharpest looking and best-sounding amateur productions of one of my favorite musicals that I have seen.

I loved it. You will too. Go enjoy a great night of trying to solve The Mystery of Edwin Droooooooooooood.

The Mystery of Edwin Drood continues at Western Michigan University’s Shaw Theatre through November 22nd. Tickets online at theatretickets.wmich.edu

Lovely “The Light in the Piazza” at Two Muses (review)

Two Muses, that great theater company in the Barnes and Noble in West Bloomfield (looking for new space since B&N is closing at the end of the year), is currently presenting a lovely production of “The Light in the Piazza” through November 22nd, and it is a wonderful evening (or afternoon) of musical theater.

Adam Guettel and Crag Lucas’s musical ran at the Vivian Beaumont in Lincoln Center and was eventually taped and shown on PBS. It has had a successful afterlife in regional and college theaters (in fact University of Michigan is presenting it in December, and the Encore Musical Theatre Company had a terrific production a few years back). It is also one of my favorite musicals.

The show is in good hands at Two Muses, under the direction of Joe Bailey, and musical direction of Jeff Bobick. Bobick’s reduced orchestrations, in fact, sound lovely in the space and don’t feel like they have lost any of the full-orchestra’s tone and general sound.

I don’t want to divulge much of the plot, because its the essence of the show not to know what is going to happen — to take the romantic journey with its characters — that makes it work so well on stage. It is 1953, and Margaret (very good Diane Hill) and her special daughter Clara (superb Annie Kordas) take a “vacation” (i.e. extended getaway) from Winston, Salem to Florence (and later Rome). Through a romantic meet-cute, Clara is instantly smitten by Italian young man Fabrizio (exceptionally played by Vince Kelley) and their romance blossoms. What follows is family entanglements, complications, and an almost-mystery about what makes Clara so special after all. Father Signor is played well by John DeMerell, and his non-English speaking wife by Beth Lackey (there’s a surprise in store in her hilarious Act II opening song). Arjun Sebastian Nagpal plays brother Giuseppe, who is all swagger and Italian lust (well conveyed), and his wife Franca is excellently acted and sung by Aynsley Martindale. Assorted other male parts are played by charming Kevin Kuznia.

The cast is small, even by small show standards (The original Broadway cast had 18 members). That is the one downside of a chamber-size musical: this Florence has no town folk in it. While the direction cleverly finds ways to give the illusion that there are people around, well, there just aren’t. People don’t pass in greeting. Waiters don’t appear in the cafe, and the paperboy doesn’t deliver the morning paper. But it all works well in the space except for the sequence in which Clara becomes lost in the city while looking to meet Fabrizio — without people there, without shadows, without the feeling that strangers are “closing in on her”, that particular scene loses its sense of drama.

But that is well made-up for in the outstanding performances, and the overall dramatic arc of the show — and in this intimate setting, you can understand every single word, and make a decision yourself about the ultimate decisions that these characters make.

The scenic design by Jennifer Maiseloff works well, the costumes are stunning (also by Vince Kelley), though there is a bit of superfluous choreography by Molly Zaleski. What she has provided (in particular during Passeggiata) is well executed (and takes the place of 10 additional ensemble members bringing life to the streets of Florence), but I am not sure it belongs.

Don’t hesitate to get tickets to The Light in the Piazza — it is a romantic, wonderful production — and you will leave feeling like you know these people, and that is a very good thing.

The Light in the Piazza continues until November 22 at Two Muses Theater, 6800 Orchard Lake road inside the Barnes and Noble. Tickets online at twomusestheatre.org or by calling 248-850-9919.

The Blackberry Priv – a quick review – UPDATED 01/29/16

A few months ago, had you told me that I would be writing a review about a Blackberry phone that I actually like more than my iPhone 6s Plus, I would have said your crazy. I am a Apple fanboy, always have been, and always will be. But I am also a loather of the onscreen digital keyboard which instantly crashed my 85 wpm on my Blackberry in 2007 to a measly 25 wpm on the iPhone even after 8 years of using iPhones.

In comes the Blackberry Priv smartphone, released in November in the US, and which instantly became my go-to phone. So much so that I bid goodbye to my iPhone.

Haven’t heard of the Priv? Then you haven’t opened a newspaper, magazine, or watched network news in a few months. The Blackberry Android Priv was released in early November in the US. It has become Blackberry’s hottest seller, and is turning their fortunes around. Let me just say I love Blackberry, and I will support them if I can. Fortunately, its quickly catching on and people are walking into phone stores asking for Blackberry again.

In Summary: it’s a gorgeous phone with a great slider keyboard. It runs a stable version of Android Lollipop (it will be upgraded to Marshmallow operating system sometime in 2016), and it is fully loaded with the security you expect of Blackberry. The phone is an Android device, with Blackberry hardware and communications and security software built into the system. If you love Blackberry messenger or Blackberry Hub, its built around those programs – but if you don’t like them you can simply disable them and run standard Android.

What I love:

The hardware is fantastic — it just works. The slider keyboard is awesome, has a satisfying “clic” when you open it, and feels great to type on. I rapidly went from my 35 wpm on my iPhone back to 85 wpm with about 20 minutes of practice on the Priv. It’s a typer’s delight. The screen is bright, and feels great. It’s slightly curved edges look great and feel great in the hand. There is a nifty curved edge design that lights up as you charge your phone. You can double tap the screen to wake it, or slide up the screen to reveal the keyboard and it turns on.
The security features are top notch. All phones should have this level of security, and right now Blackberry remains the front runner in security, particularly on Android devices which have plentiful malware and virus problems. Their security features are called DTec and are easy to configure and use. You can set it to monitor your system as deeply as you wish, of just set a password or swipe code and go. For the first time in 8 years, I can carry my client’s files in my phone without fear, as it is securely locked down.
The feel in the cargo pants pocket — it feels lighter than the iPhone (though in reality it is not), but because of its shape and size it rides comfortably in a cargo pants pocket and doesn’t bang against my leg. There are plentiful cases available for the phone from Amazon, eBay, and other distributors, including folios and snap on backs. I found a gorgeous Tetded leather snap on case that rivals anything available for Apple phones.
Did I mention that amazing keyboard? For those of us who love physical keyboards, there isn’t another modern-day version of an Android phone anywhere with that keyboard. For some, this alone will make all the difference in the world. I am typing on it right now, in fact, something I could NEVER have done on an iPhone or a Galaxy with the on-screen crapola keyboards. You’ll be a bit amazed when you find you don’t need to use autocorrect to fix your typing (or more likely, the time you spend fixing the absolutely appalling autocorrect that the iPhone “corrects” for you) because you type it correctly on the keyboard the first time.
There is a 18-mp camera but only a 2 mp front-facing “selfie” camera. This isn’t a phone for selfie enthusiasts. With the most recent update of the camera software, the shots are as clear and color saturated as the iPhone 6s Plus. In direct comparison you can not tell the difference as to which shots came from which camera. The Priv takes better neon-lit photos at night. Want a photo of the castle at the Magic Kingdom? Try that with an iPhone and all you get is a white washed out blob. The Priv instantly focuses in on that shot, for example. Daytime shots are superior with the Priv. People photos at night are way better on the iPhone, no comparison. But I don’t take photos of people so I’m thrilled with this camera on the Priv. Studies have shown that the camera is one of the best on any smartphone out there, besting all popular phone models except the Samsung Note 5.
The high resolution AMOLed screen is amazing — far clearer with more colors than the iPhone. High Def looks truly High Def. I’d go so far as to say that this is one of the finest screens available on a smartphone right now. Movies and tv look great on the phone. Its also generally the same size as the iPhone 6s Plus, minus the top and bottom borders found on that phone.
For anyone who has used Android phones before, you simply can not overstate how awesome the back/home/and clear buttons are on Android phones. Once you get used to flipping back and forth instantly from program to program, screen to screen, you quickly recognize how simplified and feature-missing the iPhone is in comparison.

Some caveats:

There is no biometric finger-unlock security feature, now standard on Samsung and Apple phones. Its a security thing, so it makes sense on a security based phone.
Picture Password did not work on my unit — maybe it was a glitch but it almost wiped my phone when after 8 attempts it still did not unlock the phone. I turned that off and stuck with number-security from that point on and I would suggest you do the same.
It runs slower compared to the iPhone — anyone using a Galaxy 6, Edge6 , Note 5, Nexus 6 or iPhone 6S will find that there is a slight lag opening almost any program, and that things seem to take a moment of time to “think” — My golden standard is Facebook. When I open Facebook on my iPhone, it is there instantly — on the Priv, it takes a few moments to open, and a few more to load up the first few posts…well, you get the picture. But in real life application you will not notice any difference at all. By sim swapping, I became aware of the slower speed in comparison.
Like all Androids, nothing works out of the box. Android’s are tinkerer’s dreams — and gadget lovers dreams. But if you are an Android novice, just be warned that nothing works like an iPhone right out of the box. You have to pick which software you want to use for photos, texts, weather, etc. You can see from the photo on the top of the page which programs I like the best. The built-in programs are generally crap, but there are great programs on Google Play which is as robust as the Apple App Store. The only program that I have not been able to duplicate on Android is Clear (the list making program that I used on my iPhone) though there is a not-fully featured knockoff. Just note that it takes tinkering to make things work the way you want. Apple users who like the simplicity of turning it on and everything just being there will be sorely disappointed.
Notifications become annoying, since you get notified of EVERYTHING — while this is a bit customizable, some of it is not. I do not need to know each time a new program has been updated in the background, but there it is nagging me until I clear it from notification center. You need to turn these off one by one manually. The first time you hear that eBay “cha-ching” sound when someone places a bid on your item, you’ll see what I mean.
The Blackberry Hub is only a bit customizable, and it is a mess — not familiar with the hub? It is one application that lists (in order) all of your text messages, emails, phone calls in and out, etc. After a day of use, it is cluttered and awful – it also doesn’t keep records of messages you have sent out in text, only those that come in. I ended up removing this from my dock, but Blackberry keeps nagging me with popup messages to re-enable it. I did finally find a way to turn this off, but it wasn’t easy and novices would not be able to do so. My recommendation: immediately disable the hub and use standalone email and messaging apps.
The battery lasts nowhere as long as they say (22 hours!) With moderate use I found it was down to 15% by late afternoon — and all I had done was check email, Facebook, upload and dowload photos, check safari, listen to music in the car through Sync. I had’t even watched a movie or listened to radio or things like that. My iPhone is maybe at 70% still on a typical day by that time. Its easy enough to top off the battery, and with quick charge you get another half hour with only a few minutes of charging. There is also a battery saving mode when you hit that 15%. On the plus side, the Priv supports wireless charging. I just drop it on the dock in its case and its charged wirelessly within an hour.
Pay-with-device is limited, but it works in more places than Apple Pay. Unless you have a credit card from one of 8 companies that currently offer them (none from the great lakes/Michigan area except for TCF), you can not use the touch-to-pay features. Apple Pay is lightyears beyond Android pay. None of the major providers has enabled their cards to work with Android pay: Citi, Chase, Key Bank, Comerica, Capital One are all missing. If you have a Wells Fargo credit card you are in luck.
Screen protectors are next to impossible to apply because of the curved screen. I bought a 10-pack of screen protectors on eBay, and used of 8 of them to get one to go on without dust, bubbles, or scratches. It looks great, but feels like a cheap slice of rubber on top of my glass screen. Since the screen is gorilla-glass, it isn’t prone to scratching unless you keep it in the same pocket as keys – but I like protection on that screen anyway and this isn’t something that is good right now. Maybe this will improve with time. Also, if you are a fan of those glass screen protectors for the iPhone, you are out of luck here.

There are some other annoyances, but nothing major to complain about. All of my Android software from Google Play runs just fine — and faster than it did on a Galaxy S5 that I tried for awhile a year ago. Games work fine and look excellent. Productivity software works fine (with a bit of lag).

I didn’t think I would say it, but the Priv has absolutely won me over, and the iPhone is history, at least for now. For me, I have to say that the feature that is the killer is the physical keyboard. It simply works, and it can not be beaten for productivity.

Hamilton – Broadway review (10/17/15)

Hamilton, the musical that recently opened at the Richard Rogers Theatre, is everything you have heard it is — it is one of the strongest pieces of musical theatre to open in years, and it deserves all the praise that it being heaped upon it, mine included.

Don’t know who Alexander Hamilton is? (or A.Ham as he is referred to numerous times in the script) — take a look at your wallet and see if you have a ten-dollar bill in there. Hamilton was the first US Secretary of the Treasury shortly after the revolutionary war.

But what do American’s really know about him? Really, not much (unless you are a scholar of the people involved in government at that time). He rose to fame under the direction of George Washington — a scrappy and highly intelligent immigrant. He married well. He had a scandalous affair that prevented him from running for higher office. He was shot by Aaron Burr. No, seriously, you didn’t know all that?

Well neither does 99.99 percent of the audience at each performance — and it is thrilling to watch it all play out. The action is non-stop under the superb direction of Thomas Kail, choreography of Andy Blankenbuehler, and musical direction of Alex Lacamoire. The book, music, and lyrics (and star of the show himself) are by Lin-Manuel Miranda (“In the Heights”). The script is based on the book “Alexander Hamilton” by Ron Chernow. Not big into history? I bet many of you will be looking up this book to read after seeing the show.

All of the leads in this musical are exceptional — the multicultural cast is led by the aforementioned Mr. Miranda, as well as Daveed Diggs, Remee Elise Goldsberry, Jonathan Groff (hilarious as King George with the evening’s most tuneful song, “You’ll be Back”), Christopher Jackson, Jasmine Cephas Jones, Javier Muniz, Leslie Odom, Jr, Okieriete Onaodowan, Anthony Ramos, and Phillipa Soo with an additional ensemble cast of 17 others.

The hip-hop infused score shouldn’t scare you away — while much of the show is performed in rap, its better to call it “rhyme” here — it is melodic, and it is infused with vocal riffs. The talent on display here is remarkable. You will find yourself listening to the cast album repeatedly after seeing the show. I will be the first to tell you that I absolutely hate rap music — this is not rap music. This is a hybrid of pop, rock, hip-hop, and Broadway tuners.

Everything moves quickly here — on a near-constantly rotating turntable set — which allows for some ingenious staging of scenes in which the audience can alternately see what is happening both in front of the characters, and behind them. As the show progresses, cannons and rifles flare, scenes shift rapidly from board room to living room to street, to river, to forest. The true ensemble play various roles, and echo actions on stage with dance and movement. It is truly remarkable. Your eye wanders from lead to dancer back to lead as you take it all in. The show demands repeat reviewings — not that I’ll be able to see it again anytime soon; its sold out through May 2016 (though there are scalpers tickets and secondary sales to be had and stubhub and private ticket agencies).

The rotating set also allows the show to build momentum and this is nowhere as well on display as in its three dueling sequences – it creates an almost movie-like effect as characters swirl before you — and tension mounts on a choreographed count of 10 — and guns fire. During a brilliantly staged sequence, the bullet is carried by one of the ensemble members in a finely choreographed slow-motion sequence across the stage from one side to the other until it reaches its intended victim. Pow. One of the most wonderful sequences I’ve seen in a Broadway show in many years.

There are two caveats — this is not a family show, so leave the kids at home. Most won’t understand what is going on or will be bored by the very adult content matter – and politics. This is a show about ideas, and Lin-Mauel Miranda has filled the stage with things to talk about and think about and discuss afterwards — by adults. Second, if English is your second language, this isn’t going to cut it for you. The dialogue is rapid fire; the politics discussed require a good grasp of English, and even then reading the libretto while listening to the cast album is the only way to catch everything going on. The poor Israeli family sitting next to me who bought tickets because of the critics raves was utterly lost, and two of them left at intermission while one struggled bravely on.

Very Highly Recommended.

Allegiance – (Review of Preview 10/16/15) – Broadway

Allegience, the new musical about people in Japanese Interment camps in the US during WWII is now previewing at the Longacre Theatre. From the looks of it, this is going to have a good strong run. I saw the Friday Oct 16th 2015 preview of the show.

Based loosely on George Takei’s childhood experience (yes, that George Takei, of Captain Sulu fame from Star Trek, and lately, an internet sensation), the production stars Mr Takei and Lea Salonga, who play brother/sister/and grandfather in different flashback permutations.

The show has a strong book by Marc Acito, Jay Kuo, and Lorenzo Thione. It’s music and lyrics are by Jay Kuo. Its all played out on a serviceable set by Donyale Wright.

The audience had a larger share of Asian Americans in the audience than a typical Broadway show, and that is not surprising given the subject matter. This is a fascinating story and one that needs to be told. The old adage that when emotion becomes too strong to speak, you sing, holds true here. There were many multigenerational families in the audience, and I was happy to see that.

The musical has wonderful moments, filled with joy as well as pain. While the story becomes a bit haggard in its third quarter, it triumphs in its last half hour. Here the emotions are clean, clear, and straight-forward.

The (too long) production is directed by Stafford Arima, and choreographed by Andrew Palermo. At least one of Mr Palermo’s numbers needs to be cut by opening night: “Get in the Game” which is one of the lamest production numbers I’ve seen since Finding Neverland’s “Play”. It is out of place, and it spoils the mood as son Sammy (a superb Telly Leung) compares life in camp to a baseball game — um, NO!

The story itself is interesting, though not very challenging, but it is earnest and straightforward. You see what’s coming from a mile away, but in this instance that isn’t a bad thing — a sad, distant memory that shouldn’t be forgotten as a chapter in our US history.

Mr. Takei is wonderful in his split role — every time he is on stage, you watch mostly him. Lea Salonga’s songs soar with emotion, though some of the descants, particularly in the second act, become repetitive and are not needed to advance the story.

I understand this production is in true preview mode — that is, the show is not frozen and there are changes from night to night as they work out the kinks. I hope they do. As it stands, the production is about 90 percent of a wonderful night of theatre — that remaining 10% is easily fixable, and I hope it is before opening night, because ALLEGIANCE deserves to be on your must-see list.

Recommended.

The Drowsy Chaperone at The Dio will Lift you Up (Review)

What do you do when you feel a bit melancholy, bored, needing to escape for a little? If you love getting lost in a book, a selection of music, or resort to food during those moments, make your way to The Dio in Pinckney. Man in Chair knows exactly how you feel and will take you with him on a rollicking madcap ride, including dinner.

The Drowsy Chaperone, with book by Bob Martin and Don McKellar, music and lyrics by Lisa Lambert and Greg Morrison, is a delight. Dio co-owner Steve DeBruyne serves up the delicious fun, both literally as your waiter and figuratively as a performer/director. This one-act musical comedy takes place in the living room of a solitary man who plays his favorite record album, the fictional musical Drowsy Chaperone, to distract himself from his lonely day. When the record is playing, the musical comes to life on stage as the man watches gleefully from his comfy chair, lifting the record player arm between numbers to speak directly to the audience as he offers up his own very opinionated commentary on the plot, characters and actors themselves. Though The Drowsy Chaperone debuted in Toronto in 1998, it wasn’t until it’s opening on Broadway in 2006, after some revisions, when it received its due praise, winning five Tony Awards and seven Drama Desk Awards.

While there are some outstanding performances, the show truly shines as an ensemble work, with each performer giving their character its exaggerated due diligence, beginning with Man In Chair as played by loveable Patrick O’Reilly who sets the tone. Dan Morrison as the theatrical producer/agent Mr. Feldzieg is a stand out as is The Chaperone herself, played by Marlene Inman. I wish there was more to see and hear from characters Underling (played by Dale Dobson as the straight man in the zany lot) and Trix (played by Bryana Hall whose lovely voice was sometimes difficult to hear above the ensemble). I have to say the costumes are a character of their own and deserve their own standing ovation for their genuine period style and detail from glitzy headbands to gartered stockings, thanks to Costume Designer Norma Polk. The set has several clever touches I will not ruin for you by describing. The show was tight and moved at a good pace, including intentional “awkward” pauses.

You will not be disappointed with the menu either. Don’t be fooled by the basic offerings because Chef Jarod’s signature flash-fried chicken is every bit as wonderful as you may have heard and the dessert is simply scrumptious. You can view the menu on their website. Dietary-restrictive patrons have options as well. Call the box office ahead of time for special requests but, by all means, call. Get tickets. You won’t regret it.

Performances run through October 18^th. The Dio Theatre, 177 East Main Street, Pinckney, MI. 517-672-6009 or online at diotheatre.com

Highly Recommended.

—- Thank you to Patricia Mazzola for the guest review of The Drowsy Chaperone! Please note that this was a review of the final preview performance of The Drowsy Chaperone on Thursday September 3rd.

Croswell Opera House announces 2015-2016 Special Events

A tribute to Cole Porter, a Motown-themed concert featuring singer Tatiana Owens, and several children’s events will be included in the Croswell Opera House’s 2015-16 Special Event Season, which begins in September.

Artistic director Jere Righter said the Special Event Season gives the Croswell a chance to put on a diverse mix of shows.

“People know us for our musicals, but we’re also starting to build a real following for our one-night concerts, our children’s events, and of course our plays,” Righter said. “I’m excited about the shows we’re planning. We have shows for all ages and tastes, and that’s a great way to let people know that the Croswell really has something for everyone.”

The Spectacular Saturday Series will return with several daytime events for children and families. Spectacular Saturday events will take place at 11 a.m. Oct. 17, Nov. 7, Dec. 5, Feb. 27 and April 9, with each show preceded by a craft or other activity starting at 10 a.m.

New additions this year will include three staged readings in the Croswell art gallery and a series of casual events, called Croswell After Hours, every Thursday from 5 to 7 p.m., starting Sept. 10.

“The Drawer Boy”: The Special Event Season will kick off with a staged reading of this play by Canadian writer Michael Healey. Set on a farm in Ontario, “The Drawer Boy” tells of the lives of two bachelor farmers from the viewpoint of a young actor from Toronto who visits their farm to interview them. The reading will be presented at 7:30 p.m. Friday, Oct. 2, in the Croswell gallery. Tickets are not required, but donations will be accepted.

“The Velveteen Rabbit”: The first installment in the Spectacular Saturday Series, this retelling of the classic children’s story about a toy who wants to be real is presented by Bright Star Touring Theatre. The show is at 11 a.m. Saturday, Oct. 17, with a craft activity starting at 10 a.m.

“The Rocky Horror Picture Show”: The 1975 cult film will be screened at midnight Friday and Saturday, Oct. 30 and 31, with a preshow, including costume contest, starting at 11 p.m.

Aysenur Kolivar: The first artist-in-residence for the Arts Midwest World Fest, Turkish folksinger Aysenur Kolivar, will perform at 7:30 p.m. Friday, Nov. 6, following a week of workshops and other cultural events throughout Lenawee County.

Disney’s “Frozen”: Back by popular demand, the Croswell will screen the animated hit “Frozen” at 11 a.m. Saturday, Nov. 7. Last year’s showing included a photo opportunity with a real live Elsa, and this year her sister Anna will be joining in the fun.

Dueling Pianos: 176 Keys, which last performed at the Croswell in April 2014, will return for a special engagement at 7:30 p.m. Friday, Nov. 20. A limited number of on-stage seats are available in addition to main floor seating.

“Handel’s Messiah Rocks”: The Croswell’s 2015 Christmas show will be a high-energy, rock-style adaptation of George Frideric Handel’s “The Messiah,” with school and church choirs from around the area being invited to take part in the production. The show will open the Saturday after Thanksgiving, and run for two weekends.

“The Story of the Nutcracker and the Mouse King”: Specially adapted for younger audiences, this reimagining of Tchaikovsky’s classic ballet will include lyrics and scenes acted out between musical numbers to allow young children to more easily follow the story. Performances will be at 11 a.m. Saturday, Dec. 5; 6:30 p.m. Friday, Dec. 11; 6:30 p.m. Saturday, Dec. 12; and 2:30 p.m. Sunday, Dec. 13.

“Red, Hot and Cole”: A tribute to the music of Cole Porter, “Red, Hot and Cole” will be the Croswell’s seventh annual all-area high school production. Featuring a talented cast of young people from Lenawee and surrounding counties and with new orchestrations by the Croswell’s Dave Rains, this musical traces Porter’s career from his roots in Indiana to the music halls and soundstages of Broadway and Hollywood. The show will run Jan. 23-24 and Jan. 29-31, with Friday and Saturday shows at 7:30 p.m. and Sunday shows at 2:30 p.m.

“Shrinking Violets and Towering Tiger Lilies”: A staged reading in the Croswell gallery, this show is a collection of seven short plays by Tina Howe about women navigating an array of distressing situations: a doctor’s appointment, a photo shoot, a water aerobics class. The reading will be at 7:30 p.m. Friday, Feb. 5, in the Croswell gallery. Tickets are not required, but donations will be accepted.

“Spirit of Motown: Tatiana Owens in Concert”: Toledo-born singer-songwriter Tatiana Owens, who starred in this summer’s production of “Memphis,” returns from New York for a special one-weekend engagement, performing Motown and R&B hits from the ’50s, ’60s and beyond, plus a few of her own original songs. Performances are at 7:30 p.m. Saturday, Feb. 13, and 5:30 p.m. Sunday, Feb. 14.

“Jackie Robinson”: Presented by Bright Star Touring Theatre, this show is part of the Spectacular Saturday Series and tells about the life of Jackie Robinson, one of the pioneering athletes who helped integrate professional sports. The show is at 11 a.m. Saturday, Feb. 27.

“How I Became a Pirate”: This musical for young audiences, based on the book by Melinda Long, features a band of comical pirates enlisting a boy named Jeremy Jacob to join their crew. Songs include “Green Teeth,” “I’m Really Just a Sensitive Guy” and “Talk Like a Pirate.” Performances will run March 4-6 and March 11-13. The first weekend will have a 6:30 p.m. Friday show and 2:30 shows on Saturday and Sunday, with Saturday’s show being a sensory-friendly production for children with autism or sensory processing issues. The second weekend will have 6:30 p.m. shows Friday and Saturday and a 2:30 p.m. show Sunday. Additional performances for school groups will take place during the school day March 8 and 9.

Backstage Brews: Celebrate St. Patrick’s Day with unique beer, cider and wines from Michigan and beyond at the Croswell’s second annual craft beer festival, starting at 7:30 p.m. Friday, March 18.

“The Imaginary Invalid”: This three-act comedy by the 17th-century French playwright Molière will be the third installment in the Croswell’s series of staged readings. It will be presented at 7:30 p.m. Friday, April 1, in the Croswell gallery. Tickets are not required, but donations will be accepted.

“The Lego Movie”: This 2014 animated adventure will be the final installment in this year’s Spectacular Saturday Series. The movie will be at 11 a.m. Saturday, April 9, with activities before the movie starting at 10 a.m.

Baladino: The 2015-16 Special Event Series will wrap up with the second of four Arts Midwest World Fest performances. The spring 2016 artists-in-residence will be the Israeli ensemble Baladino. The group will present several workshops and other cultural activities throughout the county, followed by a public performance at 7:30 p.m. Saturday, April 16.

End-of-season concert: A rock concert on Saturday, April 23, will close out the season and celebrate the upcoming 2016 Summer Broadway Season, with details to be announced.

The schedule for Croswell After Hours events, which will include trivia nights, singalongs and various types of light entertainment, will be posted at croswell.org/afterhours.

Tickets for the Special Event Season will go on sale Sept. 16, except for “Handel’s Messiah Rocks,” which is already on sale.

To buy tickets or for more information about any Croswell production, call 517-264-7469 or go to croswell.org.