Harmony Wheeler - Page 12

Refreshingly different from its film counterpart, the original Hairspray musical offers all the highs of the movie set to the thrill of live performance. The changes from stage to screen can both enhance and take away from the charm of a musical. In the case of Broadway by the Bay's production of Hairspray, audiences are treated to those special elements lost in the film. Of course, if you've never seen the movie version of the Tony Award winning show, allow me to introduce you to the high-spirited, catchy musical that will leave a smile on your face, a tune on your mind and a tap to your foot.

A slim moon and dark scenery set the mood for Marin Theatre Company's production of Othello. The foreboding atmosphere reminds audiences that, even during the happier moments of Shakespeare's classic tragedy, they are in for an intense, soul-stirring two and a half hours.

A humorous and thought-provoking journey into nostalgia, Maple and Vine begins with a fun, relaxing first act that follows a couple's decision to join a sort of "cult" community that chooses to live in 1955 every year. But don't let the first half fool you, the 50s weren't as perfect as they seem on television, and this play quickly escalates into a second act with shocking changes, F-words thrown loosely about in sexually provocative (and likely offensive to some) manners, and exaggerated kisses from two main characters.

Andrew Lloyd Webber's indisputable claim to fame, "The Phantom of the Opera," has made the composer a favorite of Broadway, West End and the masses. But while "Phantom" has its highly notable songs and romantic, breathtaking story, Webber's "Sunset Boulevard" surpasses it on so many levels. With musical themes that convey the rich setting and psychological motivations of complex characters, the show sweeps audiences away, deep into a glamorous, but dramatic world that captivates all who watch and listen with relatable themes, exquisite music and grand story that could not be told to more perfection. Contra Costa Musical Theatre adds to that perfection of musical storytelling with sublime acting, singing, costumes and sets.

From start to finish, "blast" consists of creative, high energy routines that make every number equally mind-blowing. After an amazing opening act that boasts impressive choreography, the multi-tasking continues. I've always wondered how actors manage to burst into song after a long dance number, and a recent Broadway revival of Sondheim's "Sweeney Todd" captured my loyalty with its actors who both sang and played instruments. In comparison, "blast" surpassed all favorites. As I sat in my seat at Three Stages at Folsom Lake College on Sunday, the spectacular show blast me away. You might expect such strong offerings from the big opening number or bombastic finale to a show, but with "blast," every number is its own finale.

From the moment Blanche Neige begins - a pregnant, dying queen dragging herself across the floor and giving life to another in her own final moments - you know what lies ahead will challenge your preconceptions about the way Snow White's tale should be told. Yet as Angelin Preljocaj's ballet advances, dancers catapult you into a visually spectacular world, not necessarily challenging, but somewhat sexually provocative world that contrasts the light purity and innocence of Snow White with the dark desires of an evil queen. And despite the skin-clad costumes that seem more decoration than clothing, this production stays fairly true to the original Grimm fairytale.

Remember that guy whose YouTube video went viral after he recorded himself crying and yelling at people to just leave Britney alone!? Well I have to wonder what he would think of The Retro Dome's production of "Becoming Britney." They certainly don't leave Britney alone; They give Spears her own musical.

The humor of Mel Brook's "Young Frankenstein: The Musical" follows that of the original 1974 film, but adds just enough new punch lines to make the show fresh for the younger generations unfamiliar with the movie. The comedy of show even sometimes exceeds that of the film, which follows the grandson of Victor von Frankenstein and his adventures in Transylvania after he arrives in town to settle his dead grandfather's estate. The temptation to recreate his grandfather's experiments on dead bodies proves too strong, and Frederick Frankenstein finds himself with his own monster and an angry town mob at his door.

Molly Bell came up with the idea of creating 'Becoming Britney,' a musical about Britney Spears, when she was pregnant with her 5-year-old son, Ryder. She started writing while he napped and wrote music bouncing him in her arms. In addition to putting the show together and the hours spent rehearsing at the theatre, Molly also manages to find time to teach cardio dance as a group instructor and works with corporations (including Netflix Corporate and Ebay Corporate) as a as a choreographer and instructor for various team building and creativity workshops.

Sergio Diaz stars as Prince Charming in the U.S. Premiere performances of Ballet Preljocaj's 'Blanche Neige' (Snow White). Read BroadwayWorld's interview with the dancer below!

An intense and captivating look at architecture, grief, and Israeli culture and history, Carey Perloff's "Higher," challenges audiences to look at their lives and consider why they do what they do. Produced by American Conservatory Theatre, the play - both dramatic and comedic - shows now through February 19 at The Theater at Children's Creativity Museum in San Francisco. The change in venue for this particular show brings audiences closer to the action. Although the play's fantastic script certainly makes it worthy of playing at the larger A.C.T. Theater, the smaller seating area does nothing to diminish the quality of the show. If anything, it makes viewers feel like they are a part of the story, like they have a stake in what happens.

The Merced Playhouse production of "The King and I" leaves audiences whistling plenty of happy tunes. The tunes come easily enough after a pleasant evening of some of Rogers and Hammerstein's most well-known songs.

A small piece of the national tour of "West Side Story" remains in Sacramento these next two months, but it's not what you might think. And while many anticipate the arrival of the hit musical "Wicked," they can get their Wicked kicks at California Musical Theater's Cosmopolitan Cabaret, but with more humor than magic. Songs from these and many more shows are part of a Broadway revue in downtown Sacramento playing through March 18. But this isn't your typical revue. This revue has four fantastic actors constantly changing from excessive costume to excessive costume as they take on some of the most well know Broadway tunes with a revised, "forbidden" twist. The tunes are there, but the cleverly reinvented lyrics of "Forbidden Broadway" make fun of everything musical theater.

Not quite as memorable as some of its Gilbert and Sullivan counterparts, but just as enjoyable, the Lamplighters' production of "The Gondoliers" features a lush orchestra, strong vocals and a silly story of mistaken identities that serves as a satire of the class distinctions and royalty of Gilbert and Sullivan's time. The simple plot of the operetta/musical (sung in English) follows two gondoliers in Venice who are told by Don Alhambra del Bolero, an Inquisitor of Spain, that one of them is the king of the fictional land, Barataria. Marco and Giuseppe, both newlyweds, are even more surprised to learn that whomever happens to be the king was married in infancy to Casilda, the daughter of the Duke and Duchess of Plaza-Toro. The news takes them away from their wives, Tessa and Gianetta, to their kingdom, where they immediately begin implementing an all-are-equal structure matching their Republican, anti-monarchy values. Meanwhile, Casilda has her own secret hopes for romance, but not with either of the gondoliers.

The national tour of "West Side Story," which visits Broadway Sacramento at the Community Center now through January 29, updates a classic, not with modern reinventions and sets, but with a somewhat darker take on the musical's Romeo and Juliet story, as well as with new Spanish dialogue added for a more authentic and balanced feel. But much of the production stays true to tradition, magically recreating Jerome Robbin's original choreography and paying tribute to all the original Leonard Bernstein songs, including "Something's Coming," "Tonight," "One Hand, One Heart," "I Feel Pretty" and "Somewhere." The cast, too, sticks to the show's roots while providing outstanding vocal performance, and James Youmans' basic sets keep the production simple.

autobiographical show, "Humor Abuse." With a lifetime of circus training, including two years spent with Cirque du Soleil, Pisoni must be used to the body twisting, acrobatic feats, but they still come as nerve-racking, albeit humorous, shockers to the audience every performance at American Conservatory Theatre. Of course, his acts are not nearly as frightening as Pisoni's admitted nemesis, the balloon, which he uses throughout his act. Using various props and clown acts as demonstrations of key moments in his life, Pisoni incorporates everything from his father's circus story to his own coming of age journey into this captivating play.

In costume, creativity and sheer visual spectacle, "Michael Jackson: The Immortal World Tour by Cirque du Soleil" goes beyond any other Cirque, rocking arenas with Jackson's best-known music, pumping the audience's adrenaline with dramatic lighting and blowing all expectations away with huge LED screens and two impressive finale numbers involving lit up costumes and pyrotechnics.

Based on quality alone, it seems unfair to equate the touring production of "My Fair Lady" with a low-budget, non-equity production. Although that is what it is, the show boasts such "loverly" sets and cast members, it easily stands above typical non-equity shows in every aspect possible.

Classical music had Mozart and Bach. Modern technology had Steve Jobs. 20th century music had The Beatles. Music has the power to capture the essence of, and speak to the citizens of each generation. Thus the little surprise that The Beatles still live on today with a fan base as large as its original audience, albeit an audience a bit less likely faint due to Beatlemania. The Beatles' story and music represent the history and spirit of the 1960s, especially the flower power movements. RAIN, a Beatles tribute band, does an equally masterful a job of telling history through music in its "direct from Broadway" tour, playing at the Sacramento Community Center Theater through January 1. Playing some of The Beatles' best-known songs, RAIN recreates moments from the band's career: The Ed Sullivan Show, the Shea Stadium concert, the Sgt. Pepper's Lonely Hearts Club Band record, the Flower Power period and the Abbey Road album. Band members change looks and costumes accordingly, including a very memorable selection of music where the players jam it out in their neon Sgt. Pepper costume lit by black lights while fog fills the stage.

San Francisco Ballet holds a special place in "Nutcracker" history. It brought the once unknown and little performed Tchaikovsky ballet to the United States in 1944 - the beginning of what has become an American and world-wide holiday tradition. It's a magical tradition that has children dancing in their living rooms to Tchaikovsky's perfect score and imaging a growing tree in their own living rooms (my younger self chief among them in spirit, although likely the least talented). What little girl doesn't dream of a prince sweeping her off her feet? I know I still do, and I'm 23 years old!