Harmony Wheeler - Page 16

I cannot imagine a better production. With Broadway talent of operatic caliber and Glenn Casale's all-encompassing direction, this summer's Sacramento Musical Theatre production of "Show Boat" is Music Circus at its absolute best.

As much as the Judy Garland film version of 'The Wizard of Oz' upholds its status as a classic, there's something about seeing the joyous musical live that makes it immensely more enjoyable. As performed in the round at Music Circus, glorious orchestrations (led by conductor and music director Jeff Rizzo) and ethereal, surround-sound vocals from ensemble members enhance the magic, taking audiences somewhere over the rainbow as Dorothy awakes in a new land with Munchkins, ruby slippers, witches and more.

Not long after the Sacramento opening night performance of Les Miserables, producers officially confirmed plans to take the 25th anniversary production to Broadway next March. The announcement will come as no surprise to those who have witnessed the grandeur of the reimagined sets and slightly updated score. While many will miss the rotating stage of the original production, Wednesday night's standing ovation and the success of last year's film version of the musical, not to mention all the regional performances that are popping up everywhere, attest to its epic standing in the Broadway World.

It's fitting that Stephen Sondheim wrote "A Little Night Music" as one grand waltz. When Hillbarn Theatre's production of the musical opens, a semi-narrating chorus dances in the waltz and foreshadow the characters and events about to unfold. A young girl observes their dance, following her grandmother's advice to watch the sky for its smiles. We, too, will soon smile at the follies of mankind. We will join the girl, a lively maid and a conservative student as they perceive and comment on those dancing around them.

Exceptionally crafted, Sacramento Theatre Company's world premiere of "A Little Princess" is full of imagination and excitement. A well-paced book by William J Brooke follows the story of young Sara Crewe's dealings with life's troubles. From "supposing" optimism to acceptance and pragmatism, the psychological drama of the adaptation reads down-to-earth and true, especially as Sara's journey contrasts with schoolmistress Miss Minchin's aversion to happy endings. And it's matched by exquisite music written by Eric Rockwell.

Jason Graae is a comic genius. With his flawless changes from personality to personality, one might think 'Little Me' a one-man show. But a fantastic ensemble also mounts an impossible-to-ignore smorgasbord of ever-changing, delightful characters. Performed in the capable hands of 42nd Street Moon, the 'little' done musical perfectly combines melodrama and musical theatre.

Paul Gordon has a distinctive style that has made musicals like "Emma," "Daddy Long Legs," and "Jane Eyre" successful in their smaller regional and short Broadway runs. The composer-lyricist refuses to follow the typical Broadway musical formula and instead uses his music to tell the story. But that style has also made Gordon's shows an acquired taste. Gordon's latest musical, a new take on Oscar Wilde's "The Importance of Being Earnest," continues in this line, providing memorable tunes repeated throughout, but never quite gaining its full momentum and suffering from a relaxed, unfinished feeling.

"Billy Elliot" features all the elements of theatricality theatregoers love, although friends of the late Margaret Thatcher may wish to stay away. The Elton John musical balances great storytelling with three intense dance numbers performed by an incredibly talented child and some stunning lighting that highlights the highest points of the lofty production.

Playwright Matthew Lopez is a master at weaving jaw-dropping moments of revelation with stirring soliloquies on faith and perfectly placed gems of humor. His provoking drama, 'The Whipping Man,' which received its Bay Area premiere this week at Marin Theatre Company, leaves the minds of viewers rolling, eager for more answers, but pleased to spend hours mulling over the motivations and choices of the play's three characters.

With a unique staging and charming humor, the Lamplighters' production of 'The Sorcerer' charms audiences. The enchantment only lasts for one week, however, with three performances, one of which has already passed.

Decorated with Monty Pythonesque humor, the touring production of 'Shrek' the musical contains enough tasteful pop culture and Broadway musical references to make the Genie at Disney California Adventure's 'Aladdin Musical Spectacular' proud. Creators lifted much of the dialogue from the original film and surrounded it with catchy music and endearing characters.

Be their guest. Be their guest. Put their production to the test. Take a program in your hand, cherie, and they provide the rest. Lots of dance. Lots of song. Why they only live to serve. Try the staging. It's delicious. Don't believe me? Ask the hundreds of children and adults who eagerly attended Broadway Sacramento's opening of Disney's 'Beauty and the Beast' Wednesday night.

San Francisco Opera's new commission, a modern opera take on the classic children's story, "The Secret Garden," has trouble fully blooming. Littered with beautiful lilies and roses of moments, the opera waits until its second act to really let its music breathe.

Read BroadwayWorld's interview with Stan Meyer, Scenic Designer for Disney On Ice presents 'Dare to Dream.' This month, the show comes to Sacramento (Feb 13-18), San Jose (Feb 20-24), and Oakland (Feb 27 - March 3). More information and tickets can be found at http://disney.go.com/disneyonice/.

Read BroadwayWorld's interview with Ivan Ingermann, Costume Designer for Disney On Ice presents 'Dare to Dream.' This month, the show comes to Sacramento (Feb 13-18), San Jose (Feb 20-24), and Oakland (Feb 27 - March 3). More information and tickets can be found at http://disney.go.com/disneyonice/.

Song echoes heart in Jon Marans' 'Old Wicked Songs,' a beautiful play that, like the classical music it celebrates, takes its time to mature story and soak in emotion and meaning. Much like the infamous Maria Callas account, 'Master Class,' 'Old Wicked Songs' follows teacher and student as pasts divulge and talents unfold.

'Dare to Dream' features some of the best costumes, sets and lighting in Disney on Ice history, not to mention some second act circus action. But some adults will have to wait until the second half of the show before the energy and choreography become engaging and impressive enough to capture their attention. Of course, the little ones and the children at heart will have no problem getting along with the entertainment, and for those looking for more advanced figure skating, Rapunzel's second act aerial segment makes the ticket well worth its price.

Some time last year, Playhouse Merced christened its 2012-2012 season "There and Back Again." Of course, the title could describe the journey any show takes over the course of two hours. But it seems appropriate that the chosen name should find its base in the play version of J.R.R. Tolkien's "The Hobbit," for Merced's production, now playing weekends through February 17, displays some of the company's finest actors and scenic and lighting design. The rarely performed story easily promises those who miss it plenty of reason to look back and wish, "If I only I had gone there and back again."

If you watch Samuel Beckett's "Waiting For Godot," you're going to want to think about it. Don't. In the words of the classic play's title, wait. The key to appreciating this much-debated work comes in the audience's willingness to take it as is. Vladimir and Estragon sit by a bare tree, looking for ways to pass the time while they wait for a man named Godot. Time has given us the advantage in that we already know Godot will never appear. You're going to be tempted to dwell on why he doesn't appears and what he represents, and when you actually experience the play for the first time, you're going to want to know who these ridiculously unrealistic characters really are.

Promised in marriage at the early age of one, Princess Ida lectures that woman must first place her feet upon man's neck. Only then, man conquered, may she treat him better than he treated womankind. By the end of Gilbert and Sullivan's comic operetta named after the mighty maiden, this may seem the only solution for her betrothed, who wishes to win her love. One can already see the dashing Prince Hilarion stooping to offer his head when he and two friends dress in women's clothing and sneak into Ida's all-female university.