Michael Quintos - Page 5

The family-friendly fun of Lythgoe Family Productions' annual holiday British Panto returns to the Laguna Playhouse, this time with the reimagined Yuletide re-telling of PETER PAN & TINKER BELL: A PIRATE'S CHRISTMAS, which continues through December 29, 2019 in the city of Laguna Beach. Overall, the show is an amusing, energetic Panto, though admittedly not as over-the-top as the two previous holiday Panto's that I have seen staged here. Still, the show had me smiling the whole time, and it's safe to say that you and your family will like sharing the experience, too.

Here's my understatement of the year so far: Broadway star Megan Hilty is one of the most delightful creatures that has ever graced a stage. This was wonderfully confirmed all throughout the Tony Award nominee's Segerstrom Center for the Arts Cabaret series solo debut, which recently opened to an enthusiastic, candlelit crowd Thursday night and continues for two more performances through November 16, 2019 at the Samueli Theater in Costa Mesa. Beautiful, quirky, bawdy, self-deprecating, and undeniably talented, Ms. Hilty was thoroughly engaging and entertaining during her nearly 80-minute acoustic set backed by musical director and principal pianist Matt Cusson and her bassist/guitarist husband, fellow Broadway performer Brian Gallagher.

Food has many uses, one of which is communicating an emotion. It can even hold a memory. These themes surrounding the emotional resonance of food is the overarching raison d'être for playwright Julia Cho's 2016 play AUBERGINE, which continues performances at Orange County's South Coast Repertory in Costa Mesa through November 16, 2019. In her introspective, cautiously-paced play, food is used as a means for bonding and connection---because standard communication by other methods doesn't seem to be as effective in conveying one's feelings.

At first glance, the musical stage adaptation of ANASTASIA looks and feels like an appropriately grand, luxe affaira?"from its gorgeous costumes designed to the lush soundscapes created by the orchestra and the vocal talents that have been assembled for this tour. But the undeniable wow factor of the show is, of course, the stunning visual trifecta of its scenic design working in keen harmony with dazzling projections and stage lighting. The overall technical prowess of this stage musical is just jaw-droppinga?"and, I must say, is quite an adequate enough reason to experience the show. The adaptation's execution of the story itself, however, suffers slightly from its well-meaning intentionsa?"revealing a stage show that feels stilted by its own drama, and with an unsure footing of what it truly wants to be.

The experience of seeing the Grammy and Tony Award-winning stage adaptation of ONCE - THE MUSICAL begins the minute you enter the theatre as you make your way to your assigned seat. It starts with a welcoming, celebratory environment where music is communally enjoyed by both the talented artists on stage and the audience who have come to immerse themselves in this euphoric special space. What's awesome is that this feeling never truly goes away. This is the feeling of synergetic glee and fulfillment one experiences when enveloped inside the world of ONCE - THE MUSICAL, the remarkably poignant, touching stage show about the ways music can inspire, attract, and bring people together in more ways than one. Currently, a brilliantly-staged, can't-miss new regional production has just emerged in Southern California by way of 3-D Theatricals under the thoughtful, eloquent direction of Kari Hayter. Performances of this impressive, Broadway-caliber local revival continue at the Cerritos Center for the Performing Arts through October 27, 2019.

It's amazing to think that it has only been just six weeks since Tony Award winning stage and screen actress Betty Buckley ended her much-lauded 13-month-long engagement starring as the title role in the recent Broadway national tour production of HELLO DOLLY. During that brief stretch of time post-Dolly Levi, Ms. Buckley has been preparing to go back out on the road again, this time returning to her series of touring intimate one-woman concerts---no elaborate period costumes or scripted story dialogue this time, just her selection of favorite songs and her undeniable talent in its purest form. Luckily, Orange County is the first stop of her new show, which continues through October 19, 2019 at Segerstrom Center for the Arts' Samueli Theater in Costa Mesa, where the show serves as the 2019-2020 Season Opener for the Center's Cabaret Concert Series.

For playwright Adam Bock's endearing new gay romantic comedy THE CANADIANS---now having its infectiously giddy World Premiere production at South Coast Repertory in Costa Mesa through October 20, 2019---the typical blueprint for the usual girl-meets-boy trope gets a fresh, heady spin and an inspired recast that elevates it higher that your average rom com. Sweet and endearing without having to be too sanitized for a mainstream audience, the play, overall, is simply a winning play that both straight and queer audiences can equally cheer for. Don't be surprised if even you shed a tear or two for its touching, absolutely satisfying climax.

30 years after its stage debut, experiencing MISS SAIGON nowadays exposes just how outdated and out-of-touch it is with our increasingly diverse world view. The musical's original production---which first debuted in the West End in 1989 before transferring to Broadway in 1991---became a global hit despite some loud, very understandable controversy. Most audiences, however, ignored the accusations of orientalism, misogyny, and white-washing and instead focused on the show's epic melodrama and theatrical splendor, much of it powered by the lush music of Claude-Michel Schönberg and the lyrics by Alain Boublil and Richard Maltby Jr. The show continues at Orange County's Segerstrom Center for the Arts in Costa Mesa through October 13, 2019.

At its core, the original production of LITTLE SHOP OF HORRORS (and the movie adaptation it spawned) unabashedly celebrated its campy outlandishness. But unlike the original source material which was filled to the brim with sassy sight gags, cartoonish mannerisms, and pulp thrills, this new, gloriously reimagined production---now on stage at the Pasadena Playhouse through October 20, 2019 helmed by director Mike Donahue---feels much more grounded in reality and feels much more guided by the emotions of its characters, rather than have them just play second banana to the monstrous plant of excess vying for all the attention. With this pivoted focus, this incredible new production also now requires a cast of performers that can truly showcase that change---and, wow, did they ever find them in this brilliant ensemble!

Serving as the gloriously buoyant 56th season-opening production at Orange County's South Coast Repertory in Costa Mesa, AMERICAN MARIACHI---which continues performances through October 5, 2019---is a wonderful play about the love of family and the love for achieving personal dreams. Playwright José Cruz González's joyful, musical-leaning play combines gorgeous music with broad comedy and touching drama that gives a fresh spin to the story of pioneering women subverting expectations to achieve their dreams in a world dominated by men's old world outlook.

As the final show of its 10th Anniversary Season, 3-D Theatricals is revisiting the hilarious SHREK - THE MUSICAL, the stage musical adaptation of the hit 2001 Dreamworks animated film, itself an adaptation of William Steig's 1990 novel. Witty, silly, and, at times, surprisingly full of heart, SHREK is a fun, madcap distraction we all need these days. The impressive, high-quality production continues at the gorgeous, state-of-the-art Cerritos Center for the Performing Arts through August 25, 2019.

An inspired choice of a show, the Hollywood Bowl has decided to present an effervescently buoyant new production of the Tony Award-winning 1986 musical INTO THE WOODS, Stephen Sondheim and James Lapine's much beloved twisted take on traditional fairy tale stories mashed together with witty charm, tongue-tying lyrics, and gallows humor. Directed and choreographed by Robert Longbottom, this enjoyable, sublime production is exquisite and thoroughly delightful from start to finish---much of which can be attributed to its top-notch, musical theater-trained cast that includes Tony Winners Sutton Foster and Patina Miller giving exceptional acting and singing performances alongside theater favorites Cheyenne Jackson, Skylar Astin, Sierra Boggess, Hailey Kilgore, and Stranger Things breakout star Gaten Matarazzo. The show continues with two additional evening performances July 27-28, 2019.

Currently docked at the Carpenter Center for the Performing Arts in Long Beach through July 28 is Musical Theater West's wonderfully vibrant new regional production of THE LITTLE MERMAID, Disney's Broadway stage adaptation of their hit 1989 animated classic, which itself was adapted from the Hans Christian Andersen fairy tale. The resulting show achieves a cheerful, pleasant, and often charming hybrid that honors the original Disney-esque qualities of the film, but also shows what one may call a 'director's cut'---wherein the new 'extras' expand the musical even further in size, elements, and thematic mood. MTW's production is a visual treat.

A sweeping, grandiose, and emotionally-searing stage musical adaptation of E.L. Doctorow's expansive 1975 novel, RAGTIME is a gripping, multi-character, and multi-story theatrical experience that uses era-authentic specificity to depict America's past during a time when its increasingly diverse population has been forced to adjust to the ramifications of new technological, social, political, and economic changes that are spreading throughout the nation. Of course, one can't help but observe that, eerily, many of these very same issues are somehow still top-of-mind today, particularly in recent years with the surge in anti-immigrant policies and sentiments, the increasing gap between the rich and the poor, and, of course, the horrific rise of racist sentiments and, worse, racist acts against people of color. Perhaps this overarching motif---that many of these era-specific issues that RAGTIME's characters struggled with in 1906 are still alarmingly present in 2019---is the true motivator behind director Casey Stangl's impressive, 'intimate' theater reimagining of RAGTIME for Chance Theater, which continues performances in Anaheim through August 11, 2019.

It is no surprise that Scott Bradlee's inspired and wonderfully genre-crossing creation, Postmodern Jukebox---which recently just finished up its third wildly-received appearance at Orange County's Segerstrom Center for the Arts in Costa Mesa---still garners near sold-out concerts attended by rabid, frenzied fans whose screams of delight are more akin to stadium acts like Shawn Mendes or Taylor Swift. The group's latest concert tour entitled 'Welcome to the Twenties 2.0' is their take on a Jazz-Age revival timed, appropriately enough, as another 20's decade enters into our lives. The concert, thanks to the group's talent and their enthusiastic audience, turned their Costa Mesa stop at the otherwise fancy-pants Renee and Henry Segerstrom Concert Hall into a genuine party atmosphere that welcomed everyone of various backgrounds and ages. And hearing Mario Jose's live cover of Radiohead's 'Creep' is worth the price of admission alone.

Despite its general pleasant nature, many cute moments, and a plethora of genuine talent on stage, this stage musical adaptation of CHARLIE AND THE CHOCOLATE FACTORY---Roald Dahl's beloved 1964 children's novel about a sweet, affable kid who wins a meet-and-greet (and more!) with an eccentric Candy Man named Willy Wonka--- comes off less magical and whimsical than one would hope it would be considering its source material. Is this national tour production---now continuing performances at Segerstrom Center for the Arts through June 9---joyful enough for kids and kids-at-heart to enjoy? Sure. But, overall, something about it feels just slightly under-baked, as if all the additional necessary ingredients that would have made this musical extraordinary didn't quite make it into the mix.

To close out its 55th season, Orange County's Tony Award-winning South Coast Repertory is mounting David Henry Hwang's intriguing and mysterious play M. BUTTERFLY, using the playwright's much more layered and riveting 2017 Broadway revival as its source material. Marked assuredly by powerful, gripping performances, this admirable OC staging---directed with clarifying precision by Desdemona Chiang that continues through June 8 in Costa Mesa---keeps you at the edge of your seat, as it unpacks a story filled with wobbly uncertainties and vague declarations. A beautifully complex production that echoes sentiments of gender conformity/fluidity crossed with geopolitical issues that still resonate in today's ever-changing world, M. BUTTERFLY---particularly with this strong new update instituted by the original playwright himself---is definitely worth seeing.

In the latest North American touring production of what continues to be one of Broadway's laudable theatrical staples, FIDDLER ON THE ROOF's amiable patriarch Tevye is now being played by Israeli-born actor Yehezkel Lazarov, who gives the iconic role a fresh, less geriatric delivery that still shines with old-world charm, nuanced depth, and a down-to-earth, relatable persona. Lazarov--who leads this touring non-Equity iteration of the Bartlett Sher-directed 2015 Broadway revival--provides just one of the many reasons to reacquaint yourself with this enduring stage classic, now finishing up its limited engagement at Segerstrom Center for the Arts through May 19, 2019. Sill lively and emotionally poignant--and quite relevant and timely to see through the lens of the uneasy times we live in--the stage musical offers a safe, if slightly sanitized view into the lives of poor Jewish families in turn-of-the-century Russia where the looming assault of pogroms are about to threaten their very lives and existence.

The specific highs and lows---and all the cloudy, uneasy details in between---of a failed relationship are all picked apart and analyzed by a pair of distressed former lovers in British playwright David Hare's absorbing 1995 play SKYLIGHT, currently on stage at Anaheim's Chance Theater through May 19, 2019. Directed with an appealing yet captivating casualness by Chance Theater's own artistic director Oanh Nguyen, this excellent, beautifully-acted new local revival of the Olivier and Tony Award-winning drama focuses on a pair of deeply flawed individuals who have been trying their best to move on separately with their respective lives despite the deep scars that continue to haunt them. After three years apart, could a resuscitation of their past relationship be the key to put them both back in the right frame of mind again---or is their love unsalvageable?

In playwright Kevin Artigue's riveting and thought-provoking new two-person play SHEEPDOG---which finishes up its World Premiere run at Orange County's South Coast Repertory through May 5, 2019 as part of the theater's annual Pacific Playwrights Festival---the ripped-from-the-headlines plot point that finds a young black man being fatally shot by a white police officer becomes an added layer of troubling complication to an already shaky relationship between two genuinely good, aspirational people who are deeply in love---who also happen to be an interracial couple both employed as police officers. A love story rattled by external forces, the play posits the question of whether it is even possible for two people---or at least these two specific people---to carry on a successful romantic relationship while having this specific kind of a job and also while each identifies with one of two separate communities with a long tragic history between them. SHEEPDOG tackles the subject with grace and open-mindedness and therefore makes it one of the most powerful and provocative new plays to come out this season.