Regional Roundup: Top New Features This Week Around Our BroadwayWorld 9/22 - HOLLER IF YA HEAR ME, GYPSY, RENT, and More!
By: BWW Special Sep. 22, 2017
BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature HOLLER IF YA HEAR ME, GYPSY, RENT, and More!
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Atlanta: Get a first look at the revised HOLLER IF YA HEAR ME. The unique musical is getting a second chance at Atlanta's True Colors Theater Company, co-founded by 'Holler' director Kenny Leon in 2002. The show opened at the 375-seat theater located in Atlanta's Cascade Heights neighborhood on September 12th and will run through October 8th. Leon will once again direct.
Los Angeles: Contributor Michael Quintos reviews ONCE at South Coast Repertory. He writes "But, honestly, it took seeing South Coast Repertory's brand new regional production---now on stage in Costa Mesa through September 30---for me to not only like it, but to truly adore it. From casting to staging and everything in between, SCR's enjoyable new mounting, under the astute direction of Kent Nicholson, is somehow much more emotional, thoughtful, and remarkably riveting than I remember it. I don't recall ever loving the show or being as invested in the story as I am here in this regional Orange County production. And though, yes, it is essentially the same source material, SCR's exquisite new iteration of this small, but genuinely endearing musical is by far the gold standard of how this show should look and feel in any and all future productions."
Los Angeles: Contributor Don Grigware reviews THE RED SHOES at New Adventures. He writes "Back to the music. My favorite scene in the performance is the Ballet of The Red Shoes before the finale of Act One. The dancers are dressed in black against a white background with tiny glimpses of red, provided mostly by the shoes on Page's feet. Winds blow in a violent storm (pictured below), with the projections showing tree branches rustling, and the dancers' nonstop movements across the stage are breathtaking and thrilling to behold. Here the heart-pounding Bernard Herrmann scores from Citizen Kane, The Ghost and Mrs. Muir and Farenehit 451 are utilized to brilliant effect. No one knew excitement better than Herrmann whose scores made us quake in our seats, our arms breaking out in goosebumps. I know mine always did."
Sarasota: Contributor Carolan Trbovich reviews RENT at the Straz Center for the Performing Arts. She writes "Sammy Ferber as Mark stayed boyish and low key and was precious in "Tango: Maureen", opposite Jasmine Easler, who was a strong contributor to the show as Maureen's love interest, Joanne. The duet everybody waited for, "Take Me or Leave Me", was intense between Ms Easler and Lyndie Moe, breathing life into Maureen. It's rough for anyone playing a part for which Idina Menzel was so well known. You face being compared to her interpretation. Yet Ms. Moe did a fine job staying true to Maureen's raucous behavior while putting her own spin on it, especially during "Over the Moon", and yes, she did - "moon" that is. Aaron Alcaraz as sweet and optimistic Angel was playful and delightful. AaRon Harrington as Angel's devoted lover Tom Collins was a stand out and arguably had the best voice in the cast. Skyler Volpe was perfect as Mimi - pushy, sexy, yet vulnerable. Kaleb Wells brought to life a passionate Roger singing "One Song Glory". I would have liked handsome Marcus John to step up to the plate a little more as the harassing rent collector. The company's first act closing song, La Vie Boheme brought the audience to their feet for a standing ovation, as did the brilliant finale."
Denver: Contributor Emilee Hatfield reviews A CHORUS LINE at The Arvada Center. She writes "This is one aspect of the musical I had not seen done and one audiences must be aware of when attending. There is no intermission. The show goes straight through, showing the strength of its performers and their dedication to a project just as their characters are to the audition. You feel a deep respect for the ensemble of actors as they continuously go, revealing stories of their characters with ease, grace and expertise that you only could find within show business. The set balances well with the lighting design by Shannon McKinney, emphasizing each character and the small stories we are given about who they are and what lead them to be at the audition."
Sydney: Contributor Jade Kops reviews ASASSINS at Hayes Theatre. She writes "Costume and Set Designer Alicia Clements transports the audience into the fantastical world of the carnival with neon signs, twinkling lights and moving parts, all set on a mirrored stage which reflects the reality with a revealing distortion. Clements captures the essence of each character with costumes which range from the Victorian formality of the mid 19th century to the long lines and headscarfs of the 1970's and the Santa Suit that Samuel Joseph Byck (Justin Smith) once wore to protest at the White House, prior to his attempt on Richard Nixon. Whilst some scenes rely on the text and the performance to indicate the scene, the innovate and artful drawing of focus to parts of the multitude of pieces on stage helps give context to the stories as they weave in and out of each other. Ross Graham's lighting, further reflected in the flooring combines with Clements' set to echo mood and suspense, drawing focus to the story at hand or bringing the rest of the ensemble out of The Shadows. Musical Director Andrew Worboys and his small band interpret Sondheim's score wonderfully, providing a solid support for the work which is filled with a variety of musical styles, from vaudeville and barbershop to country, and even incorporating the arcade sounds of pinball machines, infusing energy and emotion into the work."
Charlotte: Contributor Perry Tannenbaum reviews BROWN TALE at Spirit Square. He writes "But the greatest crowdpleaser last Friday night was clearly the evocation of a Sunday church service, with cameos from the preacher, the choir director, and a church elder, plus a coda on Christian dating. The highlight here was the elder's testimony, beginning in subdued awkwardness and ramping up to a frenzied climax of shouting, high-stepping righteousness, sprinkled with some babbling in tongues."
Baltimore: Contributor Charles Shubow reviews THE HEIDI CHRONICLES at Rep Stage. He writes "Heidi Holland is a Professor of Art and the play begins when she is giving a lecture. On the Broadway stage, the artwork was displayed by using huge slides of the artwork on the rear of the stage. Rep Stage chose to present this piece in the round so how is the Director Jenna Duncan to accomplish this feat? By using an overhead slide projector and using the floor to show the audience the artwork. I always have problems with shows in the round, including Washington's Arena Stage, for whenever an actor has their back to me, I have a hard time hearing them. And that was the case here as well. It also diminishes the view of the beautiful artwork."
San Antonio: Contributor Kathy Strain review THE BODYGUARD at San Antonio Stage. She writes "While the supporting staff was strong and talented in their own ways, some seemed to stand out. Jasmine Richardson played the part of Rachel Marron's sister, Nicki. In THE BODYGUARD THE MUSICAL, this character was very important to show the sometimes emotional vulnerability of the main characters. Ms. Richardson has a beautiful voice and a strong presence onstage. It's interesting to note, that Ms. Richardson plays the role of Rachel Marron at certain performances on the tour as well. It's obvious why. She is a true talent herself."
Long Island: Contributor Melissa Giordano reviews GYPSY at the Engeman. She writes "Austen Danielle Bohmer, in her Engeman debut, superbly portrays Louise. Particularly impressive is her overall transformation from the awkward early years to the time she begins burlesque as a mature young woman. A terrific voice and keen sense of what the role needed make her a natural. And Michele Ragusa is thrilling as Mama Rose. Certainly a favorite among the enthusiastic audience is her powerful renditions of the classic numbers "Everything's Coming Up Roses" and "Rose's Turn". Additionally, John Scherer is a highlight portraying Herbie, Mama's boyfriend and sometimes manager for the girls. Indeed his performances of "Small World" and "You'll Never Get Away From Me" with Ms. Ragusa receive thunderous applause."
Regional Editor Spotlight:
Neil Shurley
Sarasota Contributing Editor
Carolan Trbovich is an innovator who used both corporate savvy and her considerable creativity to blaze new trails in entertainment industry operations for two powerhouse music companies, Word Entertainment of Warner Brothers Records and Sparrow Records of EMI Music Group.
Carolan studied at UCLA, The Film Actors' Workshop, The Hollywood Film Institute and The American Film Institute where she received extensive professional training in various areas of entertainment operations in theater, film and music business development. Trbovich has numerous board memberships/affiliations including, American Marketing Association, National Public Relations Committee Board, The Gospel Music Association, The Country Music Association, The Recording Academy, The Country Connection NYC, Manhattan Association of Cabarets, The American Federation of Television and Radio Artists and The National Association of Record Merchandisers.
Ms. Trbovich has made great strides in increasing productivity and profitability for many clients through inspired marketing and creating trend-setting new standards of operation. Her efforts have made Trbovich a popular speaker at retail trade and arts conventions nationwide. Carolan is the Broadway correspondent, writing reviews and interviews for Dish Magazine and has published articles in various business journals, entertainment blogs and magazines. Carolan has impacted the entertainment, education and performing arts industries with groundbreaking new ideas in business operations, media management and community outreach. From her love of the Arts, she has pioneered MasterClass Guild, Conservatory of the Arts, designed for creative arts students to study with artists and industry professionals. Out of her passion for all things Broadway, Carolan created the first Broadway cabaret in the state of Tennessee, Absinthe, A Broadway Cabaret, bringing Broadway performers and cabaret artists to perform standards from The Great American Songbook repertoire of classics by such beloved composers as Lerner & Loewe, Rodgers & Hammerstein, Gershwin, Berlin and Cole Porter.Raised on the Ohio River, in the picturesque pottery town of East Liverpool, Carolan's upbringing was colored by a rich and diverse heritage. "My mother was Italian and my father was Yugoslavian", she explains. "They were proud Americans and taught my brothers and I about our European heritage. They also taught us to be passionate in all we do." That passion can be clearly seen in Trbovich's life and career, which she approaches with great enthusiasm. As a recent resident of Sarasota, Carolan is reveling in a community that mirrors her passion for the Arts.
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