Harmony Wheeler - Page 10

As bright and colorful as its title character's wardrobe, Hillbarn Theatre's production of "Joseph and the Amazing Technicolor Coat" is a "dazzling work of art." A talented and adorable children's chorus leads the show as an adult figure interrupts their mistreatment of one particular child to tell the Biblical story of Joseph and his dreams come true. The story comes to life when its characters suddenly greet the children and audience and begin what promises to be two hours of entertaining music and energetic dancing.

Greeting audiences with a familiar New York City backdrop painting framed in a gorgeous white paneling and seasonal decor, the touring production of "Miracle on 34th Street: The Musical" doesn't offer much beyond its original seasons' greetings. Despite a strong, talented cast, the musical only offers a hodge-podge of mostly unmemorable songs that try too hard to recreate composer Meredith Wilson's most famous scores.

As energized as its famous Strauss-penned waltzes and as bubbly as its beloved king champagne, Opera San Jose's production of Die Fledermaus entertains with its farcical story and melodramatic acting. Though the creative choice to alternate between English dialogue and German lyrics is at first off-putting, mistaken identities and hilarious turns of event soon take audiences away to the "fantasy" world of a classic operetta.

Northern California will get a double dose of the celebration this year, as the Gallo Center for the Arts hosts the touring production of a musical based on the classic film "Miracle on 34th Street," which follows a family as its cinical Christmas beliefs are challenged by the appearance of the real Santa Clause. BroadwayWorld sat down with the Broadway-style shows' Kris Kringle, Fred Mackaman, and the production's director, John Tsayfoyannis.

Diablo Ballet presents 'A Swingin' Holiday,' one part of a three-part program playing November 16 and 17 at the Lesher Center for the Arts in Walnut Creek. BroadwayWorld talked with choreographer Sean Kelly. .

With a surprisingly well-written book and a fun, familiar plot, 42nd Street Moon's production of the rare musical, "Carmelina," stands out against its more recent cousin, the Abba-inspired "Mamma Mia!" While it does not have the peppy energy and catchy music of "Mamma Mia!," "Carmelina" has unique stories and charming characters that make it just as enjoyable, especially when performed by a fabulous cast on the intimate Eureka Theatre stage.

The audience had no trouble taking the advice of Tony Award-winning musical "Memphis" in its final moments Tuesday night at the Sacramento Community Center. In a high-spirited finale, the cast sang, "Listen to the beat. Play it, obey it. Love it with your feet. Listen to your soul… let it make you whole." The lyrics embody three hours of soulful music, standout humor, and endearing characters that deliver a wonderful time for audiences. But the musical still fails to satisfy audiences looking to leave emotionally moved and intellectually challenged.

In one of the first numbers of Disney on Ice "100 Years of Magic," a host of genie duplicates from the classic film Aladdin cover the rink with their "magic," a small taste of the magic to come. The hour and a half celebration of Disney enchantment that follows retells shortened versions of several well-known Disney stories. Featured favorites include Finding Nemo, Beauty and the Beast, Toy Story, Pinocchio, Mulan, The Incredible and The Lion King, as well as shout outs to Disney parks with a wonderful first act finale tribute to It's A Small World and The Main Street Electrical Parade.

Storytelling at its best, San Francisco Opera's co-production of new opera "Moby Dick" overwhelms upon sight and hearing. The magnificent production has some of the most exquisite music ever written for the stage. Jack Heggie's grand cinematic score moves faultlessly from solemn, contemplative moments to lightning and thunder during a storm, making up for minor scenic limitations and becoming the narrator of the piece.

If you're in the mood for one of the best clown acts in the United States, drive on over to Stockton Arena for Cirque du Soleil's "Dralion." Oh, there are plenty of awe-inducing moments of dangerous acrobatic acts and fantastic visuals, but unlike many of Cirque's other shows, "Dralion's" best foot forward is a rather large one wearing an oversized shiny black shoe. Without giving too much away, the best way to describe our daring "trio" is to say the act involves a lot of "audience participation."

Vincenzo Bellini's opera based on "Romeo and Juliet" does not follow the traditional Shakespeare plot, so it seems appropriate that the San Francisco Opera production, too, should veer away from traditional sets and costumes and create a world of its own.

Yes, yes, yes. It's a talkie. It's a musical talkie. And it has plenty of tap dancing cavaliers (well, in a figurative sense). OK, so it's not Gene Kelly and Debbie Reynolds; no one can beat the pair that made the classic film so memorable. But Good Company Players' lovely recreation for the Roger Rockas Dinner Theatre stage has no trouble getting audiences in the mood for dancing and 'Singin' in the Rain.'

It may describe the show's hilarious contents perfectly, but the title of Cosmopolitan Cabaret's current revue-style musical, "I Love You, You're Perfect, Now Change," did not quite fit the sentiment of California Musical Theatre's audience opening night. Sure, the audience loved it. Yes, their giant grins made it clear the show was perfect. But why would anyone want to change such a well-cast show?

Fitting three performances in one day can come at a cost depending on where you're playing. And though Batman Live World Arena Tour was only in San Jose for four short days (heading to Los Angeles next), Saturday evening's performance, the third showing that day, found the large HP Pavilion less than half full. The audience was there in spirit, though, spread out from the top boxes to the main floor seating. Children smiled and pointed at the show's spectacular visuals and semi-stellar acrobatics while the enthusiastic Batman fans were excited just to be near their favorite superhero.

Google the "Pearl Fishers Duet" and you'll find almost every famous opera singer has sung the exquisitely beautiful song. It's the type of song that makes it to Hollywood, but that you recognize when you hear it. But many don't recognize the story behind it, one that plays out in a three-act opera titled "The Pearl Fishers" and composed by the creator of the immortalized opera Carmen. One could watch the first act of the opera alone and leave satisfied, having heard the best the opera has to offer. Georges Bizet's gorgeous score as a whole, however, has plenty to recommend it, and a timeless romance filled with the overhanging threat of death makes watching it unfold a bittersweet experience.

There is power in numbers. With 53 glorious cast members cleverly moved about the small Hillbarn Theatre stage, director Lee Foster's production of "Ragtime" excels over an imperfect script.

Climb the "stairway to paradise" at the Sacramento Music Circus production of "Crazy For You." Featuring the best of the Gershwin's classic songs, the California Musical Theatre production takes audiences to musical theatre paradise with perfectly staged comedy, all sorts of impressive dancing and amazing vocals from a stellar, all-equity cast. Who could ask for anything more?

Mozeltoff to Sacramento Music Circus on another strong production of a classic musical. Playing thorough August 19 at the Wells Fargo Pavilion, the current production of "Fiddler on the Roof" follows tradition while creating a laid back, down to earth staging. That staging sometimes takes away from the humor of the show, but also manages to create a unique interpretation of an often-performed show.

Even with all the magic and all the fun, the thing I remember most from my childhood trips to the circus is my traditional circus cup filled with delicious flavored ice. So it's only natural that after a very long hiatus from Ringling Bros., I couldn't help but buy one of those overpriced, albeit creatively original, souvenir icee cups Wednesday night at Oracle Arena in Oakland. And, along with a souvenir hat and free clown nose, I toted my elephant-shaped cup into the arena for an evening of pure entertainment.

It is a truth universally acknowledged that any audience member in possession of a show ticket must be in want of a good show. However little known the feelings or views of such an audience member may be on his or her first entering a theatre, this truth is so well fixed in the minds of the relevant actors that any attendee is considered as the rightful "property" of some one or other of hours of entertainment.