Harmony Wheeler - Page 8

With a cast that seems to come straight from Broadway, Contra Costa Musical Theatre's production of Disney's Tarzan is a visual spectacle. That's what Disney does best: creates magic on stage - at least in what it calls for visually and in its casting.

It's a bird! It's a plane! No, it's 42nd Street Moon's campy production of Superman the musical! In the same line as the original Batman television series, It's a Bird… It's a Plane… It's Superman makes fun of comic book heroes in a light way that most fans will appreciate: melodrama. Striped villains sneak about to the piano reel. The kooky Dr. Sedgwick plots her revenge for the Noble Peace prizes denied her. Lois Lane ponders life without her giant crush on the perfect man. And Superman gets a new and surprising weakness during a hilarious second act.

It is a truth universally acknowledged that every theatergoer is in want of a great show, and that every Jane Austen fan is in want of yet another way to enjoy her favorite love story. Austen's theatrical dialogue has inspired fan fiction novels, film adaptations, musicals, and now Sacramento Theatre Company's two-act play, fantastically written by Joseph Hanreddy and J.R. Sullivan to allow characters and scenes overlap in front of a lovely common room with gorgeous wooden floors.

The creators of '1776' held political opinions that strongly disagreed with the ideals of many, like former president Richard Nixon, who ultimately came to enjoy and appreciate the musical. One can easily assume members of both major political parties made up the opening night audience of American Conservatory Theatre's co-production of the show, and surely a conservative or two chuckled at the universal hypocrisy and false pride presented in 'Cool, Cool Considerate Men,' which makes fun at those who lean ever to the right, never to the left. Values and people differ, but like the representatives who signed their names to the Declaration of Independence, we find a common bond in our history and, in the case of Sherman Edwards and Peter Stone's '1776,' in music and drama mixed.

Woodland Opera House provides a fantastic cast performing in its lovely, historic space and directed by Amy Shuman, with a formidable orchestra led by James C. Glica-Hernandez. Flawless, but minimal lighting design by Jeff Kean lends considerably to the atmosphere, and efficient sets designed by John Bowles make great use of the building's fly space, especially during Javert's second act "Soliloquy" followed by a striking finale.

Feche la Monty Python quotes and let the familiar one-liners commence. Amongst a brilliant set layered with castles, clouds and peek-through windows, Hillbarn Theatre unleashes a giant can of "Spamalot," featuring daring (and not-so-daring) knights, cancan dancers, killer rabbits, French taunters, the famed coconut shells and extremely original tributes to musical theatre, courtesy of director Dan Demers.

Closing the summer season with its first production of the Kander and Ebb classic, 'Chicago,' Music Circus gives Sacramento the 'old razzle dazzle them' this week at the Wells Fargo Pavilion. The production features Fosse's well-known jazz hands, which influenced so much of musical theatre, and it glitters under Randy Slovacek's choreography and David Neville's dramatic lighting. A flexible cast shows off its muscles with amazing flips and twists of the body, while the story unfolds in vaudeville-style, complete with sensual black costumes designed by Mark Koss.

I grew up on 'The Mikado,' and in the past year or two I've begun to slowly educate myself on Gilbert and Sullivan via Lamplighters Music Theatre, which does one or two full staged Gilbert and Sullivan operettas each year. For the first time, Saturday night, the company treated me to what seemed a flawless cast. Sadly, at least half the leads of the August 10 performance of 'Iolanthe' will not likely be included on Lamplighters' CD project for the production - the company double casts the leads for most of its shows. One never knows what kind of treat is in store when the individual cast members alternate on different schedules (For a full cast list with scheduled performance dates, see www.lamplighters.org.). As for Saturday night's showing, the perfect staging combined with a nonsensical story made for a close second in my growing list of favorite operettas. After all, doesn't everyone wish their disagreeing political leaders would turn into fairies and fly away?

Visiting a different culture is always exciting. New colors. New characters. New traditions. So much to take in. On this count, Sacramento Music Circus's production of 'The King and I' can do no wrong. A second act story-within-a-story based on 'Uncle Tom's Cabin' marvelously displays the exquisite details of Marcy Froehlich's Siamese costumes and picks up the pace and draw of the musical after a lengthy first act. The vocal talents on display are as good as it gets for Rodgers and Hammerstein's classic tunes - some of the most beautiful songs the duo has to offer. And while the pace and dialogue of the California Musical Theatre production suffer slightly during the first act, partly due to a poor script and overstretched dialogue, the emotionally stirring second act succeeds in jogging a tear or two from its audience.

The secret ingredient is dance. After that, everything else falls into place. Fantastic ensemble singers. Broadway talent. Men in women's clothing. The production's name fits it well, as plenty of delicious treats entice Music Circus audiences into the world of 'Sugar.'

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.