Harmony Wheeler - Page 88

Baroque opera productions can go wrong in so many ways. With their recitatives, lone arias and what some call 'repetitious' or 'continuous' sound, boredom can easily spell failure. The key, then, to an entertaining, attention-grabbing Baroque opera lies with the staging - the proper use of the stage, interaction of characters and energetic acting. With its intriguing sets and singers that glide over their often improvised coloratura notes, San Francisco Opera's production of Handel's 'Xerxes' knows how to make Baroque opera interesting.

Like its namesake, Cirque du Soleil's 'Totem' celebrates the past, history and future of the earth's residents. Its promoters label it as telling the story of evolution, but its many aerial and acrobatic acts seem to fly right past scientific theories and the evolution of humanity and focus more on various individual cultures and the beauties of the universe.

Why is a raven like a writing desk? Trevor Allen could tell you. He worked at Disneyland as a character for four years while attending college. Now, years later, he's sharing the answer to this riddle and much more at the Exit Theatre in San Francisco. His one man show, "Working for the Mouse," which plays now through December 17, goes behind the scenes of Disneyland and reveals a lot more than why a raven is like a writing desk.

Many things in 42nd Street Moon's production of George and Ira Gershwin's 'Oh, Kay!' are OK. The singing is OK. The lighting and backdrop are OK. The sets are OK - a good use of small space. But a few things in this production are amazing. Those few things make it worth going to the production, and they guarantee a fun time that will have audiences saying, as a song from the musical says, 'Oh, Kay, you're OK with me!'

What is it about Ireland that we Americans love so much? Is it the rich, green land? Is it the unique culture? The music? And for young, unmarried women, is it the handsome accent of a dreamy, far off man? Or maybe, it is the dance. Whatever it is, it has clearly rubbed off on Riverdance, the phenomenon Irish dance show that has toured all over the world.

An artistic masterpiece in every way, Cutting Ball Theatre's modern interpretation of the classic, yet rarely staged, Pelleas and Melisande, conquers a small theater with feats of innovative staging and energetic acting.

In every case there are two fictions, two sides, each trying to tell the better story, each trying to triumph. Law isn't about justice. It's about winning. The truth is elusive. As personal prejudices come into play, the truth sneaks further and further into the background, especially in cases involving race and sex. Pulitzer Prize winner, David Mamet's play RACE explores the various prejudices and positions in racial arguments. Refreshingly, Mamet does not take sides. Instead, he focuses on getting the audience to think and to speak for themselves.

Monica Cappuccini returned to the stage three and a half years ago after seventeen years away from acting. Now, she's mounting what she calls a dream role, the role of Maria Callas in Terrence McNally's play Master Class, playing now through November 6 at Hillbarn Theatre. Master Class recently had a Broadway Revival starring Tyne Daly in New York. The production received high praises from critics.

The Riverdance tour will be in California through December 4 and includes a stop at the Pantages theatre in Los Angeles, where Riverdance opened exactly 15 years to the day before its November 15 engagement. Other tour cities include Fresno, Modesto and Sacramento. Broadway World speaks with Craig Ashurst about life on the road and why Riverdance has such a strong following.

Everyone dreams of being a prince or princess, or some Disney character. Trevor Allen lived that dream for four years as a college student playing various Disney characters at Disneyland, but he experienced a very different Disney than the one people see at the movies or in Fantasy Land. Now, years later, he gives theatre goers a behind the scenes look at Disneyland and the people behind the characters in his play 'Working for the Mouse,' which returns to EXIT Theatre in San Francisco this fall.

'Master Class' is all about presence, and Hillbarn Theatre definitely has presence. A small theatre with big ambitions, the company has successfully helmed a play that requires presence - a lot of presence - especially from its actors.