A Review of PIRATES OF PENZANCE at Seattle's 5th Ave Theatre

The Pirates of Penzance is running at The 5th Avenue Theatre in Seattle, until August 4, and if you’ve never seen this work by Gilbert & Sullivan, just knowing it has remained popular since its premier in 1879 is reason enough to be intrigued.

The Pirates of Penzance at The 5th Avenue Theatre.
Credit Mark Kitaoka

 That’s 134 years of continuously drawing audiences. Originally called a “comic opera,” and considered the forerunner of musical theater, it is historically significant and worth seeing for that reason alone. And even if you have, already seen it a dozen times, this is new production, full of surprises. Set in the Victorian era, like the original, this one is physically set in British Columbia. The authority of law is represented by Royal Canadian Mounted Police. Although the view of what seemed to be Mount Rainier, in the background, looked like it would from Tacoma, the shoreline could have been Vancouver Island, B.C.


The Sergeant of Police (Jared Michael Brown, center) is the leader of a brigade of Canadian Mounties in The Pirates of Penzance 
at The 5th Avenue Theatre.
Credit Tracy Martin

Watching the show last Friday night, I found much to appreciate, admire, and enjoy, and I recommend it for many good reasons. But before seeing it, I had my doubts because of the silliness factor. Maybe I’m too serious, but I like art to inspire reflection. It’s hard to look too deeply into something that appears so shallow, yet this classic does contain timeless observations about human society and the conflicts and contradictions still as present in our modern lives as in those of its characters. And it's certainly highly entertaining.

(l-r) Frederic (Hunter Ryan Herdlicka) and Ruth (Anne Allgood) in The Pirates of Penzance at The 5th Avenue Theatre.
Credit Tracy Martin

For those who are unfamiliar with Pirates, the backstory concerns a boy having been orphaned and then being unintentionally indentured to a band of pirates through a misunderstanding on the part of his nursemaid, Ruth. One of my 5^th Avenue favorites, Anne Allgood, a veteran of Broadway, starred in this role. The story begins when the boy, Frederic—played by Broadway star Hunter Ryan Herdlicka—reaches manhood and has fulfilled his obligation to the pirates. He then decides to leave them, and the isolated existence he’s known, to experience a normal life and meet young women. The only woman he has supposedly ever seen is his much older nursemaid Ruth. He also faces a moral conflict; he knows that the pirates who have been like family to him are actually criminals.

Brandon O'Neill as the Pirate King in The Pirates of Penzance at The 5th Avenue Theatre.
Credit Tracy Martin

Other significant characters are the pirate King—so perfectly portrayed by the dashing and talented Brandon O’Neill—and the Major General, played by David Pichette, who also did a great job in his role. The Major General's  daughter, Mabel, is Frederic’s love interest, with Anne Eisendrath starring in that role with ease. In addition to having the daughter Mabel, the Major General has adopted, or at least provided a home for, many other young women who call him “father." Conveniently, there are as many of them as there are available pirates. And those pirates, whose real identities will later be revealed, are much more soft-hearted than menacing. But remember, this is all a farce.

 

David Pichette, as Major General Stanley in The Pirates of Penzance at The 5th Avenue Theatre
Credit Mark Kitaoka

 

The story includes conflicts between age and youth, crime and the law, male and female, sexual passions and Victorian restraint, social status and lack of it, societal restrictions versus freedom of choice, and more. But the overriding conflict revolves around duty versus personal desire, with young Frederic at the center of that. His way of dealing with that conflict is, of course, totally outlandish, but so is everything else about The Pirates of Penzance.

Silly as it is, this show is also a lot of fun. Part of the fun comes from trying to catch all the little details. I think you could watch it ten times and still not see everything. On the drive home, my companion for the evening mentioned several funny things I’d missed. For example, there’s a pirate who goes around with a fake parrot on his shoulder, and when an equally fake Canada goose lost its head to the swipe of a sword (no blood involved) the pirate covered the parrot's eyes against such violence.

(l-r) Frederic (Hunter Ryan Herdlicka) and Mabel (Anne Eisendrath) in The Pirates of Penzance at The 5th Avenue Theatre.
Credit Tracy Martin

The one thing serious about this production is the seriously great singing, especially by O’Neill. His powerful voice and bold physical actions made his character of the pirate king both irresistible and unforgettable. I’ve always been a fan of O’Neill but especially enjoyed watching him in this role, marveling over his athleticism and natural grace that display his well-honed theatrical skills. Eisendrath is a fine soprano whose beautiful voice elevated her role as Mabel to a level beyond its usual potential. Likewise, Herdlicka demonstrated the reason behind his impressive career, with a voice worthy of any role.

 

(l-r) Frederic (Hunter Ryan Herdlicka), Ruth (Anne Allgood), and the Pirate King (Brandon O'Neill) in The Pirates of Penzance at The 5th Avenue Theatre.
Credit Mark Kitaoka

But, from a woman’s perspective, I must say that Anne Allgood’s portrayal of Ruth was the most heroic. In a good story, the main characters should be on their own journeys, during which they must face challenges and learn lessons, ending up different than when they began. Hers was the only character who actually changed and came into her own sense of personal power and strength by the ending, quite an accomplishment for a single, middle-aged woman during the Victorian era, and it resonated well.

 

Frederic (Hunter Ryan Herdlicka, left) and the Pirate King (Brandon O'Neill, right) in The Pirates of Penzance at The 5th Avenue Theatre.
Credit Tracy Martin

Plot aside, the production dazzled in many ways, and the sets were absolutely stunning, among the most beautiful I’ve ever seen at this theater. There were only two different sets, but they did the job, gorgeously. In one, colorful starfish cling to boulders along the coastline and you can almost hear the sea and smell the evergreen forest. In the other set—the ruins of a cemetery on the Major General’s estate—the lighting and ambience created a beautiful scene. James Rocco’s direction and choreography gave this production a flawless flow and appeal. I offer my most sincere praise for the amazing Tom Sturge, once again, for his amazing scenic and lighting design, worth the price of a ticket alone. Christine Tschirgi scored another victory with her great costume designs and Joel Fram with music direction.

With such a team of professionals, every show at The 5^th Avenue is worth seeing. I am not much of Gilbert & Sullivan fan, but I enjoyed every minute of this delightful production. I’m sure you would too. You can order your tickets right here. And just to get inspired, you can take a look at this slideshow. Enjoy!

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THE WAIT IS OVER— "Chicago" is at Tacoma Musical Playhouse and it Will Surprise You

 

If your mother ever advised against jumping to conclusions, her words could apply to the latest offering at Tacoma Musical Playhouse—the award-winning Kander and Ebb musical Chicago. The theater opened its 19th season on Friday September 28, with the first of 15 performances of this popular musical, and it runs through October 21.
 



Judging by the roar of applause, it seems safe to say that the opening night audience loved the performance, and no wonder; Chicago became one of the longest-running musicals on Broadway, known for the perfect pairing of its spectacular score with Bob Fosse's choreography. However, if you haven't ordered your own tickets yet because you're thinking "I've already seen that," think again.

The original production of Chicago: A Musical Vaudeville opened and ran for 936 performances before it closed on August 27, 1977. Next came the 1996 Broadway revival version and the 2002 film version. Forget about those last two. Prepare yourself for a far more colorful and, in my opinion, more delightful experience, one much closer to the show's origins. 



photo by Kat Dollarhide



Last week, I interviewed Managing Artistic Director and Co-Founder Jon Douglas Rake to learn more about this production, why it is creating so much excitement, and why he persisted for a decade and a half in his efforts to obtain the rights.

Good Life Northwest: What was involved in bringing this musical to TMP?

Rake: We've been applying for 15 years. Because it's been revived and goes on tour across the United States, they are very, very selective about who they allow to do this show. If it comes to Seattle, that knocks Tacoma out, because it's within a 60-mile radius. So we just kept getting knocked out. Finally, they started allowing more major cities to do the show and we were fortunate to be granted the rights.

Even if people have seen Chicago, I hope they come see this, because it is a much different version than what has been going around the United States for quite a few years, and the Broadway revival.

GLN: How does your production differ from what most people have seen?

Rake: For the revival, they took it out of its time period, and unfortunately it loses some of that cynical and satirical attitude. And you miss that. It loses its poignancy. The movie went back a little more to the period, but you miss the vaudeville part of it. We've put it back into that period and the vaudeville.



photo by Kat Dollarhide

GLN: Can we talk a little about the connections with vaudeville?

Rake: Sure. Chicago takes place in the 1920s, and in the 1920s vaudeville was the major form of theater, along with opera and operetta and all that, but vaudeville was really going strong. So when they created this, they decided vaudeville was a great fit for it, because they were able to poke fun at society and the cops and all of that through using the vaudeville acts. When it comes to the story, they could lighten it up.

And then they decided that because there are all different kinds of acts, some of these—like Mary Sunshine being dressed in drag or the reporters being puppets—just kind of fit the way they were working on the show. The style of the music was also vaudevillian.



photo by Kat Dollarhide

GLN: Why does it mean so much to you, on a personal level?
Rake: It's one of my favorite shows. I saw the original version on tour in 1977, and it made such an impression on me. I'm surprised that after that many years have passed, I remember a lot of details about that show. And I was very young, a student in college. That was when I first saw Fosse choreography and just fell in love with it. As a choreographer, it has always been one of my favorite styles of choreography.

GLN: This is a very colorful, sparkling show with period costumes. It is dazzling on the stage.

Rake: Right. And that's what we were going for. We were going more for the vaudeville dazzle.

In the revival, the cast is in black, very sexy lingerie. There's no essence of the period at all. And there's no set at all. It's just a big staircase of the band, and the band moves forward and back onstage. And whenever there's a chari, the cast brings on a chair. It's just basically showcasing the music and the style of dance. 

 

photo by Kat Dollarhide

 GLN: What about the satire aspect?

Rake: Fosse was going through a really dark period in his life at the time. He was pretty upset or feeling dark about the world. He was having heart problems and woman problems, so he was going through this dark phase. So I think that's what swayed the satire of the show, how he was feeling at the time.

GLN: What special challenges did this production present?

Rake: The first challenge was teaching the dancers the style of choreography. Even if you're a dancer, if you've never done Fosse, it's a different feeling in your body, a different style and different control. So the first challenge with this cast was to teach them how to do the Fosse style.

GLN: What special rewards does it bring to you?

Rake: To see it happen is just a great feeling. To have these dancers doing the choreography I've wanted to do for years is a thrill, and to have such a talented cast as well.

And I'm really pleased with the way the orchestra sounds. It's got a great sound and the audience will have a lot of fun with the fact that the orchestra is onstage and in front of them.

We have patrons who love to come and watch Jeff conduct (He refers to Jeffrey Stvrtecky—co-founder, music director, and business manager of TMP.) And here he is pretty much in the forefront up there. They can watch him the whole time. It's a connection with the orchestra, more so than when they're always in the little pit, or separated from the show. They're integrated into it and they become part of the show itself.


Overture/All That Jazz - Chita Rivera - Chicago: A Musical Vaudeville 

****************************************



Just two words from the character Velma offer the essence of my message. As Velma demonstrates, to Roxy, the double act she once had with her sister, she says, "Watch this!" Good advice. And I wouldn't get on Velma's bad side if I were you.

Note: All seating for this production is reserved, so the theater strongly recommends buying tickets in advance. Matinees sell out especially quickly. For ticket prices and ordering information call the box office at (253) 565-6867 or visit www.tmp.org. This show is NOT recommended for youth under the age of 13.

Tacoma Musical Playhouse is located at 7116 6th Ave. in Tacoma. On Fridays and Saturdays the show begins at p.m., at 2 p.m on Sunday, and Saturday Matinees also begin at 2 p.m.

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Copyright 2012 Candace J. Brown

Theater Review—"Les Miz" Returns to Seattle in Glorious Style

Opening night at Seattle's 5th Avenue Theatre never felt more exciting than on June 28, when about 2,000 eager people waited for the curtain to rise on Les Misérables. But this wasn't just another Les Miz. Even lifelong fans find fresh reasons to fall in love with this new, spectacular, reimagined, 25th Anniversary production, which made its Seattle debut in 2011. This version introduced significant changes to the sets, costumes, lighting, choreography, and music.



"Lovely Ladies" - The Company of the New 25th Anniversary of Les Misérables
Photo: Deen van Meer

If you missed seeing Les Miz in Seattle last year, don't lose the opportunity again. In 2011, it ran for three weeks at 99.01% capacity, attracted over 50,000 patrons, and grossed more than $4 million in ticket sales. This year, the run lasts only two weeks and will surely sell out, as before.

"Seattle audiences have always loved Les Miz," the show's producer, Cameron Mackintosh, said in a press release. "But the reaction to the new production last year was so phenomenal, and tickets went so fast, that—to say thank you—we wanted Seattle to be the first city that we returned to on this remarkable sell-out national tour."



"One Day More" - The Company of the New 25th Anniversary of Les Misérables
Photo: Deen van Meer

As much as I admired the singing and acting, I wish to praise the talented people working behind the scenes, the designers, managers, technical staff, stage hands, and of course the excellent musicians. I especially applaud Paule Constable for the lighting design, which added as much to the drama as any human actor, becoming almost a character in itself. It takes nine computers and 1600 amps of power to run the lighting package.

"Barricade" - The Company of the New 25th Anniversary of Les Misérables
Photo: Deen van Meer

The sets, designed by Matt Kinley and inspired by Victor Hugo's own paintings, were amazing in their detail and versitiliy. And the clever use of the moving projection of background images created special effects I’ve never seen on a stage before, illusions of movement that felt entirely believable. Then, of course, there is the music that has been reproduced in nearly 40 recordings.

"Stars" - Andrew Varela (Javert)
Photo: Deen van Meer

The story’s universal themes—the human spirit’s victory over injustice, the power of love, the price of war, the ability to forgive, the virtues of loyalty and selflessness, and the hope of redemption—speak to us today as profoundly as they did in Victor Hugo’s classic novel, published in 1862. The superb acting by every member of the cast did justice to the story. It contained sincerity, sentimentality, romance, humor, bawdiness, spiritual meaning, and dramatic tension, all delivered with passion. Even the five children in the cast performed like seasoned pros.

"Fall of Rain" - The Company of the New 25th Anniversary of Les Misérables
Photo: Deen van Meer

Although, in the beginning, it seemed a little difficult to hear the lyrics, I soon found myself getting most of the words. I don’t know whether I simply became more tuned in as time went on, or if an adjustment had been made in the orchestra vs. vocal volume levels. Some diehard Les Miz fans I spoke with during intermission said it takes a few times to catch all the lyrics in any production. Nevertheless, I had no problem following the story line and appreciating the subtleties. Solo vocal performances came through clearly and moved me.

The choice of Peter Lockyer as Jean Valjean, the fugitive and central figure, could not have been better. His impassioned vocals imbued his character with humanity. Andrew Varela, as Javert, delivered his songs with power. Betsy Morgan gave a heartfelt performance as did Briana Carlson-Goodman as Éponine, who drew my compassion as the young woman suffering from unrequited love for Marius, played by Max Quinlan. Timothy Gulan and Shawan M. Hamic, as Thénardier and Madame Thénardier brought humor and physical comedy into this serious story, but with a malevolent edge that made them delightfully obnoxious.

"Beggars at the Feast" - The Company of the New 25th Anniversary of Les Misérables
Photo: Deen van Meer

I loved the costumes for their contrasting rich and subdued hues and authentic style. According to the theater, the cast’s wardrobe contained over 5,000 costume pieces, including 57 brown shawls, each one different from the others. The only costume I didn’t care for was Madame Thénardier’s hot pink dress with its puffball-like trim. I realize it was meant to represent bad taste, but its extreme outlandishness and guaudiness seemed better suited to a Disney cartoon than Les Miz. However, it took nothing away from Hamic’s superb performance.

For the sake of those who don’t care to support the arts—those who view live theater as some kind of useless liberal fluff in a society that seems less and less willing to support anything that enriches lives—I offer this point of practical interest. When Les Miz came to Seattle in 2011, it pumped $1.5 million into the local economy. Just one matinee last August grossed $202,257 and brought 2,085 extra people to the downtown retail core on a Thursday afternoon. Unfortunately, the people with whom I would like to share these statistics are most likely not reading theatre reviews.

Most importantly, theater, like all the arts, make us think, question, and explore the potential of the human spirit. Creativity is vital to a civilized world. Art matters. To all of us. Support it.

Need any more reasons to go? Here’s the link to the box office.

"I Dreamed A Dream" - Betsy Morgan (Fantine)
Photo: Deen van Meer

5th Avenue Theater Responds to Controversy Over Musical "Oklahoma!"

Eric Ankrim as Curly McLain in Rodgers and  

Hammerstein's "Oklahoma!" at The 5th Avenue Theatre. Photo credit Curt

Doughty.

When Seattle's 5th Avenue Theatre produced their new version of the Rodger and Hammerstein musical "Oklahoma!" they probably didn't expect to see a good old Oklahoma twister brewing on the horizon. In an official press release, Artistic Director David Armstrong is quoted as saying they wanted to "honor the great tradition while keeping the show fresh and exciting." But while innovation is important in art, it seems the particular types of innovations used have some audiences members calling out "Yippee-i-ay!" while others mount up to ride with a posse. Many of my fellow citizens of Tacoma have seen, or plan to see, the show, and have shared their opinions with me after reading my blog post. The musical runs from Feb. 3 - March 4.

Note: If you haven't already read my previous post (A Review of "Oklahoma!" at Seattle's 5th Avenue Theatre -- Oh, Not Such a "Beautiful Mornin'" ) please do. It has received plenty of attention and a variety of comments.

On Wednesday I received an e-mail and new press release from the 5th Avenue's Public Relations Manager Bridget Summers to let me know that because of the strong responses to the way race was handled in the production of "Oklahoma!" the theater plans to host four panel discussions and a town meeting to provide a forum for the public. The press release included the following:

"The choice to cast African American actor Kyle Scatliffe as the farm hand Jud Fry has been earning strong reactions.  While Scatliffe has been applauded for his nuanced portrayal of the character, there are some audiences who are concerned that having the only African American performer among the principals play the villain reinforces negative stereotypes about African American men." 

So, dear readers, you are officially invited to attend and participate.

Here are the dates and times, from the most recent press release:

Panel discussions will take place between the matinee performance and evening performance on February 18 and 25 at 5:00 PM and February 19 and 26 at 4:30 PM, and will feature Spectrum Dance Theater Artistic Director and Oklahoma! Choreographer Donald Byrd and The 5th Avenue’s David Armstrong.  A Town Hall Meeting featuring the executive team at The 5th Avenue Theatre and members of the creative team for Oklahoma! will take place on Monday, March 5, at 7:00 PM. 

WHERE:   The 5th Avenue Theatre (1308 5th Avenue, Seattle)

INFO:  For more information, please visit http://www.5thavenue.org/education/adult-programs#show-talk   

I close with a statement from Artistic Director David Armstrong:

“While we never intended to evoke such strong responses, I am in many ways heartened that this production has people talking about these important issues. The idea that musicals could, and should, tackle big themes and significant subjects largely began with Oklahoma! and I am not unhappy to see that legacy continue.
 

“We did believe that this casting would amplify the inherent drama in the story.  I’ve seen dozens of productions of Oklahoma!, but never before have I felt such empathy for Jud, and never before have I felt so sad when he dies.

“I never would have imaged that in 2012 a production of this almost 70-year-old musical could cause such a stir. I am a firm believer that great theater inspires dialogue, and I look forward to engaging our audiences on this difficult subject and hearing their reactions to this unorthodox casting choice.”

"ALADDIN" Makes Magic at Seattle's 5th Avenue Theatre

Adam Jacobs as Aladdin                Credt The 5th Avenue Theatre

If you could rub a magic lantern and ask the genie for three wishes during an evening of musical theater, including 1.) a visual feast of color, costumes, and interesting sets 2.) memorable tunes, fine voices, and well-crafted choreography, and 3.) plenty of laughs and lighthearted fun, I guarantee they would all be granted at The 5th Avenue Theatre's production of "Aladdin" in downtown Seattle. Once again, the city can be proud of a brand new home grown musical, this time adapted from the Academy Award™-winning Disney animated film by the same name. It packs plenty of talent and Broadway ambitions.

"New musicals have become a large part of the mission of The 5th Avenue Theatre and we are thrilled that Disney has selected our theatre to produce the premiere of this new work," Executive Producer and Artistic Director David Armstrong said in a press release. The musical's director, Casey Nicholaw, comes fresh from his Broadway success with "The Book of Mormon."

"I am especially thrilled," Armstrong added, "to have Casey Nicholaw back at The 5th where his amazing career first got started." Nicholaw launched his profession as a choreographer at this theater in 2001, on "The Prince and the Pauper."

James Monroe Iglehart, as the Genie, takes center stage.   Credit The 5th Avenue Theatre

I never saw the 1992 Disney film, but this production contains many of the same magical aspects of Disney animation I loved as a child. Of course it has the handsome hero, beautiful princess,  the funny sidekicks, crazy antics, and the most elegantly evil villain of all, Jafar, played by Jonathan Freeman of Broadway fame, who also provided the voice in the original film.

And it has COLOR. Oh what color! Beginning with a curtain that looks like a patchwork of brilliant Persian carpets, then lifts into a stage-framing drapery of appropriate design, the whole production offered a jewel box of rich, vivid, delicious color with the added indulgence of sparkle, shimmer, and shine. I thought the cleverly designed sets worked well as they changed functions, and the whole thing felt extremely professional.

Aladdin, played by Adam Jacobs,  delivered his songs with power, confidence, and sensitivity, danced and leaped around the sets with remarkable agility, in a costume for which he was particularly "suitable" with his sculpted torso revealed under an open vest. Courtney Reed, as Princess Jasmine, brought her own storybook beauty to the stage and put her lovely voice to its best use in the more touching scenes. The culturally shocking insubordination of this princess who revolts against her father (Seán G. Griffen, perfectly cast as the Sultan) lacked believability, but so did the fake camels, the flying carpet, and the sword fights, without taking anything at all away from the fun of this engaging show.
 

Credit  The 5th Avenue Theatre

The inevitable funny sidekicks, in this case, Jafar's companion Iago—played by Don Darryl Rivera— and Aladdin's fellow street musicians—played by Andrew Keenan-Bolger, Brian Gonzales, and Brandon O’Neill—provided plenty of laughs, sometimes corny, but so what? Their talent came through, and it was all part of the charm of a production that doesn't pretend to be sophisticated, yet succeeds by being outlandish, clever, and highly entertaining. There is even a moral to the story.

Music Director Michael Kosarin can be proud of the orchestra for its flawless performances of about 15 tunes. My two favorites, both newly written for this production, were "A Million Miles Away" and "Somebody's Got Your Back."

But wait a minute! The story of Aladdin and the moral dilemma caused by his three wishes, could never have existed with the GENIE, brilliantly portrayed by James Monroe Iglehart. The appearance of this charismatic character really did feel like magic, immediately lifting the show's entertainment value up by several notches as he radiated irresistible energy, humor, and charm. His character even took us through some poignant moments, which Iglehart navigated with finesse.

I may not be qualified to play the role of a serious theater critic, in the eyes of some, but in the role of an average theatergoer, I know that I thoroughly enjoyed myself. Looking around at the happy faces in the audience, and hearing people's comments, I'd say virtually everyone else there that evening did too. One thing is certain; the talented cast gave it their all through every song and dance. I came prepared not to play theater critic, but just to play. Come to have fun, and I guarantee you will too.

This world premier lasts only through July 31, so don't miss the chance to catch one of these last eight performances. Click here, right now, or call (206) 625-1900, to order tickets and you'll be sure to make some memories for your family, or relive some of your own.

"Guys and Dolls" Dazzles Audiences at the 5th Avenue Theatre

Ensemble - Photo Credit: Chris Bennion

Last night as I sat in the audience at Seattle's 5th Avenue Theatre, the three-story-high words "Guys and Dolls" spelled out in lights, the bright colors, the cleverly designed sets, and the irresistible pulse of music and human movement all combined to emblazon this thought on my brain: "If I could live my life over, I would spend my youth training for musical theater so I could be up there on the stage right now, having all that fun." 

Who would not want to be part of that synchronized energy? As a jazz musician* I have some understanding of how those dancers feel. I love ensemble work, rhythm, and syncopation. But in this life at least, I will have to accept the fact that I'll never become a star in a musical, singing my heart out, arms and legs caught up in the beat. It may be too late for that, but I can still have the next best thing: a night at the 5th Avenue.

It's amazing how intimate an auditorium with 2,115 seats can feel. I've watched shows from various spots, always awed by the grandeur and majesty of this place, but this week my balcony seat offered a different sensation. I could better appreciate the entire space from that perspective and felt embraced by the warmth and texture of the sculpted ceiling and walls, features of the Chinese decor of this  historic theater that first opened in 1926. It is now considered a national treasure. Sitting just that much closer to the famous dome—exactly like the one in the throne room of the Imperial Palace in the Forbidden City in Beijing, only twice as large— I could look right into the dragon's eyes. I could see in more detail, the massive chandelier suspended from the grip of his teeth. A huge Wurlitzer pipe organ once accompanied Vaudeville shows in this theater, and I could imagine getting a glimpse of the pipes hidden behind the ornate screens on opposite walls.

Most importantly, I had a perfect view of the stage, even from the balcony. And there was plenty to see in that candy store of colorful costumes and crazy characters, whose exaggerated actions, accents, and antics imbued Frank Loesser's perennial  hit Guys and Dolls, with fresh energy.

Miss Adelaide (Billie Wildrick) and the Female Ensemble - Photo Credit: Chris Bennion

Director Peter Rothstein guides this production to its full potential and I especially appreciated the choreography of Seattle native, and Roosevelt High School graduate, Noah Racey, who returns to the Northwest after his brilliant success on Broadway. Other local talents enjoying well-deserved stardom include Clayton Corzatte, Daniel Levine, Brandon O'Neill, Billie Wildrick and Katherine Strohmaier. Also doing a great job were cast members David Alewine, Joshua Carter, Ross Cornell, Gabriel Corey, Sarah Davis, Bojohn Diciple, Christian Duhamel, Michael Ericson, Eric Esteb, Brittany Jamieson, Ann McCormick Allen, Trina Mills, Kasey Nusbickel, Katie Rooney, Jessica Skerritt, Mara Solar,and Dane Stokinger. I don't want to overlook the amazing pit orchestra made up of local musicians, who also deserved applause, as does every single person involved, including those behind the scenes.

Todd Buonopane, who played the part of Nicely Nicely-Johnson, is known to many because of his appearances on the hit TV comedy 30 Rock. His character stole the show many times. Watch him here singing "Sit Down, You're Rockin' the Boat."




With only a little over a week to go before the show closes, your chance of seeing this entertaining and memorable production could slip away if you don't reserve tickets now. It was well worth the trip from Tacoma and an evening parking rate of only $6 in the adjacent Hilton Hotel parking lot, didn't hurt a bit. Order your tickets online here, or call  (206) 625-1900. Don't miss it.

*http://jazzlives.wordpress.com/2011/05/17/truly-wonderful-the-rain-city-blue-blowers-may-7-2011/

Copyright 2011 Candace J. Brown