#hillbarntheatre

[brothermarc7theatre]

“Mamma Mia” #787

There is an air of nostalgia, a percussive toe-tapping, and a contagious check-to-cheek grin that will inhabit audiences when watching Hillbarn Theatre’s super trouper production of Mamma Mia! Led by an infallible Merrill Peiffer as Donna, the “who’s your daddy?” musical gets the full ABBA treatment, made complete with a worthwhile book by Catherine Johnson. Made more streamlined by Dan Demers’ clipped-pace direction, the talents of the cast are highlighted well in this fun, fun, fun production.

(Merrill Peiffer (Donna); Photo credit: Mark and Tracy Photography)

Ms. Peiffer embraces Donna’s quirkiness with an ease and flow between work-hard landlord, loving mother, former-Dynamo diva, and longing-for-love woman. Her vocals are tops throughout the show, and especially in a stirring, powerful “The Winner Takes it All.” The endless musical interludes between lyrics, especially where Donna is concerned, can only be reduced in awkwardness when the right actress and right director fill the lyric-less void with vulnerable takes and astute acting chops; such is the case with Mr. Demers’ direction of the talented Ms. Peiffer. Sofia Constantini delivers a genuine, lovely performance as Sophie, the bride-to-be and daughter of one of the three invited, potential fathers. Ms. Constantini’s vocals are very well-suited for “I Have a Dream” and its reprise; in leading the fun-loving trio, “Honey, Honey;” and the otherwise-groan worthy “Under Attack.” Ms. Constantini pairs well with groom-to-be, Sky, played with charm, if not a bit too animated, by Matt Ono, in an alluring, well-sung “Lay All Your Love on Me.”

(Sofia Constantini (Sophie) and Randy Allen (Sam); Photo credit: Mark and Tracy Photography)

Randy Allen delivers a perfectly adequate performance as Sam Carmichael, the potential dad who bears the biggest burden for breaking Donna’s heart. Mr. Allen’s vocals in “S.O.S” and “Knowing Me, Knowing You” do the job of singing the tunes and exuding some turmoil, though those aforementioned interludes without lyrics are only filled with a stand-and-look mentality rather than letting the audience into more of Sam’s journey. Lawrence Long delivers a wonderful, commanding performance as Bill, the ever-lonely, always-travelling writer. His vocal contributions to “The Name of the Game” and “Take a Chance on Me” make me wish the writers had given Bill much more to sing. Not just a vibrato-delight, Mr. Long’s performance is an altogether solid performance in comedy and commitment to being a soothing potential father figure to Sophie. Brandon Savage does well as Harry, the British banker who falls back in love with his head banger days when reunited with Donna on the Greek Isle. Mr. Savage’s vocals do the job required for pulling of a serene “Our Last Summer,” and his charming smile and enthusiastic presence make his Harry one to root for.

(L to R: Lawrence Long (Bill), Randy Allen (Sam), Brandon Savage (Harry); Photo credit: Mark and Tracy Photography)

Christine Capsuto-Shulman is a dynamite Tanya, providing some stellar vocals in “Does Your Mother Know.” Her comedic chops, enhanced by the littering of f-bomb infused ad-libs galore in the book scenes and musical numbers, are a laugh-a-minute effort that pays off every time she walks on stage. Jacquie McCarley is a fun, rambunctious Rosie, matching the Dynamo-diva energy exuded from Ms. Peiffer and Ms. Capsuto-Shulman with pinpoint comedic and vocal precision in Act One, especially in the trio’s excellent performance of “Dancing Queen” and “Super Trouper.” However, when it comes to Rosie’s big song, “Take a Chance on Me,” Ms. McCarley loses the spunky, flirty nature she established opposite Mr. Long’s Bill earlier, making the song a bit more underplayed without a decipherable reason why.

(L to R: Christine Capsuto-Shulman (Tanya), Merrill Peiffer (Donna), Jacquie McCarley (Rosie); Photo credit: Mark and Tracy Photography)

Paige Collazo and Samantha Ayoob are great as Sophie’s friends, Ali and Lisa, respectively. Their dancing and harmonies are well-highlighted in “Honey, Honey” and in the all-call bash of a party number, “Voulez-Vous.” Jepoy Ramos and Jorge Diaz are featured highlights as Donna’s main hotel boys, Eddie and Pepper, respectively. Both have the gift for bro-comedy, delivering some of the more flirtatious cringe-worthy lines the book has to offer. The hardworking ensemble absolutely kicks butt in their execution of Zoe Swenson-Graham’s fantastic choreography. Even subtle movement numbers like “Honey, Honey” are given the precise look that gives off the laid back, party atmosphere Mamma Mia! provides its audiences. But numbers like “Money, Money, Money,” “Lay All Your Love on Me,” “Gimme! Gimme! Gimme!” and “Does Your Mother Know.” are given the full dance ensemble treatment, complete with some terrific towel-ography in “Voulez-Vous.” 

(L to R: Paige Collazo (Ali), Sofia Constantini (Sophie), Samantha Ayoob (Lisa); Photo credit: Mark and Tracy Photography)

The technical design, as a whole, does the job in portraying a kick back island hotel without making the stage seem too squished. Michael Palumbo’s lighting design is perfectly matched with Mr. Demers’ highlighting of intimate solos and Ms. Swenson-Graham’s exciting company numbers. Y. Sharon Peng’s costumes are universally great, giving a nice variety of colors and styles which all match the Greek isle vibe.

At the time of this review, there has been an added performance for Wednesday, May 22nd, (to the otherwise sold out run) so if an evening escape to ABBA, dancing, and figuring out who the dad is suits your fancy, go book your ticket and go see this show!

Details:

Mamma Mia! at Hillbarn Theatre

Runs through May 26th

www.hillbarntheatre.org

#mammamia #hillbarntheatre #musical #theatre #musicaltheatre #abba #fostercity #bayarea #bayareatheatre #theatrereview

[juanieboii]

What a fun year of #Theatre! Congrats on all the @theatrebayareasf nominations and wins @hillbarntheatre, @foothillcollege, and @contracostamusicaltheatre 🎭🎉🎊⭐️👏🏽 #BayArea #SweeneyTodd #Cinderella #ThoroughlyModernMillie https://www.instagram.com/p/B4gjG-ljj_H/?igshid=lo71b3iwe45o

#theatre #bayarea #sweeneytodd #cinderella #thoroughlymodernmillie

[brothermarc7theatre]

Season Announcement Wednesday

There are not many companies which can be trusted to consistently bring top-notch entertainment to the stage. This week’s company is one I love seeing shows at, and if I can’t make it then my regrets are immediate. In addition to having just closed an incredibly well-received and highly-praised production of Sweeney Todd, their season announcement promises to bring even more entertainment to Peninsula audiences. Let’s take a gander at Hillbarn Theatre’s 2019/2020 season!

Shows/Dates: Anything Goes (August 29th - September 15th); It’s Only a Play (October 10th - 27th); Newsies (December 5th - 22nd); Little Shop of Horrors (January 23rd, 2020 - February 9th, 2020); Laughter on the 23rd Floor (March 12th - 29th); La Cage Aux Folles (May 7th - 24th); The Four Gifts (June 18th - 21st)

Venue/Address: Hillbarn Theatre @ 1285 E. Hillsdale Blvd., Foster City 94044

Website: www.hillbarntheatre.org

Facebook: “Like” them at- Hillbarn Theatre

Twitter: “Follow” them at- @HIllbarnTheatre

Description: Hillbarn Theatre is one of my absolute favorite companies in the entire state. Their season selections are always good, provide a variety of genres, and are always worth the price of admission. Over the years I have enjoyed their productions of The 25th Annual Putnam County Spelling Bee, Rumors, Cabaret, Peter and the Starcatcher, and West Side Story, among many others. Their current season continues with Leading Ladies and Mamma Mia!, so check out those two comedies before gearing up for their next season. Go see a show!

#anythinggoes #itsonlyaplay #newsies #littleshopofhorrors #lacageauxfolles #laughteronthe23rdfloor #thefourgifts #hillbarntheatre #fostercity #bayarea #bayareatheatre #musical #theatre #musicaltheatre #seasonannouncementwednesday

[brothermarc7theatre]

"Cabaret" show #601

Hillbarn Theatre’s current production of the Kander/Ebb/Masteroff masterpiece, Cabaret, which closes this weekend, is superb in every sense of the word. Erica Wyman Abrahamson’s impeccable direction precisely balances the mirage of 1930’s Berlin as a cabaret vs. the grimmer reality of the times. The scenes are fully-developed, the moments of impact are effective, and the cast delivers fully-realized performances. Your trip to this Kit Kat Club is one that Hillbarn has made memorable and affecting in all the right ways.

 When aspiring American novelist Cliff comes to Berlin on his journey to find inspiration, he runs into Ernst Ludwig, followed by the mesmerizing Sally Bowles. As Cliff’s visit to Berlin quickly fills with parties, he falls madly in love with Bowles, takes trips around Europe delivering questionable packages, and witnesses the rise of the NAZI Party. Within Cliff’s residence is Fraulein Schneider, the landlord, and her soon-to-be lover Herr Schultz. In addition to the two pairs of love birds are sailors, Kit Kat Club Girls and Boys, and a Master of Ceremonies who leads the metaphorical songs, commenting on the reality of Germany’s development and human condition, in a most sensual and frank manner.

(Noelani Neal (pictured as Fritzie), Keith Pinto (Emcee); Photo Credit: Mark and Tracy Photography)

Keith Pinto is your Master of Ceremonies, and rightly so; Mr. Pinto’s talent and diverse triple-threat abilities are on fine display all show long. His sexuality drives the first act numbers, followed by a turn of pure vocal talent, effectively inflected in his Act Two torch song, “I Don’t Care Much.” Throughout Mr. Pinto’s performance he affects a light, almost breezy delivery for many of the play’s memorable messages/lines, then changes to a menacing tone to deliver a devastatingly powerful final scene as Cliff leaves Berlin. Playing The Toast of Mayfair, Fraulein Sally Bowles, a stunning Melissa WolfKlain, absolutely slays in this role. Miss WolfKlain is all humor and sensuality in her beginning scenes and songs, especially in a wonderful performance of “Don’t Tell Mama,” followed by an alluring “Mein Herr.” Sally’s likeability is necessary to the role; a trait Miss WolfKlain achieves right off the bat, allowing the audience to sympathize with her as much as possible. As the play progresses, her eagerness, love for Cliff, and desperate need for fame and attention becomes more prevalent, resulting in a hauntingly beautiful turn in “Maybe This Time.” Her delivery of the title number in Act Two is compelling, vulnerable, and an absolute emotional juggernaut of a performance. Finally, Miss WolfKlain nails the final moment with Cliff when she dismisses him from her life, an example of tough love and personal regret seeping through Masteroff’s devastating lines and Miss WolfKlain’s puff of a cigarette.

(Center: Melissa WolfKlain (Sally), Kit Kat Girls; Photo Credit: Mark and Tracy Photography)

Linda Piccone and Paul Araquistain are profoundly adorable as Schneider and Schultz, the German-German/Jewish couple. Miss Piccone’s performance of the matter-of-fact “So What” shows her mastery of comedic timing, a consistent strength of hers throughout the play. She and Mr. Araquistain’s performance and chemistry are elegantly displayed in “It Couldn’t Please Me More.” Their trio turn with Noelani’s Neal brooding, excellent Fraulein Kost in “Married” solidifies their level of beautiful romance, making their Act Two dissolution all the more heartbreaking. Both Mr. Araquistain and Miss Piccone show excellent levels of strength found within their character’s meek demeanor and humble roots as hard working Germans. Brad Satterwhite plays Cliff with strength and apt theatricality, living the journey from aspiring writer to fully-awakened member of Berlin society. His duet with Miss WolfKlain, “Perfectly Marvelous” is a nice musical display of the fun, loving start to their eventually tumultuous relationship. Rounding out the supporting performances is a great Russell Ward as Ernst, whose inflection and solid presence brings his German political beliefs into the picture with command.

(L to R: Brad Satterwhite (Cliff), Melissa WolfKlain (Sally), Russell Ward (Ernst); Photo Credit: Mark and Tracy Photography)

Simply put, Riette Burdick Fallant’s choreography is hot hot hot! The opening number is a powerhouse, percussive, fierce performance, executed with precision and energy by the Kit Kat Club Boys and Girls. The detailed accents of Miss WolfKlain’s shoulders, turns of the head, and other extremities are clever and adds a sweet touch to the score in “Mein Herr.” Her staging of “Money” not only compliments Mr. Pinto’s talents and vocal ferocity, but showcases the Boys’ and Girls’ acting chops in conjunction with the demanding dances.

(Kit Kat Girls, L to R: Catrina Manahan, Noelani Neal, Gabbi Traub, Melissa WolfKlain (Sally), Rachelle Abbey, Jessica Maxey, Jessica Whittemore, Christine Baker; Photo Credit: Mark and Tracy Photography) 

Now, in this Cabaret, the lights are beautiful, the costumes are beautiful, the set is beautiful, even the orchestra is beautiful! Christian Mejia’s lighting design delivers as much nuanced emotion as the cast in her beautifully mood-setting design. Pam Lampkin’s costumes and Dee Morrissey’s hair/wig design are perfect, complementing the cast’s movement and looks in each scene and number. Steve Nyberg’s scenic design is all-encompassing, giving the orchestra and cast room to play, climb, and dance, all while being framed by a visually appealing unit set. Finally, Joseph Murphy’s musical direction is top-notch; his orchestra brings Kander and Ebb’s score to life with pizazz and pop, highlighted very well in the “Entr’acte” and “Kick Line Number.”

Cabaret won’t be playing the Club forever, so head over to Hillbarn as soon as you possibly can to see this gem of musical theatre while it’s running. This is a trip to the Kit Kat Club you won’t soon forget, and I’m certain the Emcee and company would love to willkommen, bienvenue, welcome you to their cabaret!

#cabaret #hillbarntheatre #bayarea #bayareatheatre #musical #theatre #musicaltheatre #theatrereview

[brothermarc7theatre]

Season Announcement Wednesday

Hello and happy Valentine's Day, y'all!! Instead of chocolates, roses, and cards, I shall be giving you another season announcement. This sweet season is brought to you by one of the Peninsula's best theatre companies. Every time I attend a production here I am even more impressed with the talent, design, and overall artistic enjoyment I feel when leaving the theater. So, without further ado, here is the 2018/2019 season for Hillbarn Theatre!

Shows/Dates: TBA Musical* (August 30th - September 16th); Noises Off (October 11th - 28th); The Christmas Carol (November 29th - December 16th); Sweeney Todd (January 24th, 2019 - February 10th, 2019); Leading Ladies (March 7th - 24th); The Wedding Singer (May 9th - 26th)

*TBA Musical is slated to be announced May 1st, 2018*

Venue/Address: Hillbarn Theatre @ 1285 E. Hillsdale Blvd., Foster City 94404

Website: www.hillbarntheatre.org

Facebook: "Like" them at- Hillbarn Theatre

Twitter: "Follow" them at- HillbarnTheatre

Description: Hillbarn is currently enjoying its 77th year as a theatre company! Though I am only a recent audience member of theirs, I have enjoyed their productions of The 25th Annual Putnam County Spelling Bee, Rumors, Cabaret, Annie, and Peter and the Starcatcher, among others. The quality and entertainment value Hillbarn constantly produces is worthy of your ticket money and time. So, please, check out their website and pick your nights out at Hillbarn. Hope to see you there!

#hillbarntheatre #noisesoff #thechristmascarol #sweeneytodd #leadingladies #theweddingsinger #theatre #musical #musicaltheatre #bayarea #bayareatheatre #fostercity #seasonannouncementwednesday

[brothermarc7theatre]

"Annie" show #687

The sun is shining in Foster City over Hillbarn Theatre’s absolutely charming and fun production of Annie. A little orphan is getting a new family for Christmas while a depressed nation is getting a New Deal. The story is historic, the songs are iconic, and thanks to director Virginia Mustane’s fresh, time-honored take on the Tony-winning classic, Bay Area audiences are sure to have an absolutely lovely time seeing Annie, Daddy Warbucks, and the whole gang.

(Emilly Mannion (Annie) and Athena Hart (Molly); Photo credit: Mark Kitaoka)

Emily Mannion leads this cast as the little redheaded orphan with aplomb and a maturity that not all Annies possess. Miss Mannion kicks off the production with a tenderly sweet “Maybe” as she lullabies a scene-stealing Athena Hart, the smallest of the orphan girls, Molly, to sleep. Miss Mannion then wows the audience with a pitch-perfect, belt-tastic turn at “Tomorrow,” arguably the musical’s best-known tune; not even Gibson, playing Sandy the dog, can upstage the presence and appeal of Miss Mannion’s solo. She continues through the musical forging nuanced and genuine relationships with Miss Hannigan, Oliver Warbucks, and Grace Farrell. By the end, among a cast of stellar performers, Miss Mannion is the cream that rises to the top, making her Annie a top-notch performance.

(L to R: Sarah Armstrong (Grace), Emily Mannion (Annie), and Ric Iverson (Oliver Warbucks); Photo credit: Mark Kitaoka)

Sarah Armstrong dons the classy blonde wig and sensible heels as Warbucks’ secretary, Grace. Miss Armstrong’s glistening vocals shine well in “I Think I’m Gonna Like it Here” and “You Won’t Be an Orphan For Long.” Her motherly warmth towards Miss Mannion is a perfectly calibrated acting performance that is honest and well-developed. Ric Iverson is a commanding Oliver “Daddy” Warbucks, but with a dose of charisma and comedic flare I have never seen in a Warbucks (yes, that includes all three films). Mr. Iverson exudes all the pomp and gravitas needed to portray the multi-billionaire hard-nosed man, but never without the audience believing he could have a tender spot for Annie. Mr. Iverson gloriously belts out in “N.Y.C,” “Why Should I Change a Thing?” and “Something Was Missing.” Mr. Iverson and Miss Mannion team up for a fantastically staged “I Don’t Need Anything But You,” stamping their connection as wonderful adoptive father to orphaned heroine with enduring chemistry.

(L to R: Sarah Thermond (Lily St. Regis), David Blackburn (Rooster), and Annmarie Martin (Miss Hannigan); Photo credit: Mark Kitaoka)

Annmarie Martin, David Blackburn, and Sarah Thermond play the villains Miss Hannigan, Rooster, and Lily St. Regis, respectively. In a daring choice, but one that pays off in droves, Miss Martin steers away from the established foundation of Miss Hannigan, the drunken den mother to the orphan girls, by going a few steps over-the-top, creating a caricature of Hannigan rather than a character. Her vocals are top notch, easily the strongest amongst the cast, as she does justice in the intoxicated, lamenting anthem “Little Girls.” However, when Mr. Blackburn and Miss Thermond enter the scene, the trio of villainous caricatures is perfectly executed, juxtaposing the more steadfast characters of Warbucks, Farrell, and Annie. “Easy Street” is a sexily choreographed romp with the three performers valiantly singing, shimmying, and strutting every ounce of Gennine Harrington’s exciting choreography.

(The Orphan girls; Photo credit: Mark Kitaoka)

Speaking of the choreography, though the hard-working ensemble is subjected to a track that is quite over-choreographed, they sell the box steps and skips very well, especially in “I Think I’m Gonna Like it Here” and “Annie.” However, the vocals are strong, and detailed nuances are plentiful among the small ensemble, creating a delightful musical time in “We’d Like to Thank You, Herbet Hoover” and “You Won’t be an Orphan for Long.” Miss Harrington’s staging of “You’re Never Fully Dressed Without a Smile” is period perfect, allowing the Boylan Sisters to properly pay homage to old time radio singer trios. However, Miss Harrington’s best choreography is executed excellently by the strong orphan girls’ ensemble in a percussively satisfying “Hard Knock Life” and completely fun “You’re Never Full Dressed Without a Smile (reprise)” in Act Two. Miss Harrington’s costume design is a top-notch job that both colors the Warbucks’ mansion staff and musical’s leads very well, but still honors the differences in social and economic classes between the mansion staff, the Hannigans, and the destitute Hooverville residents. In all, Virginia Musanet’s direction is a fluid, apt helming that gives fans of Annie enough to love while still incorporating a modern take to the famous orphan’s story. You can surely bet your bottom dollar that this Annie will entertain, so go get your smile at Hillbarn Theatre and see this show!

Details:

Annie runs through December 17th

Hillbarn Theatre in Foster City

www.hillbarntheatre.org

#annie #anniethemusical #hillbarntheatre #theatre #musical #musicaltheatre #bayarea #bayareatheatre #theatrereview

[brothermarc7theatre]

"Sister Act" show #630

Alan Menken, Glenn Slater, Cheri and Bill Steinkellner, and Douglas Carter Beane have ensured that an audience will never leave a production of Sister Act without feeling happy. Hillbarn Theatre’s current production (which closes this weekend) has the right cast to present the material at a heightened level of theatrical entertainment. Though Mr. Slater’s lyrics tend to air on the cheesy and cringe-worthy side (how many different ways can one redefine “act” in a song?), the Steinkellners capitalize on the Catholic stereotypes without offending or boring the audience. Bill Starr’s direction is excellent at showcasing the extremely talented cast, allowing the clipped-pacing to work in his favor by moving the scenes along so the next solo, dance number, or nun chorus can take the spotlight. In a musical where the nuns shine and the boys steal the show, there’s never a dull moment in this fabulous performance, the most fun I’ve had in an audience in quite some time.

To truly make this show work, the whole cast must commit wholeheartedly to the comedy and few dramatic bites to deliver an energetic performance from first note to final bow. This is achieved flawlessly by Mr. Starr’s cast, beginning with Dawn L. Troupe’s fantastic performance as Dolores Van Cartier. The recurring one-liners, the sterling vocals in “Take Me to Heaven,” “Fabulous, Baby!,” and “Sister Act,” strong presence and comedic timing she exudes makes her a worthy leading actress among the strong cast. Miss Troupe holds her own opposite an equally entertaining and talented Beth Anne Wells Victoria as Mother Superior, head Nun of the church Dolores is thrown into whilst hiding from the murderer, Curtis. Miss Victoria’s comedic timing is second-to none, making every quip and backhanded compliment funny enough that I’m sure God Himself had a chuckle or two. Her classic-sounding vibrato shines well in “Here Within These Walls,” and especially in the beautiful ballad “I Haven’t Got a Prayer.” Living up to her role’s namesake, Miss Victoria embodies the Motherly characteristics and Superior demeanor quite well, making the character’s transition into an understanding and more accepting authority figure all the more affective.

Jessica Maxey, playing postulant Sister Mary Robert, delivers an incredible performance with a voice that certainly reaches the heavens in “Raise Your Voice” and “The Life I Never Led.” Her acting turn is spot on, representing the nuns in how they simply want the choice to do something different that the Nun Vows don’t allow without actually engaging in any sinful behavior. Lindsay Kelliher delivers a great comedic performance as the deadpan Sister Mary Rose.” Her recitation of the Latin “Gloria” hymn in “Raise Your Voice” is a park-and-bark rap that steals the number. Melissa Costa’s infectious enthusiasm as the always-jovial Sister Mary Patrick is a shining performance all show long.

Not just a show for women, the boys make do with what little moments they have. Jim Ambler is a touchingly-shy Eddie, whose breakout number “I Could Be That Guy” stamps his performance as a standout actor. Gary Stanford delivers a hilariously-frightening solo turn with his less-than-intimidating gang backing him up in “When I Find My Baby;” I have never laughed so hard in a song all about domestic abuse (I am not condoning such behavior). Mr. Stanford absolutely nails the comedy and vocal demands with just the right splash of doom in Act Two to make his villainous streak work. Sheraj Ragoobeer (TJ), Sam Nachison (Joey), and Nick Dale (Pablo), as the trio of felonious tough guys, stop the show with the flirtatious Act Two song, “Lady in the Long Black Dress,” complete with Mr. Ambler’s doo-wop-tastic choreography.

Among all of Mr. Ambler’s bouncy, well-suited choreography, Mr. Starr’s astute direction, and William Springhorn, Jr.’s beautiful lighting design is the should-be Act One finale, “Raise Your Voice.” Dare I say this is musical theatre’s modern-day “Ice Cream” moment from The Music Man, when the Quartet first nails that glorious four-part harmony? Yes, yes I do say it. Miss Cartier’s half-Act One struggle to teach the nuns how to sing confidently and proudly comes to fruition in this perfectly written and composed song. The moment the nuns showcase their voices, when they all sing gloriously together, well, it’s nothing short of a theatrical moment that makes the entire audience smile impossibly big and clap as close to the beat as possible, absolutely rapt with joy for these loveable nuns. The direction, the choreography, the talent, and commitment all make Hillbarn Theatre’s Sister Act a show more than deserving of your attendance!

#sisteract #hillbarntheatre #musical #musicaltheatre #bayarea #bayareatheatre #theatrereview

[sistermaryalma-blog]

It’s been about five years since I’ve done a show and in that time I’ve had a huge change in lifestyle, I battled depression, got divorced, changed jobs, lost friends and made incredible new ones. I stayed home for a year, was hospitalized twice and celebrated my 30 year High School reunion.

When I found out that Hillbarn was doing Sister Act, I became desperate to have theatre back in my system. Sister Act was one of Mama’s favorite movies. So, I jumped in and haven’t looked back. The journey is turning out to be life-changing

#hillbarntheatre

[brothermarc7theatre]

"Rumors" show #624

Hillbarn Theatre recently closed Neil Simon’s attempt at a farcical comedy, Rumors. The intimacy of Hillbarn’s stage coupled with Kuo-Hao Lo’s gorgeous scenic design was an instant notch in the suspension-of-disbelief department, needed for the audience to follow the hilarity and “logic” of the play. The commitment and acting chops from the excellent, well-animated cast within the clipped, farcical pacing of Director Hunt Burdick’s staging allowed for the timing and physical comedy bits to take over and bring sense and laughs to Simon’s zingers and dialogue.

Deaths, drinks, and dinner guests comprise this juggernaut from Mr. Simon’s library of plays. Bobbi J. Fagone did a marvelous job as the evening’s hostess, Chris Gorman, driving the opening scene, setting the frantic pace between ensuring that her son’s attempted suicide/homicide? (we never really find out) stays behind closed doors and her wanting a damn cigarette. Playing her bobbled husband, Ken, was a properly anxious, always on the move Craig C. Lewis. Enter the comedy stylings of Linda Piccone as an outstanding Claire Ganz, and whiplashed-suffering husband, Lenny Ganz, played by an excellent James Amato, and you have pair of leading couples who know how to sell the comedy. Both Miss Piccone and Mr. Amato nail the throwaway lines and quips that make this play a laugh-a-line evening every time they graced the stage.

Dan Demers, playing Ernie Cusack, and Kelly Hudson, playing his wife Cookie, had an infallible chemistry that was equal parts loving and entertainingly rambunctious. Both Mr. Demers and Miss Hudson delivered splendid individual performances, nailing the physical comedy, whether it was Cookie crawling across the stage due to a bad back, or Ernie grabbing an object with his still burnt fingers. Other acting highlights came from Bill Davidovich and Nicole Martin as Glenn and Cassie Cooper, respectively. Both Mr. Davidovich and Miss Martin brought in the “normalcy” to the dinner party upon their initial entrance, only to be brought down into the chaos and shenanigans plaguing the should-be happy anniversary party. Mae Heagerty-Matos’ beautiful costume design not only complimented each actor’s personality, but made for a wardrobe palette of lovely color and class. The success of this Simon farce isn’t embedded in the text alone, but is only as strong as its cast and production team; a group which Hillbarn picked perfectly.

#rumors #hillbarntheatre #neilsimon #theatre #bayarea #bayareatheatre #theatrereview

[brothermarc7theatre]

"West Side Story" show #749

Something’s coming, something good. In Hillbarn Theatre’s currently running production of West Side Story, most things are good, especially when examined as parts of the whole. Director Erica Wyman and choreographer Kimberly Harvath infuse their whole-hearted energy and passion into the show, with a dedicated cast of Sharks, Jets, and Adults. What results is a well-sung, finely-danced, and mostly emotionally affecting production.

 (Jeffrey Brian Adams (Tony) and Ana Paula Malagon (Maria); Photo credit: Mark and Tracy Photography)

Jeffrey Brian Adams and Ana Paula Malagon lead the star-crossed love story as Tony and Maria, respectively. Mr. Adams’ delightful “Something’s Coming” is acted with youthful earnestness and ambition in his eyes, as is his prayerful “Maria,” both of which find him in fine voice. Ms. Malagon joins his ever-loving side for a stirring, lovingly dreamy “Tonight.” It is here, and throughout the production’s staging, where Ms. Wyman creates well-motivated stage pictures and movement, complete with creative methods of signaling a moment’s importance. Ms. Malagon, along with a feisty Catherine Traceski as Consuela, leads a marvelously sung and energetic “I Feel Pretty.” The movement and vocals together make this quartet endeavor a fabulous final happy moment before the Maria-Tony drama takes full effect. Mr. Adams and Ms. Malagon share a perfectly calibrated “One Hand, One Heart” where, again, Ms. Wyman’s purpose-driven staging emphasizes the story with beautiful, fluid blocking rather than having to hit certain poses and snapshots. Believe me, there are plenty of nods to the West Side Story we all know via Broadway and film, but Ms. Wyman’s direction has the balance of past and present while still honoring the text.

   (Standing: Catherine Traceski (Consuela) with the Shark Girls; Photo credit: Mark and Tracy Photography)

Ms. Harvath’s choreography, while more simplistic in its demands and flash, leaves no cast member unable to execute the moves. From the opening “Prologue” through “Gee, Officer Krupke,” Ms. Harvath’s choreography, in line with Ms. Wyman staging, finds clever workarounds on the more condensed stage, relying on superb formations in every number. The “Somewhere” ballet, danced with supreme technicality and intoxicating storytelling by Angela Curotto-Pierson and Neil Rushnock, is the production’s truly magical number. Not one foot or hand out of place, the unifying camaraderie between Jets and Sharks is completely relayed to the audience. “Cool” is danced with pizazz when appropriate and the right offbeat attitude needed for it to truly land. Josiah Frampton’s dance turns are good, but it’s in his vocal and Jet leader-demeanor in “Jet Song” where he truly shines. The Jet Boys deliver a fantastically comedic “Gee, Officer Krupke,” executing Ms. Harvath’s choreography with precision and obvious fun. Though the “Dance at the Gym” is a bit lackluster in its choreographic dynamism, for those who are able to truly dance out, the iconic moves from the Robbins’ days are danced with great skill and motivated devotion.

(Kneeling center: Josiah Frampton (Riff) with the Jet Boys; Photo credit: Mark and Tracy Photography)

Jorge Diaz is a stalwart Bernardo, relying on his tools as a gifted physical actor with strong presence; his love towards Maria and Anita is always present, juxtaposing his intimidating disgust towards the Jets with aplomb. Danielle Philapil’s Anita is performed with complete abandon, as she leaves her emotions on the stage in a very vulnerable, splendid performance.  Her leadership of a marvelous “America” along with Danielle Cheiken’s vocally-gifted and enthusiastic Rosalia, is a Shark highlight in song, dance, and acting. Ms. Philapil and Ms. Malagon’s “A Boy Like That/I Have a Love” is a vocal triumph, complete with emotion tugging and hauntingly perfect harmonies.

(Center: Jorge Diaz (Bernardo) and Danielle Philapil (Anita) leading the "Dance at the Gym" with members of the Sharks and Jets; Photo credit: Mark and Tracy Photography) 

Overall, what draws this production away from level of theatrical magic that West Side Story is known for is the pacing of the book scenes. Especially in Act One, the cadence at which many of the principals, sans Mr. Adams, seem to be speaking is such a rapid speed that the scenes become more of a means to get to the next song rather than letting Arthur Laurents' book flesh out his characters and take effect on the audience. What makes the book scene pace so jarring is how consistently well-paced the in-song dialogue is throughout the production. The non-song exposition can get lost at times, sometimes due to focus on who is talking, or lines being lost due to excessive background noise, etc. Again, the plot at this point in Broadway history is probably well-known by the majority of audiences, but there is still a responsibility to ensure all the words, whether dialogue or lyric are heard and understood.

(Jeffrey Brian Adams (Tony) and Ana Paula Malagon (Maria" with Cast members upstage; Photo credit: Mark and Tracy Photography)

Zoe Swenson-Graham’s fight choreography and Pamila Gray’s lighting design are marvelous. Ms. Swenson-Graham’s staging of the opening scene and the “Rumble” is not just outstanding, but is executed with exact intent and intensity. Ms. Gray’s lighting washes and features the aforementioned moments of splendor and dramatics in Ms. Wyman’s staging, creating a mood-centered production where the words and music director Rick Reynolds’top-notch band benefit from the visual impact of the lights and staging.  West Side Story is a play about love, stereotypes, immigrants, and assumptions. Hillbarn Theatre has a capable cast delivering an emotionally filled production, so snap your way on down if you want to catch what all the commotion is about between the Sharks and the Jets.

Details:

West Side Story runs through September 16th

Hillbarn Theatre in Foster City, CA

www.hillbarntheatre.org

#westsidestory #hillbarntheatre #musical #theatre #musicaltheatre #fostercity #bayarea #bayareatheatre #theatrereview

[brothermarc7theatre]

Season Announcement Wednesday

Hello! This will be my last season highlight for two weeks, as I will be cavorting off to Maui on the 6th for my ten-day honeymoon! I will not be posting while in Maui, but shall happily return on the 16th and resume business as usual. For this week, I am excited to share this theatre company's 2018/2019 season for the simple fact that I love attending their shows. They always produce quality work, no matter the genre of play, the cast-size demands, nor tech; they always follow-through on entertaining and impressing. So, here is what Hillbarn Theatre has in store for their next season!

Shows/Dates: West Side Story (August 30th - September 16th); Noises Off (October 11th - 28th); A Christmas Carol (November 29th - December 16th); Sweeney Todd (January 24th, 2019 - February 10th, 2019); Leading Ladies (March 7th - 24th); Mamma Mia! (May 9th - 26th)

Venue/Address: Hillbarn Theatre @ 1285 E. Hillsdale Blvd., Foster City 94404

Website: www.hillbarntheatre.org

Facebook: "Like" them at- Hillbarn Theatre

Twitter: "Follow" them at- @HillbarnTheatre

Description: Hillbarn always rocks, and I make no secret of that. Between their conservatory in the effort of raising the next generation of artists, to the outstanding quality of the main stage productions, you can't go wrong when heading to Foster City for an evening at the theatre. Over the past years, I have enjoyed their productions of 25th Annual Putnam County Spelling Bee, Rumors, Cabaret, Peter and the Starcatcher, Sister Act, and Annie, among others. This upcoming season brings classics and notable titles, both musical and play, to audiences and I hope to see you in the house! Go see a show!!

#hillbarntheatre #westsidestory #noisesoff #achristmascarol #sweeneytodd #leadingladies #mammamia #musical #theatre #musicaltheatre #bayarea #bayareatheatre #seasonannouncementwednesday

[brothermarc7theatre]

"Peter and the Starctacher" show #694

When I first saw Peter and the Starcatcher, it was in its closing week on Broadway. It was a Wednesday matinee performance, curtain going up mere hours after I had landed at JFK. Now, I was in no way too exhausted to enjoy this creative play by Rick Elice and Wayne Baker, but not all the performances were impressive to me. However, I did leave the theater having enjoyed my time, even laughing a bit too hard at several moments. Hillbarn Theatre has just opened a production of Peter and the Starcatcher that now has me appreciating exactly what is so wonderful about the script and why the Broadway show won five Tony Awards. Jeffrey Lo’s direction brings out the best in this clever, charming, fill-in-the-blank prequel to Peter Pan with lots of humor and well-disguised set-ups to nostalgic punchlines. Mr. Lo’s stellar, bit-heavy direction is never tiresome, but elevates the play’s moods with dramatic flair and fun. All this is executed by a top-notch ensemble of performers, resulting in a Peter and the Starcatcher that is pitch-perfect theatrical entertainment.

(Adrienne Kaori Walters (Molly) and Sean Okuniewicz (Boy); Photo credit: Mark and Tracy Photography)

Before they were Peter and Captain Hook, Boy and Black Stache ruled the world of orphanages and ships. Brought together by Molly and her father, Lord Aster, the quest for star stuff becomes the focal plot of this play. Sean Okuniewicz and Adrienne Kaori Walters deliver excellent performances as Boy and Molly, respectively. The pair shares an adventure-based chemistry that works well through Boy’s ongoing wonderment and youthful stubbornness, and Molly’s maturity and leadership. Their Act Two ending scene, when certain intentions are admitted, is a stirring moment that is extremely well-paced and inflected. Will Springhorn, Jr. steals the show as the pinnacle villain, Black Stache. Mr. Springhorn, Jr.’s knack for delivering one-liners is equaled by his adept sense of physical comedy, meeting the role’s demands with flawless gravitas. His leadership of the Act Two opening tune is an enjoyable, hilarious romp with lovely vocals, backed up by a fully committed and funny cast.

(Dan Demers (Smee) and Will Springhorn, Jr. (Black Stache); Photo credit: Mark and Tracy Photography)

Dan Demers delivers a jovial performance as Stache’s bumbling sidekick, Smee. Mr. Demers’ one-two punch delivery opposite Mr. Springhorn, Jr. is not just well-calibrated, but that of a seasoned actor’s intuition for comedic delivery and physical comedy. Lawrence-Michael Arias makes a splash as the Act Two head honcho of Mollusk Island, Fighting Prawn. His delivery of wacky Italian culinary dishes as insults and praises never falls into eye-rolling, but is part of an energetically charged performance. Heather Orth brings warmth, albeit a very comically sound performance, to Molly’s nanny, Mrs. Bumbrake, and doubles as a divine Mermaid in Act Two. Tasi Alabastro offers a great counterpart to Miss Orth’s Bumbrake as flatulent pirate, Alf. Memorable performances come from an animatedly fun David Blackburn as Slank, and the wonderfully enthusiastic comedic duo of Drew Reitz and Wes Gabrillo as Prentiss and Ted.

  (Lawrence Michael-Arias (Fighting Prawn), Sean Okuniewicz (Boy), Wes Gabrillo (Ted), and Drew Reitz (Prentiss); Photo Credit: Mark and Tracy Photography)

The success of a good Peter and the Starcatcher relies heavily on the technical magic, an area where this Hillbarn team has excelled. Christopher Fitzer’s delicious scenic design is a jungle gym of possibilities that is utilized extremely well with visually-engaging staging by Mr. Lo and perfectly animated choreography by Lee Ann Payne. Michael Palumbo’s exquisite lighting design captures both the magic of the play with mood-setting shadows and illuminating dimness to draw attention to Mr. Lo’s more intimate scenes in Act Two. This production has the sparkle and dazzle needed for a top-notch Peter and the Starcatcher, so I urge you to head on over to Hillbarn and join the adventure before it’s too late!

Details:

Peter and the Starcatcher runs through February 4th

Hillbarn Theatre in Foster City

www.hillbarntheatre.org

#peterandthestarcatcher #hillbarntheatre #theatre #bayarea #bayareatheatre #theatrereview