Family Fun Under the Sea with ‘The Little Mermaid’

SRJC Theatre Arts - The Little Mermaid

Ariel (Ellie Condello) longs to be where the people are. Photo by Tom Chown.

Review of Disney’s The Little Mermaid
Book by Doug Wright
Music by Alan Menken
Lyrics by Howard Ashman and Glenn Slater
Directed by John Shillington
Music Direction by Janis Dunson Wilson
Choreography by Alyce Finwall

For tickets / schedule :
Santa Rosa Junior College Theatre Arts
Santa Rosa, CA
Maria Carrillo High School Theatre
Tickets: $12-22

RUN: November 17 – December 3, 2017
RATING: 3.5 of 5 stars

(November 18, 2017)


This charming musical is oriented for children, with interactive elements such as cue cards for “boo” when the sea witch appears, brightly costumed characters dancing through the audience, and cheerful dialogue aimed directly at the audience. Its flashy colors, sparkling crowns, and animated projections keep the little ones entertained during their undersea adventure.

Disney’s The Little Mermaid is loosely inspired by the Hans Christian Andersen story, revised to include the relationship between Ariel and her father, King Triton, as the reason for her desperate plea to Ursula for legs to visit the world above. It adds a happily ever after ending, where she and the prince sail off into the sunset.

SRJC Theatre Arts - The Little Mermaid

Sebastian (Jordan Diomandé) tries to convince Ariel (Ellie Condello) to stay in her world. Photo by Tom Chown.

Ellie Condello’s Ariel is wistfully enthusiastic with a spectacular voice; I can understand why the sea witch covets it. Her gestures and timid dancing when reaching shore, unable to speak, read well throughout the large auditorium. Cruel and power-hungry Ursula (Sandy Brown) strutted through “Poor Unfortunate Souls” with such gusto that I heard snatches of it being hummed during intermission. Her hoopskirt gown with waving tentacles was created by Maryanne Scozzari, whose glittering costume designs were a spectacle to behold.

The vocal quality dropped with Prince Eric (Armand Beikzadeh) and King Tritan (Vince Bertsch). Their characterizations when not singing showed attention to detail and emotional investment, which balanced the performances overall.

Jordan Diomandé’s Sebastian is a comedic treat during the dinner sequence, scuttling under tables and dashing away from the chef. “Under the Sea” is a toe-tapper, with his melodic lead and the energetic orchestra conducted by Janis Dunson Wilson. Grace Reid (Flotsam) and Roberto Pérez Kempton (Jetsam) embody the eels with undulating hissing and expressive physicality.

The Little Mermaid will delight young children, immersing them in a vibrant undersea universe of dancing fish, foam, and mermaids. Feel the soaring yearning of Ariel’s “Part of Your World” and smile at the romantic shenanigans in “Kiss the Girl” that are timeless classics from Disney’s 1989 film, brought to life on stage.

Escape Into a World of Laughter With ‘Spamalot’

Review of Monty Python’s Spamalot
Book & Lyrics by Eric Idle
Music by John Du Prez and Eric Idle
Directed by David L. Yen
Music Direction by Lucas Sherman
Choreography by Michella Snider

For tickets / schedule :
Spreckels Performing Arts Center
Rohnert Park, CA
Spreckels Theatre Company
Tickets: $28

RUN: October 13-29, 2017
RATING: 5 of 5 stars

(October 14, 2017)

King Arthur (Robert Nelson) and Patsy (Ted Smith) celebrate with the knights of Camelot. Photo by Jennifer Griego.

Sonoma County continues to struggle with heavy smoke, wildfires and devastation. Cast member Riz Gross was taken to the hospital with burns and others have been evacuated from their homes during the initial outbreak on Monday. Despite the situation, director David L. Yen received enthusiastic notes that the cast and crew were determined to perform and bring this lighthearted, fun play to a grieving community. The lobby atmosphere was appreciative of the effort; it was the first time I had properly smiled in days. Sometimes we need a dose of silliness in our lives, and Spreckels Theatre Company’s courageous decision to move forward with the production gives just that.

Spamalot is a musical version of the popular film Monty Python and the Holy Grail, combined with additional material. King Arthur and his faithful servant, Patsy, scour the eccentric countryside for worthy knights to join him at Camelot, which is a glittering Las Vegas lounge, complete with feather clad showgirls and a disco ball. They receive a quest from God to discover the Holy Grail, although some knights are confused by how an all-knowing being managed to lose a cup—couldn’t he just buy another one? They set off around the world, rescuing a gay prince from his tower, where an evil father prevents him from singing, and looking for a shrubbery demanded by the Knights of Ni. The quest becomes so zany and ridiculous that The Lady of the Lake appears angrily to demand “Whatever Happened to My Part” during a scene change. The laugh-a-minute show can be juvenile in its humor, but there is an underlying sense of hope. In an appropriate addition, Spreckels projected the lyrics to “Always Look on the Bright Side of Life” for an audience sing-along after the performance.

The Lady of the Lake (Shannon Rider) and ensemble. Photo by Jennifer Griego.

Shannon Rider has magnificent stage presence as The Lady of the Lake. She sweeps in with dazzling gowns to belt out a wide range of songs, including the gospel parody “Find Your Grail” where she deliberately upstages poor King Arthur, who slumps off to the back row chorus, unable to compete. Robert Nelson keeps a straight face through the mayhem as a glum, pompous King Arthur, and has quite the dance moves during the glittering Camelot routine. Choreographer Michella Snider creates movement in keeping with the theme, going for jokes and exaggerated parodies of classic dance styles. Ted Smith’s Patsy wanders behind his king, armed with snarky remarks and a massive backpack.

Gathering a veteran group of local comedic actors as the knights, Zane Walters, Craig Bainbridge, Peter Rogers, and David Gonzalez are brilliant. Walter’s rants about the working class are perfectly timed, and Gonzalez as his mother minces and flirts shamelessly with King Arthur. The French Taunter, Thomas Yen, spouts gibberish insults with spitting accuracy, gathering enthusiastic applause from the audience after delivering the famous line “your father smelt of elderberries!”

The ensemble swaps roles and costumes with astounding speed, often for one liner jokes, like the monks passing through chanting “Pie Iesu domine. Dona eis requiem” while hitting themselves with prayer books. A colorful group of dancers arrives from Finland, after the Historian mumbles the word “England” during his introduction, causing the mistake. A quaint set design by Elizabeth Bazzano and Eddy Hansen includes mobile platforms and trees, with enjoyably appropriate costume designs by Sonja Roberts and lighting with a mind of its own, created by Hansen.

Patsy (Ted Smith), King Arthur (Robert Nelson), and The Lady of the Lake (Shannon Rider) realize that the show must end with a wedding. Photo by Jennifer Griego.

Set aside the fear and uncertainty surrounding our county with this nonsensical Monty Python play where the most terrifying creature is a tiny white rabbit puppet, and everything works out in the end for the gallant knights—even Sir Robin who ran, ran away. As artistic director Sheri Lee Miller wrote in the playbill, “in this complex world of ours, we also need to laugh.” With what the community is facing, those words have become especially true. The enthusiastic number “I’m Not Dead Yet” captures the spirit of Sonoma County. We will stand strong, and deserve to have a few hours to laugh with each other. Spreckels Theatre Company has provided an opportunity to gather for an exciting evening with the silly knights of Spamalot.

Spunky ‘Cabaret’ from Ross Valley Players

Review of Cabaret
By Joe Masteroff
Music & Lyrics by John Kander & Fred Ebb

Directed by James Dunn
Musical Direction by Debra Chambliss
Choreography by Sandra Tanner

For tickets / schedule :
Marin Art & Garden Center Barn Theatre
Ross, CA
Ross Valley Players
Tickets: $27, $16 under 24

RUN: September 21 – October 15, 2017
Extended through October 22

RATING: 4 of 5 stars

(September 22, 2017)

Cabaret by Ross Valley Players

Lulu (Jannely Calmell), Texas (Mia Camera), Sally Bowles (Emily Radosevich), Frenchie (Cindy Head) and Rosie (Alexa Sakellariou) warn not to tell mama! Photo by Robin Jackson.

I find revival productions exciting when the audience is abuzz with discussion about its connection to current news, and although Cabaret has a lighthearted, sexy side to it, the prevailing topic that resulted was rather heavy. The story takes place in Berlin from 1929-1930; its festive atmosphere evaporates under the Nazi Party, and otherwise ordinary German citizens are drawn toward anti-Semitic values. It starts with small choices—blaming them for having too much wealth, of not being properly German, and tossing bricks through their windows. In the resulting fervor, relationships are ripped apart, and characters find themselves forced to take a stand, even if that decision is to ignore what is going on. When Nazi sympathizers join together in a rousing “Tomorrow Belongs to Me” the audience is left stunned, unable to applaud the blatant swastika.

Cabaret unfolds in a blind lashing out against those of Jewish descent. Sweet, kind-hearted neighbors like Herr Schultz are treated as enemies, and women are taunted in song. “She’s clever; she’s smart; she reads music. If you could see her through my eyes, she wouldn’t look Jewish at all.” The line is controversial enough to have been removed in some productions, but the shock value resonates with our treatment of today’s immigrants and the beautiful tapestry of backgrounds that form modern America. Fräulein Schneider (Maxine Sattizahn), a spinster who discovers love with Herr Schulz (Ian Swift) feels the struggle acutely, and she explains her plight in a heart-wrenching “What Would You Do?”

Cabaret - Ross Valley Players

Rosie (Alexa Sakellariou), Texas (Mia Camera), Emcee (Erik Batz), Frenchie (Cindy Head), and Lulu (Jannely Calmell) enjoying their moment in the spotlight. Photo by Robin Jackson.

Caught up in the glittering stage of a local cabaret, Sally Bowles avoids the entire situation, preferring to keep the harsh reality at bay with flirtatious songs. Emily Radosevich may not be a dancer, but she is able to infuse emotion into her singing without loss of voice quality. Nearly in tears, she forces a smile for the title song in a bitter-sweet farewell. The sparks do not fly with her partner, Izaak Heath as Cliff Bradshaw. While they are excellent individually, it is difficult to imagine them as lovers, and their interactions appear to be based on convenience, rather than attraction. This may have been intentional, since the production accentuated Bradshaw’s homosexual tendencies and the pressure to avoid giving into them. If so, it is a fascinating twist.

The floor show snippets from Kit Kat Klub’s ensemble are adorable, although slightly stiff, which could have been due to the deliciously sensual, but restricting corset costumes by Michael Berg. Exuberant Emcee Erik Batz gives an entertaining performance with a powerful conclusion and was received with well-deserved enthusiasm. Musical director and pianist Debra Chambliss, Mike Evans (drums), and Jonathan Bretan (bass) balanced with the singers, rather than overwhelming them, and kept the pacing energetic.

This opportune staging of Cabaret is compelling in its depiction of Germany on the brink of World War II, with diverting interludes from the Kit Kat Klub and an excellent cast. Director James Dunn keeps it teetering on the edge between a comedy and thoughtful drama, allowing the audience to consider serious questions while having an enjoyable evening.

« Older Entries Newer Entries »