Holiday cheer in SF Playhouse's sparkling She Loves Me
p>The 1963 musical She Loves Me is just a little gem of a musical – full of melody and charm and camaraderie and romance. The recent Broadway revival made a case for the show as sturdy, funny showcase for actors who can perfectly balance realism and musical comedy in a way that makes the show feel intimate and lived in even while it traffics in song and dance.
Just in time for the holidays, San Francisco Playhouse polishes this gem to a sparkling shine.
Tech & show tunes! SOMA musical skewers Silicon Valley
Having lived in San Francisco for 26 years now, it's' sad to say that everything I know about Silicon Valley comes not from firsthand experience of the world outside my doorstep but from the HBO show "Silicon Valley." Based on that show and on the genial South of Market: The Musical, I would venture to say that the best way to deal with that world is through a satirical lens. My impression is that Silicon Valley life/work is so wacky and self-involved it's basically satire that writes itself.
Hello, love: Hedwig slams her Angry Inch in our faces
Hedwig and the Angry Inch launches its first Broadway national tour with the power of a barbecue fired with jet fuel. An explosion of rock, lights, humor and heart, this show is a rarity among rarities: a quirky late '90s off-Broadway hit that inspired a devoted cult following that seemingly peaked with its big-screen adaptation in 2001. Over the years, however, Hedwig's tragic tale of rejection and transformation has traveled around the world and created an international league of Heheads.
Local kids make good, rock out in Hedwig
The coolness of Lena Hall and Darren Criss relates directly to the city of their birth. The two performers, one a Tony Award-winning Broadway star and the other a former object of "Glee" affection, are headlining the Broadway tour of the raging rock musical Hedwig and the Angry Inch, which begins Sunday, Oct. 2 at the Golden Gate Theatre in their hometown, San Francisco.
Grins, gams and gumshoes in SF Playhouse Angels
It's real vs. reel in the San Francisco Playhouse summer musical, City of Angels, a delightfully jazzy take on film noir, greed the constant battle between commerce and art.
This 1989 Broadway hit, with a dazzling score by the great Cy Coleman (music) and David Zippel (lyrics) and a genuinely funny book by Larry Gelbart is a real treat, and it's nice to see that SF Playhouse's musicals just get stronger and stronger.
Ray of Light's Party is wild and winsome
San Francisco has known its share of wild parties, but the particular bit of revelry now happening at the Victoria Theatre under the auspices of Ray of Light theatre is of particular interest. Once again, this enterprising company ignites the local musical theater scene with remarkable energy and talent, and their production of The Wild Party imbues a flawed show with undeniable passion and pizazz.
Drag rock nirvana in Beyond the Valley of the Ultra Showgirls
Once the full-out rock song "Flesh Popsicle" has reached its climax, there can be no doubt: Above and Beyond the Valley of the Ultra Showgirls is a bona fide rock musical performed by a raucous five-piece band (that includes a one-woman horn section!) and a raging cast of women, men and men-as-women that would send North Carolinians into fits of moral paralysis. In other words, this is an original drag rock musical that kicks (and shakes) some serious booty.
It should come as no surprise that this two-hour slice of "broad" comedy should come from the pen of D'Arcy Drollinger...
Enchantment, off-key comedy in revised Cinderella
If audiences get confused by this abundance of Cinderella that's completely understandable, especially if they assume that the Rodgers and Hammerstein version has something to do with Disney. Any confusion will only be exacerbated by the 2013 Broadway production, which involved some major revision in the book by Douglas Carter Beane and a production design that looks like it took inspiration from Disney's Beauty and the Beast.
This Lion is king at ACT
If Benjamin Scheuer were simply a musical act, I'd happily go see him in concert and buy his albums. his voice can go from sweet to gravelly, aggressive to tender, rollicking to romantic even within the space of a single song, and the same can be said for his guitar playing. He puts himself out there in his music, and in addition to being aurally pleasing, his music is also deeply satisfying.
But Scheuer is more than a concert act. He's also a playwright and actor. So his version of a concert is the one-man autobiographical musical The Lion now at American Conservatory Theater's Strand Theater.
Slick moves and a cornered Baby in live Dirty Dancing
Oh, help. Someone put Baby in a corner and she can't get out! The corner is actually the stage of the Golden Gate Theatre, where, as part of the SHN season, she is appearing in Dirty Dancing – The Classic Story on Stage, a reasonably entertaining show that feels less like a national touring production and more like a slick, overly faithful film re-creation you might find in a theme park where the loyal fans come to pay homage and wallow in nostalgia.
Bright, shiny Christmas Story musical delights
I remember seeing A Christmas Story in the movie theater in 1983 (I was in high school), and since then, I've probably seen it 50 times or so (in whole or in part) on TV. It helps that TBS has been known to show it in constant rotation for days. So I have affection for the movie and for Jean Shepherd the man who created it (and narrated the movie is wonderfully droll, comforting voice). It's no surprise that this beloved Story has been adapted for the stage as a play (by Philip Grecian, which popped up at the now-extinct San Jose Repertory Theatre a few times) and now as a big old Broadway-style musical.
Much to love in Moon's charming Scrooge
Just when you thought there was not a breath of life left in the seasonal cash cow known as A Christmas Carol, along comes Scrooge in Love! to remind us that there's still a lot of life and heart and holiday spirit left in old Ebenezer Scrooge.
San Francisco's venerable 42nd Street Moon, formed 23 years ago to present neglected or forgotten musicals, has been shaking things up of late, with the company's latest coup being the world premiere of this sequel to Dickens' Carol with music by Larry Grossman, lyrics by Kellen Blair and a book by Duane Poole. It's an absolute gem of a musical – fresh, clever, spirited and a welcome addition to the canon of holiday perennials.
Merry murderous mayhem in musical Gentleman's Guide
You really do root for the murderer in the delightful A Gentleman's Guide to Love & Murder. That may seem an insensitive scene in these brutal, terrifying days we're living in, but the reality is that this musical comedy (based on a novel by Roy Horniman, which in turn inspired the wonderful 1949 movie Kind Hearts and Coronets) is all about karma. What you put into the world comes back to you.
If/Then? No/Thanks.
If/Then is not a musical I like much. I saw it on Broadway because I was enthusiastic about creators Tom Kitt and Brian Yorkey after their powerhouse effort on Next to Normal (a show that I had problems with but admired). My reaction – meh – was very much the same when I saw the show in its touring incarnation featuring much of the original cast, including star Idina Menzel.
There are some pretty melodies, good songs and affecting moments in the show, primarily courtesy of an excellent cast working hard to make something of this rather mushy tale.
42nd Street Moon hits the high seas with Coward's Sail Away
Sail Away, the last musical for which the great Noël Coward wrote the whole shebang (book, music, lyrics), had two things going for it when it premiered on Broadway in 1961. First was the customary Coward wit, which shone in numbers like "The Passenger's Always Right" and "Why Do the Wrong People Travel?" And then there was the show's star, Elaine Stritch for whom Coward created the role of cruise hostess Mimi Paragon. Any show was better for having Stritch in it (Goldilocks anyone?), and the combination of her personality and Coward's charm should have proven irresistible.
Sweet transvestite! Ray of Light rocks Rocky Horror
Any prospect of a live Rocky Horror Show makes us shiver with antici................pation, And the good news is this Rocky is a rollicking ride through one of the most beloved cult musicals of all time.
Jason Hoover, Ray of Light's artistic director, is at the helm of this full-scale production, which Ray of Light last produced in 2008 when Hoover...
Curran brilliance continues with stunning Ghost Quartet
Before I rhapsodize about the incredible Ghost Quartet now at the Curran Theatre as part of the Curran: Under Construction series, can I just say how extraordinary this series has been so far? This is the third show following The Events (review here) and The Object Lesson (review here), and so far, producer Carole Shorenstein Hays is batting a million (I don't know sports).
Hypocrites' Pirates sets sail at Berkeley Rep
The Hypocrites' Pirates of Penzance is one part Yo ho! and one part Yo, ho! Which is to say, this is not your great-grandparents' Gilbert and Sullivan, and what a blessed relief that is. No wonder Berkeley Repertory Theatre seized the opportunity to present this Pirates as part of its season.
Not that there's anything wrong with G&S, but I have been tortured by Pirates and Mikados in the past and...
Performances make Dogfight musical sing
There are two very good reasons to see the musical Dogfight at San Francisco Playhouse. The 2012 stage adaptation of the 1991 movie starring River Phoenix and Lili Taylor has its moments (mostly thanks to the emotional score by Benj Pasek and Justin Paul), but what really makes it connect are the lead performances by Jeffrey Brian Adams as a U.S. Marine with more depth under his gruff military exterior than even he may realize and Caitlin Brooke as a San Francisco waitress/folk singer who is smarter, stronger and more compassionate than anyone the Marine has ever known (or probably ever will know).
Charm and romance bubble up in Berkeley Rep's Amélie
In this age of illusory connection, a story of isolation told through music seems more necessary than ever. Connection with the world and people in it is a central theme of Amélie, the whimsical 2001 film, and it's even more pronounced in the world-premiere musical version of the story now at Berkeley Repertory Theatre's Roda Theatre.
The whimsy has been turned down (not altogether), but the charm and romance have increased ...