Displaying items by tag: Rodgers and Hammerstein

For most of us—those reviewing theater or those thinking about attending or just about anyone, I guess—Rodgers and Hammerstein’s The Sound of Music is omnipresent. Just a part of our existence. The original soundtrack in everyone’s grandmother’s vinyl collection, with all of those songs. The 1960s film version that once played on television annually, a family event (at least for mine). And all of the attached memories. It’s like The Wizard of Oz or The Bible or The Beatles. It just is and always has been, and we all have some kind of connection to it.

So, with that in mind, I was both excited to see the Marriott Theater’s new production of The Sound of Music, but also wondered how anyone might put on a production that can compete with memory, with perfection, with Julie Andrews. But, like so many other wonderful Marriott shows, Nick Bowling’s The Sound of Music delights.

The level of talent on the stage becomes clear right from the start. Nuns from an Austrian abbey parade down the theater-in-the-round’s four aisles with candles, then launch into the show’s opening “Preludium.” With all the beloved classic songs to come, this is still the moment of the show that stuck with me most—the cast throws down the gauntlet, announcing they can sing, and do they ever. I got chills from the acapella chorus. I’ve got chills remembering it as I type.

And then we meet Maria. While no Julie Andrews, Marriott newcomer Addie Morales doesn’t need to be. She’s herself, and she charms as soon as the spotlight first hits her. A lovely singer who shows off her range, it’s her overall being that shines from the stage just as much as her voice. Again, while all her own woman, Morales shares Andrews’ ability to draw the eye and ear whenever she’s onstage.

But the rest of the cast, those not in the nunnery, are every bit as good. The children, who I worried might be hamming or annoying, were all very genuine. Campbell Krausen, who plays 16-year-old Leisl, not only shows awkward teenage chemistry with Emmet Smith’s Rolf, she really seems to encourage and mother-hen her onstage siblings. Brody Tyner as Friedrich has not just astonishing vocal chops, but accompanies on guitar on a couple numbers. Erik Hellman plays Captain Georg Von Trapp, family patriarch with a rough edge that eventually softens.

Marriott’s ensemble, as always, is consummate. Heidi Kettenring and Rob Lindley really work as the two on-the-fence Nazis who provide a bit of drama and plot to this story that’s really about all those songs. And those songs... Again, the entire cast can sing. And they’re made all the better by conductor Patti Garwood’s orchestra. And, if you want to realize just what songs they are, what a show this is, and what a wonderful production that The Marriott Theatre is presenting of The Sound of Music, find out for yourself, now through June 5 in Lincolnshire.

“South Pacific” is a timeless Rodgers and Hammerstein's musical full of wonderful romance and social commentary about racism that is important for young and old to experience today and I was thoroughly impressed with Drury Lane’s warm, happy, romantic interpretation of the classic show. It is the latest of shows to run at the theatre and perhaps the best I can remember in recent history.

Taking place on a South Pacific island during World War II, the plot revolves around Ensign Nellie Forbush, an American nurse, who falls in love with a French plantation owner, who is middle-aged and quite a bit older than her. It is when she discovers Emile de Becque’s children from his late, Asian wife, that she struggles with her own prejudices. As the island hosts American naval troops, nurses and its own natives, another love story develops between the handsome, young Lieutenant Joseph Cable and a beautiful Tonkinese woman, Liat. But he, too, fears the social costs.

Each and every voice in this production is outstanding. Robert Cuccioli as Emile de Becque really played the role nicely with a good sense of humor and his vocal numbers soared with great feeling and the experience of a seasoned pro bringing the entire audience under the spell of new and intoxicating island romance. Cuccioli has a wonderful, rich operatic voice and is very likable in the role, leaving us little doubt to his ability as a talented vocalist with his final, powerful note of “Emile’s Terrace” to close out Act I.

Samantha Hill as the down to earth “hick” “Ensign Nellie Forbush” is a pleasure to watch. Hill also has a gifted voice and her enthusiastic, good natured portrayal of Nellie falling in love with De Becque during “(I’m in Love with) A Wonderful Guy” was exactly the type of joyful, naïve, and honest portrayal of true love and excitement that the play needs to counter the heavy nature of the tragedy of war.

The musical, well-directed by Victor Malana Maog, also includes perhaps one of the strongest supporting casts in any production of “South Pacific” I have ever seen. Yvonne Strumecki is absolutely stunning as “Bloody Mary”.  Strumecki’s vocals are rich and impressive and she is able to both hit the high notes and get the laughs in this role, which can be heavy handed if not approached just the way she did, with more warmth than anger. Strumecki’s voice is simply beautiful during my favorite song from the show, “Bali Hai,” and both desperate and wry during “Happy Talk,” as she tries to talk the Lt. Joseph Cable into staying with her beautiful native daughter, Liat.

As Lieutenant Joseph Cable, Austin Colby stuns the audience with his rendition of “Younger then Springtime,” his voice angelic and finely finessed – literally a show stopping moment.

In this well-cast classic, the ensemble of nurses and soldiers and officers are excellent singers and dancers - really drawing laughs from the audience and getting them involved during the adorable numbers “There is Nothing Like a Dame” and “I'm In Love with a Wonderful Guy”. Matt Crowle as Luther Billis is exceptional, displaying flawless comic timing, perhaps harnessing a bit from the school Art Carney.

The set design is a delicious tropical island with low hanging palm trees that rotate around the stage per scene, soft pools of light breaking through the leaves, really placing the audience in the Southern Pacific. The set was a delight to behold and immediately places the entire audience right in the middle of the warm, steamy heat and action from the moment the play switched from the impressive interior of de Becque’s ritzy home.

Overall, the cast is superb and meshes incredibly well with each other while the orchestra provides us with a dreamy soundtrack that along with the imaginative set, puts us in a tropical paradise.
“South Pacific” is almost in a category by itself. Few other musicals actually open with the leads falling in love at first sight to magical, unmatched quintessential lyrics like:

Some enchanted evening
When you find your true love,
When you feel her call you
Across a crowded room,
Then fly to her side,
And make her your own
Or all through your life you
May dream all alone
                                            
I highly recommend seeing Drury Lane’s production of “South Pacific” for the many wonderful vocal performances of spectacular songs like “Some Enchanted Evening”, “Bali Hai” and “Younger than Springtime” and also for the wonderfully warm, inviting and joyful interpretation of this enduring classic about true love.

“South Pacific” is being performed at Drury Lane through June 17th. For more show information visit www.DruryLaneTheatre.com.

Every time I think the talented cast of players and directors performing at Marriott Theatre’s intimate theatre in the round have done the very best they can, they top themselves again.

This production of the deliciously classic Rodgers and Hammerstein musical about a spunky, intelligent teacher who is recruited from England to teach the children of an arrogant but struggling King of Siam directed with precision and compassion by Nick Bowles was hands down the finest, most soaring yet intimate production of “The King and I” that I have seen in years.

Heidi Kettenring as the show’s star in Anna has more than a fine singing voice for the piece. Kettenring infuses the character with humor, strength, compassion and a feminist fury which reaches its peak of expression in the hilarious and still modern song, “Shall I Tell You What I Think of You?”

“All 
to remind you of your royalty,
I find a most disgusting exhibition.
I wouldn't ask a Siamese cat
to demonstrate his loyalty
by taking this ridiculous position
how would you like it if you were a man
playing the part of a toad.
Crawling around on your elbows and knees.
Eating the dust of the road!...”

New York actor Andrew Ramcharan Guilarte, does a wonderful, sexy and layered performance as the King, never falling into predictable caricature.  Guillarte is a little bit younger than the King is normally played and it makes perfect sense that his character is both falling in love with the educated and mature teacher Anna and also confused by his growing sense of bewilderment at her grasp of political situations that improve the destiny of his own family and finally, his entire Kingdom.

The romantic and sexual chemistry between Kettenring and Guillarte is absolutely dynamite and had the entire audience breathlessly watching each explosive scene between this talented pair.

There is a very funny, yet revealing scene where the King is insisting that Anna’s head never be higher than his own. The King asks Anna to take dictation for an important letter to a visiting dignitary and sits down on the floor. When Anna finally sits down on the floor, the King moves to recline on one elbow and so forth till they are both completely reclining on the floor. Although, it is really a nonsensical demonstration of his manly power, Kettenring and Guillarte manage to make it a funny and sexy “shades of gray” type dance between two people who are each unaware they are falling in love with the other.

I am happy to see that almost all of the roles for the children and wives and concubines of Siam were filled by actors with a variety of different ethnicities. The children in this production are completely delightful to watch from beginning to end. Matthew Uzarraga, who plays the boy who would be King, does a fantastic job bringing his little tyrannical boy to life and when at the end of the show he pronounces that “excessive bowing to the King like a toad” is now forbidden, you really believe this child has learned something major from his now beloved teacher and friend Anna.

Kristen Choi as Lady Thiang knocks it out of the park with her stunning rendition of “Something Wonderful” and Joseph Anthony Foranda is a wise, organic presence. Shirtless like the King, he pulls off the role with quiet sensuality and power as the aging prime minister to the King Kralahome.

Nancy Missimi went all out with the costumes in this piece and I most enjoyed her costumes on the wives, children and concubines of the King. Their dance numbers were wonderfully choreographed by Tommy Rapley and together with Ms. Missimi’s costumes and Tom Ryan's royally glowing set design, the dance numbers reminded me of barefoot dancing flowers, like multicolored orchids and floating water lilies come to life onstage.

I get totally spoiled when seeing a well performed Rodgers and Hammerstein musical because the lyrics for every song are so unique and memorable. “We Kiss in a Shadow” was beautifully sung by Megan Masako Haley as the King’s unwilling young captive, Tuptim, who is in love with another.

“To kiss in the sunlight
and say to the sky:
"Behold and believe what you see!
Behold how my lover loves me!"

And Devin Law as Lun Tha , Tuptim’s secret lover, also performed the classic “I Have Dreamed” to perfection.

“I have dreamed that your arms are lovely
I have dreamed what a joy you'll be
I have dreamed every word you whisper

When you're close, close to me
how you look in the glow of evening
I have dreamed and enjoyed the view

In these dreams, I've loved you so
That by now I think, I know
what it's like to be loved by you
I will love being loved by you”

I can’t speak highly enough about how all of the elements in this production came together to create such an educational, yet romantic,  touching and funny evening of pure  theatrical delight, including the  fantastic, organic choreography by Tommy Rapley and Ryan T. Nelson’s exquisitely detailed musical direction.

Take your children and your grandparents, or even your first date to ‘The King and I” at The Marriott Theatre in Lincolnshire with confidence that you will all equally enjoy a magical night of classic entertainment performed at peak quality for modern times.

For more show information, visit www.marriotttheatre.com.