#sanfranciscotheatre

[brothermarc7theatre]

“Anastasia” show #803

For many, seeing Anastasia is a journey to the past, reliving the music and childhood memories. For others, it’s a completely new experience. Whether you’re a fan of the animated film and Oscar-nominated score, or have no clue what Anastasia is about, the current Broadway tour is a ravishing, beautiful adaptation. Darko Tresnjak’s direction gives just the right touch of Russian and Parisian influence while delivering an enthralling sense of musicality. Terrence McNally’s book does more than just connect the stellar score by Stephen Flaherty and Lynn Ahrens, but also develops the characters and plot with intrigue and nuanced personality. But all stars pointed in the direction of understudy Taylor Quick, donning the crown of Anya the matinee I saw before the tour left its San Francisco stay. Ms. Quick’s crystal-like voice, youthful disposition, and acting chops conveyed an Anya of charisma, allure, and honesty in an absolutely sterling performance.

The acting company is just part of what makes this touring production worth the price of admission. Linda Cho’s stellar costume design is altogether historical, colorful, and bright with character. The suits, garb, and dresses create stage pictures and dance numbers filled with beautiful images and schemes. Alexander Dodge’s set design pairs well with Aaron Rhyne’s efficient projection design to fluidly transition from locale to locale, all the while allowing for Mr. Tresnjak’s staging and Peggy Hickey’s choreography to continually impress and tell the story. Ms. Quick delivers an Anya that is illuminating and gorgeous in timbre, namely in her turns at “In My Dreams,” “A Secret She Kept,” and in a dynamite “Journey to the Past.”

Ms. Quick’s chemistry opposite a charmingly rugged Stephen Brower, playing Dmitry, is instant and alluring. Mr. Brower helps his own cause with a smooth, powerfully voiced “My Petersburg” and delivers a fantastic duet with Ms. Quick in “In a Crowd of Thousands.” He gives a great partner-in-comedy performance alongside Edward Staudenmayer’s Vlad. Mr. Staudenmayer’s bellowing baritone is perfectly suited for the score, and his comedic chops are tops in “Learn to do It” with Ms. Quick and Mr. Brower, superb in the “Traveling Sequence,” and show stopping in “Meant to Be.” Tari Kelly delivers a scene-stealing, laugh-a-minute performance as Countess Lily, leading an exhausting romp in “Land of Yesterday.” Joy Franz and Jason Michael Evans give wonderful supporting performances as Dowager Empress and Gleb, respectively; Ms. Franz with her elderly physicality and journey from jaded royalty to accepting grandmother, and Mr. Evans in a complicated balance of villainous intent and deep-seated daddy issues. Mr. Evans’ stirring bari-tenor is on fine display in “The Rumors Never End” and “Still.”

In all, Anastasia is a completely enjoyable production, one that tells the story of a princess trying to find out who she really is. The love, the style, and the nostalgia are all present, applying to audience interest of all kinds. Though it has left San Francisco, do keep an eye out to see if Anya and gang are headed to a castle near you!

[sikegeist]

Story-time. 🐾💅🐾💅🐾💅 Speaking of stories, I’ll be sharing more scantily private bits in a storytelling series coming up this June in the city. More info #comingsoon ! 🚨😽🚨😽🚨😽🚨😽🚨😽 #autoethnography #performanceart #liveart #performanceofself #bodyart #storytelling #sanfranciscotheatre #bayareatheatre #sfarts https://www.instagram.com/p/BxIR7_AF_Oa/?igshid=e086kkdihtdj

[sexplorationwithmonika]

Watching "The Daughters" #LiveTheatre the 1st #LesbianBar in #SanFrancisco! #SanFranciscoTheatre #LGBTHistory #QueerTheatre #QueerRealtor (at Children's Creativity Museum) https://www.instagram.com/p/B3yUWw0hmjX/?igshid=13cmzxapnb7sa

[brothermarc7theatre]

“The Great Leap” show #785

Anytime sports and theatre are combined in a compelling fashion, I’m game! Lauren Yee’s exciting new play, The Great Leap, is well at home in San Francisco. Taking place between 1971 and 1989, The Great Leap tackles what it’s like for an American college basketball team to take on a Chinese university basketball team. Not just a sports play, the dialogue allows for discovery to give way in providing social commentary on governments, nationalism, pride, and saving face. The four-person ensemble portrays the characters involved with this infamous University of San Francisco vs. Beijing University drama, giving nuance, comedy, and dramatic flair to Ms. Yee’s poignant script. With Lisa Peterson at the helm, her excellent direction is highlighted by her ability to showcase the dramatic tension which comes with racial tension and athletic competition. The Great Leap is, bar none, a slam dunk of a production!

(Tim Liu (Manford); Photo credit: Kevin Berne)

Tim Liu delivers an energetically sound performance as Manford, the star basketball player at the center of the play. Mr. Liu exudes youthful determination and likable cockiness as the all-star high school basketball player at San Francisco’s Galileo High School. Manford’s stakes are at a peak as he is graduating soon and wants the opportunity to make it straight to the pros at any cost, even if it means skipping his prep classes to travel with the USF team to Beijing for the internationally-televised game. The hype of this match-up is motivation enough for Manford to pull all out all the stops, including taking on the USF coach, Saul, outside the front door of his apartment. Playing the bombastic Saul is Arye Gross, who delivers an exceptional performance between his 1971 buffoonery and foul language-laden coach and 1989 defeated divorcee who is circling the drain on his career as a collegiate coach. The scene Mr. Gross and Mr. Liu share outside the apartment is incredibly vulnerable, granting the audience access to Saul’s more genial, ghost-in-the-closet side.

(Arye Gross (Saul) and Tim Liu (Manford); Photo credit: Kevin Berne)

BD Wong is strong in monologue and scene as Wen Chang, the Beijing University coach. Mr. Wong plays the polite Chinese coach with all the comedic enthusiasm the role calls for, while also maintaining a depth that privies the audience to the skeletons in Wen’s closet. With one big reveal that this reviewer shall not ruin, Mr. Wong sets up the pay off with a gravitas that is beyond crafting, but purely instinctual with perfect cadence. Ruibo Qian delivers a wonderfully charming performance as Manford’s “adoptive” cousin, Connie. Though not blood-related, Connie and her family take responsibility for Manford, mistakes and all. Ms. Qian has the privilege of donning Meg Neville’s most 80’s-tastic costumes which, though comedic by today’s fashion context, are perfectly retro for 1989.

(BD Wong (Wen Chang); Photo credit: Kevin Berne)

Ms. Yee infuses the textual slow burn in how her plot points develop, a task which Ms. Peterson’s staging is well-equipped to handle, both in the athletic and dramatic entities. Danyon Davis’s movement coaching is polished and incredibly executed, as the foursome engages in a basketball drill-style dance around Mr. Liu’s Manford when the game of focus is in play. Yi Zhao’s lighting design has the right flare and dynamic variance to propel the more intimate moments forward while giving a pounding excitement to the more fast-paced scenes.

(L, going Clockwise: BD Wong (Wen Chang), Arye Gross (Saul); Ruibo Qian (Connie), Tim Liu (Manford); Photo credit: Kevin Berne)

You have until March 31st to capture a ticket to this gem of Bay Area theatre. Local playwright, local actor, and local professional theatre have come together to entertain and inform in a way that is relatable to audiences of all tastes and interests. Leap over to A.C.T.’s Geary Theatre and catch The Great Leap before the shot clock runs out!

Details:

The Great Leap runs through March 31st

Geary Theatre, American Conservatory Theatre in San Francisco

www.act-sf.org

[brothermarc7theatre]

“Perfect Hermany: A Musical Tribute to Jerry Herman”

42nd Street Moon, in collaboration with Musical Theatre West, has brought Jason Graae’s vocals and charm to the stage in tribute of the legendary composer-lyricist, Jerry Herman. Accompanied by talented pianist John Boswell, the evening of Herman music is in sturdy hands with Graae and Boswell. Whether you’re a basic connoisseur of Herman’s catalog or a dedicated fan, everyone will find joy and entertainment in this well-produced tribute.

Graae not only brings his dependable tenor and charm, but also some oboe playing and an almost-tap solo. Songs from such treasures as Hello, Dolly, Mame, Mack and Mabel, and La Cage Aux Folles, but also from Herman’s lesser-known works such as Dear World and The Grand Tour comprise the evening. It is with The Grand Tour where Graae’s voice and acting are in legit form, especially in his turn at the romantically stirring ballad, Marianne. Graae’s passion and appreciation for The Grand Tour serves as a highlight medley among a wonderful revue of Herman’s best. In addition to the tunes, Graae’s anecdotes of touring with Herman are engaging, told with comedic genuineness, and serve up a healthy dose of self-deprecating commentary. Intertwined with the anecdotes and songs are video clips of Graae’s performances with and for Herman from days gone by. 

Perfect Hermany...is a welcome escape back to the Golden Age, a time where songs could be complex in tune and touching in emotion. Herman was a master of this balance, one of many reasons why his songs and shows have stood the test of time. Graae, Boswell, and the teams at 42nd Street Moon and Musical Theatre West have done audiences a service in presenting this production, and I encourage musical theatre fans of all interests to get your ticket now. Go see this show!

[brothermarc7theatre]

“Hieroglyph”

San Francisco Playhouse and Lorraine Hansberry Theatre have combined forces to provide audiences with a stirring production of Erika Dickersin-Despenza’s play, Hieroglyph. Set in the not-so-distant past of 2005 during Hurricane Katrina, this play follows the journey of teenager Davis Despenza Hayes and her father, Ernest, as they make the move from storm-ridden New Orleans to Chicago. Director Margo Hall has brought out every shining moment of Dickerson-Despenza’s beautiful text in a way that makes you forget you’re watching a streamed production and, in fact, living in Davis’ journey. 

(Khary Moye (Ernest) and Jamella Cross (Davis); Photo credit: Jessica Palopoli)

The cast of four deliver extremely nuanced, well-paced performances, each in a way that exposes their character’s mind and heart before ripping away the façade they put up to hide their insecurities and trauma. Leading the way is Jamella Cross as Davis, playing a newly-turned teenager just trying to adjust to her new Chicago life while being extremely homesick for New Orleans, where her roots are and her mother still resides. Cross finds the right balance of teenage innocence and mature adulthood based on a very traumatic experience that only months ago happened to her while staying in the Superdome*. Cross gives each relationship its due, with varying levels of vulnerability allowed to be exposed with superb attention to logical processing of emotions and trust.

(Jamella Cross (Davis) and Khary Moye (Ernest); Photo credit: Jessica Palopoli)

Cross gives the relationship with her father a tender, playful energy while still giving those hallmark “I’m a teenager, dad!” moments that most adults know all too well. Khary L. Moye delivers every bit of paternal nuance with a clear variety of authoritative protector and approachable hero. Safiya Fredericks gives Ms. T., Davis’ art teacher, a commanding empathy in the way that makes her scenes opposite Cross and Moye an enthralling match . Lastly, the bestie chemistry between Cross and Anna Marie Sharpe, playing slightly-older Chicago teen, Leah, is palpable and absolutely fun to watch, especially in their stellar dance turns courtesy of Latanya D. Tigner’s excellent choreography. Sharpe’s jovial-yet-experienced attitude makes her Leah an unpredictable character, which makes her inevitable circumstance a heart wrenching announcement to hear*.

(Anne Marie Sharpe (Leah) and Jamella Cross (Davis); Photo credit: Jessica Palopoli)

Hall directs this piece with a clear understanding of which black experiences should be emphasized and which character developments are simply universal stories and experiences. Hall does this in such a way that allows the audience to process, empathize, and relate, allowing each viewer to understand that not all experiences are the same, and there is no one-size-fits-all way to deal with traumatic events. Hall’s collaboration with Bill English (Live editor) and Wolfgang Wachalovsky (Post editor) pulls no punches in getting into the intimacy and horror of what these characters are going through. The allocation of wide-shots and close-ups tell a clear story where every emotion is given its due focus with every scene. Teddy Hulsker’s projection design gives a next level attachment to the piece as we see haunting illustrations showing Davis’ experience at the Superdome and recurring themes in her artwork for Ms. T. 

(Jamella Cross (Davis) and Safiya Fredericks (Ms. T.); Photo credit: Jessica Palopoli)

Some plays do not translate well to the streaming platform whereas others seem to be a perfect fit for the Zoom in our lives. Rarely does one come across a play which is equally appropriate for either, and Hieroglyph is one such play. At no time was I taken out of the story, nor was I ever “fatigued” from the screen or thought I missed a grand moment, a true testament to the integrity of the work on the page and the work on the stage. Thank you to San Francisco Playhouse, Lorraine Hansberry Theatre, Erika Dickerson-Despenza, Margo Hall, and all cast, crew, and teams involved in bringing this beautiful, heartbreaking, artistically sound piece to audiences. Now go see this show!

*Trigger warnings throughout this play exist. For reviewing purposes, no spoilers were given, out of respect for those readers who wish to be shocked/surprised when watching. However, should you want to investigate for yourself prior to streaming this production, I encourage you to go to San Francisco Playhouse or Lorraine Hansberry Theatre websites for more information. 

[brothermarc7theatre]

“Harry Potter and the Cursed Child, Parts 1 and 2″ shows #809, #810

In the spirit of keeping the secrets but enticing you, the reader, to see Jack Thorne’s superb play, Harry Potter and the Cursed Child, I shall keep my review brief and to the point. This is a play that is absolutely magical, that absolutely lives up to the expectations of those who are among the fandom that J.K. Rowling’s series has garnered, and that is absolutely worthy of your time and money.

The play picks up where the books left off, and Harry Potter has now sent his son, Albus, to Hogwarts. On the way, Draco Malfoy’s son, Scorpius, is also on the train, and the two become not just schoolmates en route to the school of wizardry, but become tight friends. Benjamin Papac is an energetically gifted Albus, exuding the wonder and passion for doing the right thing while dealing with teenage angst, much like his father Harry did in the book series. Jon Steiger is a phenomenal Scorpius, balancing the humor with the physical demands and friendship arc he shares with Albus nicely. John Skelley’s marathon performance as Harry Potter is an exhausting watch but oh-so-satisfying to see throughout the two part engagement. The vocal, physical, and magical demands on this role supersede expectation, and Mr. Skelley delivers all the mystical goods with aplomb.

Lucas Hall is a standout as Draco, developing the oft-interpreted villain from the books as a father who simply wants the best for his son, and wants the best for the wizardry world. Mr. Hall shares a sublime moment opposite Mr. Skelley when discussing the drearies of being a Malfoy, and it is an acting moment of brilliant vulnerability and pace. Lauren Zarkin does well as the final piece of the young trio, Polly, having some dominating moments as the female figure of Albus and Scorpius’ mission while delivering some classical interpretations of the modern character.

Featured performers Brittany Zeinstra, Andrew Long, and Charles Janasz (all of whom will not be named by character as to avoid plot spoilers) take on some of the books’ most beloved and most memorable characters, and their delivery, choices, and vocal cadences match what audiences expect, as they are exceptional in the scenes they get to shine in.

John Tiffany’s direction is purely perfect for the amount of illusions and magic Jamie Harrison has designed for the play. Mr. Tiffany’s knack for knowing how to draw focus, how to slow down the action, and when to let the laugh play allows the audience to dread each act’s curtain, for they don’t want it to end. Mr. Thorne’s script is a legit theatrical script, possessing engaging dialogue and an enthralling plot, allowing Imogen Heap’s music composition and arrangements to take hold of the mood in each scene and transition. Steven Hoggett’s movement direction of transitions and the non-speaking time jump turns are simple, delicate, and beautiful while never letting the story waver.

Harry Potter and the Cursed Child is a two-part play that someone like me, a self-described appreciator of the books, enjoys as a piece of theatre and Harry Potter adaptation. It’s a play that a dedicated fan such as my wife enjoys as a balance between theatrical legitimacy and honoring of the books and film adaptations. It is a play that a die-hard Harry Potter head who is still waiting for his letter to Hogwarts such as my thespian friend Gary is tearing up at multiple points absolutely loves. So, here’s my call to all you Hufflepuffs, Ravenclaws, Gryffindors, and Slytherins: go support your house at the Curran Theatre before it’s too late!

[brothermarc7theatre]

"An American in Paris" show #676

What else could make for a more fun afternoon than seeing yet another Gershwin musical packaged for theatre audiences? Well, a lot of things; but Craig Lucas’ book adaptation of this beloved film doesn’t make the plot of An American in Paris any more or less romantic or dramatic than needed. Instead, what audiences can look forward to when seeing the Oscar-winning film’s stage adaptation is stellar, Tony-winning choreography; three leading men who know exactly how to swoon their equally talented leading ladies; and a committed class of ensemble members who deliver the warm, tingly feeling one gets when energy and talent are paired together.

Quickly, for those who may not know: It’s 1945 and Jerry Mulligan is a recently discharged military man who decides to stay in Paris. He and fellow American, Adam, do their best to combine musical talents in hopes of creating a new concerto. They end up adding native Frenchman, Henri, to pursue this dream of being musical writers. The common thread between the three: Their varying levels of infatuation with superb ballet dancer, Lise. The rest of the musical is littered with beautifully choreographed musical and ballet numbers, supporting and featured parts that entertainingly divert the audience from the main plot into something hilarious or juicy, and tying up at the end with a pretty pink bow. Director/Choreographer Christopher Wheeldon has done a top-notch job converting this multi-Tony-winning hit to the road, treating San Francisco audiences to Gershwin-infused enjoyment with a modern flair.

McGee Maddox was a stellar Jerry, easily encompassing what it means to be a triple-threat leading man. Though his dance turns trumped his singing efforts, the ballet took full effect in the opening “Concerto in F,” “I’ve Got Beginner’s Luck,” “Liza,” and he was a force opposite Sara Esty’s dynamite Lise in the Act Two titular show-stopper, “An American in Paris.” Mr. Maddox’s chemistry was not limited to the scenes opposite the impeccable Miss Etsy, but involved a brotherly camaraderie alongside Stephen Bower’s Adam and Nick Spangler’s Henri. Mr. Bower did a capital job providing the audience with the occasional narration, and nailed the jazzy timing of the Act Two opening scene opposite the equally hilarious Mr. Spangler. All three men triumphed in leading “I Got Rhythm,” allowing the ensemble to do the heavy lifting in terms of the impressive choreography. The three returned to dazzle in the iconic “ ‘S Wonderful” and ended the musical with a stunningly powerful “They Can’t Take That Away From Me.” Mr. Spangler found his time to shine in the duet “Who Cares?” opposite Emily Ferranti’s excellent Milo. Milo Davenport acted as the consummate American donor who reaches for Jerry’s stars, but ends up in just a pile of clouds. Miss Ferranti’s depiction of Milo was one that never fell into stereotype, but was a woman with a mission who was determined and intelligent enough to pursue it. Her performance of “Shall We Dance?” had all the elements of the classic 1950’s era while still showcasing her powerful chops as a singer-actress.

As mentioned, the …Paris ensemble was a hardworking collection of today’s finest dancer-singers. Mr. Maddox’s leadership of “Fidgety Feet” was overshadowed by a precise, well-executed ensemble turn involving chair-ography and well-varied formations. The cast, as a whole, was well-supported by the technical aspects of the production, namely with Natasha Katz’s nuanced lighting design and Bob Crowley complimentary scenic and costume design. Rob Fisher’s musical arrangements aren’t for naught, as Mr. Wheeldon has filled every measure with flash or subdued intrigue. An American in Paris has drifted off from San Francisco, but fear not! Check out the various outlets of information and see if …Paris may be coming closer to you than you think.

[sikegeist]

I am SO STOKED to be working on this super ambitious international collaboration with @safehousearts !!! This week they will be doing seven international live streamed performances which will eventually be performed at exactly 7pm once in each participating city. That means I go online at 6:30AM Pacific Time SO SET YOUR ALARMS because I know all you want next Friday is to wake up to my freaky Break-face! Here’s a couple of us futzin around at the theater last week, but if you want more info be sure to check out the fine folks and their creative offerings at SAFEHouse Arts. (Google is your friend). //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ “Break-face”coming to a face nearest you 6/28/19 @ 6:30am PST @ SAFEhouse [145 Eddy] #performanceart #liveart #foodperformance #foodprops #performanceartist #liveartist #sploshing #sploshart #sanfranciscotheatre #bayareatheatre #internationalcollaboration #internationalart #internationalartists #performersofinstagram https://www.instagram.com/p/By-rNtWlRKw/?igshid=1vf73sqa70l3m

[brothermarc7theatre]

“American Psycho” show #788

Regular readers of my blog may recall my reaction to the Broadway production of American Psycho (link: https://brothermarc7theatre.tumblr.com/post/145623647287/american-psycho-show-554). I must be a glutton for punishment to have ventured to the Victoria Theatre this past weekend for the West Coast Premiere, right? Or maybe I just wanted to see if Ray of Light, a theatre company that is accomplished at making rock musicals work well, could make this most irritating of musicals into a genuinely entertaining evening of theater. I am happy to say that their production, stemming from Jason Hoover’s dynamic direction to Leslie Waggoner’s period-appropriate, entertainingly jarring choreography, has lifted the Duncan Sheik/Roberto Aguirre-Sacasa musical up from it’s out-of-date, reference-ridden attempt at commenting on the American human condition. Mr. Hoover carefully finds the moments in which to poke fun at the musical without demeaning its production value or subtle messages, while Ms. Waggoner fills the dance numbers with robotic flourishes and variations of 1980’s steps which audiences with knowledge of the era will appreciate. Led by a vocally impeccable cast, there’s something in the story of Patrick Bateman that just might be worth telling.

(Kipp Glass (Patrick Bateman); Photo credit: Nick Otto)

Kipp Glass, as Patrick Bateman, is a well-voiced, physically domineering, alluring leading man, employing every ounce of calculated movement when bragging about his watch, suit, chiseled body, apartment, job, business card, and every other possible garnish to his 26-year-old seemingly perfect life. The stillness and near-monotone recitation of his many asides are juxtaposed with committed outbursts of anger and jealousy, allowing Mr. Glass to demonstrate his versatility as an actor-singer. The “Opening (Morning Routine)” sets the tone with ensemble oomph in vocals and dance abilities, while Mr. Glass introduces the audience to what it means to be Patrick Bateman. A consistent strength throughout the show, Mr. Glass is excellent in his revelatory “I Am Back.” Danielle Altizio is a fabulous Evelyn, the posh, uppity, rich girlfriend to Bateman. Ms. Altizio’s physicality and dripping sarcasm when dialoguing are stellar in comedic timing and inflection. Kirstin Louie is a featured standout as Evelyn’s friend, Courtney, highlighted best in the Act Two swimming pool scene when the variations of water are given a healthy dose of inquiry.

(Up Left: Kyle Ewalt (Paul Owen), Down Right: Kipp Glass (Patrick Bateman); Photo credit: Nick Otto)

Kyle Ewalt is a dynamite Paul Owen, the initial focus of Bateman’s jealousy. Mr. Ewalt has the charisma, smile, killer voice, and rocking dance moves to deliver a well-rounded performance. Joshua Beld is a wonderful Luis, the closeted co-worker to Bateman who also happens to be dating Courtney. Mr. Beld doesn’t play into stereotype, but rather colors Luis with a depth of genuine affection and passion for Bateman, while never losing sight of the comedy and subtle tension infused in his dialogue. Anna L. Joham and Zoey Lytle shine as Mrs. Bateman and Jean, respectively, in a beautifully stirring “Nice Thought.” Ms. Lytle, as Patrick Bateman’s secretary, Jean, makes every bit of her stage time worthwhile as she coyly plays off Mr. Glass’s boisterous Patrick quite well.

(Center, Standing: Kipp Glass (Patrick Bateman), Surrounded by Cast members of American Psycho; Photo credit: Nick Otto)

As is expected with a Ray of Light Theatre rock show, the technical designs are on point. Angrette McCloskey’s scenic design is a spacious, clean-looking room which morphs into Bateman’s apartment, his office, a club, and a slew of other locales with seamless transition. Erik Scanlon’s video design adds punches of contextual energy and color, as bloody as they may be, often and appropriately so. Katie Dowse’s costume design is completely on the ball with what …Psycho fans expect, and those nostalgic to 80’s styles and designer names will be happy. Weili Shi’s lighting design is a spectacular array of washes, specials, brights, and shadows, all which add to Ms. Waggoner’s and Mr. Hoover’s staging. Lastly, major kudos given to Jerry Girard for his sound design and to Anton Hedman for his sound engineering; this show is a conglomeration of synthesized music, traditional orchestrations/musical score, and rock elements, all of which are balanced and heard, along with the soloists, superbly. Ben Prince’s musical direction is not a futile effort, as this cast is universally fantastic in their vocal power and blend.

Sometimes a fresh take, or fresh production, can make even the most cringing of musicals a time well spent at the theater. If there is any incarnation of American Psycho, whether it be the book, the film, or the cast recording, that you find fascinating, by all means go grab a ticket right now; Ray of Light Theatre is to be trusted.

Details:

American Psycho at Victoria Theater, San Francisco

Runs through June 8th

www.rayoflighttheatre.com

[brothermarc7theatre]

Season Announcement Wednesday

The beautiful thing about highlighting theatre companies’ newly-announced seasons is not just getting butts in seats, since people become more aware of what’s playing and when and where; but it allows me to relive my audience experiences at these very companies. So, here I go, taking look at what SHNSF has coming to San Francisco in 2019/2020!

Shows/Dates: Summer: The Donna Summer Musical (December 3rd - 29th); The SpongeBob Musical (February 12th - 16th) The Last Ship (February 20th, 2020 - March 22nd, 2020 ); The Band’s Visit (May 27th - June 21st); Mean Girls (June 30th - August 2nd); My Fair Lady (August 5th - 30th); and continually, Hamilton (open run)

Venues/Addresses: Orpheum Theater @ 1192 Market Street, San Francisco 94102

                                 Golden Gate Theater @ 1 Taylor Street, San Francisco 94102

Website: www.shnsf.com

Facebook: “Like” them at- SHN: Broadway in San Francisco

Twitter: “Follow” them at- @shnsf

Description: I have been a longtime audience member of SHNSF now, and for the past few years I’ve been a proud season ticket holder. Over the years, I have had the pleasure of seeing their tours of Beautiful: The Carole King Musical (Pre-Broadway and National Tour), The Book of Mormon, Rock of Ages, The Caretaker, Hamilton, The Color Purple, Hedwig and the Angry Inch, On Your Feet!, Falsettos!, and a whole slew of others! Next season, and even the season after (Frozen has already been announced for the 2020/2021 season) promises to be a Broadway-musical lovers’ delight. Hope to see you at the theaters! Go see a show!

[brothermarc7theatre]

Season Announcement Wednesday

Hello and happy Hump Day! This week’s highlighted theatre company has been a San Francisco treat of mine for a few seasons now. Their commitment to producing LGBTQ+-based material is not just admirable, but completely necessary for today’s culture. New Conservatory Theatre Center is a dynamite pick for an evening at the theater, so let’s take a look at what they’re offering audiences next season!

Shows/Dates: This Side of Crazy (September 20th - October 20th); The Cake (October 25th - December 1st); Head Over Heels (December 6th, 2019 - January 12th, 2020); You’ll Catch Flies (January 17th - February 23rd); The Book of Mountains and Seas (March 6th - April 5th); Sugar in Our Wounds (April 3rd - May 10th); Fun Home (May 15th - June 14th)

Venue/Address: New Conservatory Theatre Center in the Lower Lobby at 25th                              Van Ness Avenue, San Francisco 94102

Website: www.nctcsf.org

Facebook: “Like” them at- New Conservatory Theatre Center

Twitter: “Follow” them at- @NCTCSF

Description: New Conservatory Theatre Center is not just a professional theatre company in San Francisco; they are an advocate for the LGBTQ+ community through the arts. In addition to their main stage season, they offer youth camps, training up future thespians in the Bay Area. Over the past few season, I have had the pleasure of seeing their productions of On a Clear Day You Can See Forever, Buyer and Cellar, and recently, a preview of The Gentleman Caller, among others. I urge you to make a ticket to New Conservatory Theatre Center a priority as you plan your future evenings at the theater. Go see a show!

[brothermarc7theatre]

Season Announcement Wednesday

What does Hump Day mean to you? To me, it means another day to spread the word of theatre by highlighting a company’s newly announced season. This week’s highlighted company is one I find myself often seeing shows at. With a prime location in San Francisco and all sorts of events throughout the season, San Francisco Playhouse is a company worth investing your ticket money if you aren’t already. Below is a quick rundown of what they’re offering audiences in 2019/2020!

Shows/Dates: Dance Nation (September 24th - November 9th); Groundhog Day, the Musical (November 20th, 2019 - January 18th, 2020); Tiny Beautiful Things (January 28th - March 7th); Real Women Have Curves (March 17th - April 25th); The Clean House (May 5th - June 20th) Follies (July 1st - September 12th)

Venue/Address: San Francisco Playhouse @ 450 Post Street, San Francisco 94102

Website: www.sfplayhouse.org

Facebook: “Like” them at- San Francisco Playhouse

Twitter: “Follow” them at- @SFPlayhouse 

Description: San Francisco Playhouse has become a staple audience endeavor for me ever since I saw their production of The Fantasticks. Since then, I have enjoyed their productions of Promises, Promises, Tree, Stupid Fucking Bird, Dogfight, City of Angels, Red Velvet, Colossal, She Loves Me, The Christians, and Sunday in the Park With George, among many others. This upcoming season has a few premieres and few stalwart titles, all which will be done justice by those at the Playhouse. I hope to see you and yours in the theater this upcoming season. Go see a show!

[sikegeist]

“Sweet Like Honey” // Excerpt from this past weekends show!! I had such a grand time. Can’t wait to get messy and wily and ragey with you all again! Stay tuned muh furry fraynds!!! 😽💋 #purdymischief #liveart #performanceart #performing gender #queerart #queerartist #queerartists #sploshing #livesploshing #honey #feminine #shaving #chickswhoshave #sanfranciscotheatre facialhair #ienjoybeingagirl (at SAFEhouse for the Performing Arts) https://www.instagram.com/p/Bw2ajstFtym/?igshid=8mq4ncm5a3w6

[sikegeist]

No Swhining. 🐽 Projection still from (pretty shiny cage) // Consu(Me) at @safehousearts this Friday and Saturday night only!! 🙈🙉🙊 Come play with me!! Ticket link in bioh ohhh OOOHHHHHH!!! #purdymischief #pretty #liveart #performanceart #sfarts #sanfranciscotheatre #sfevents #sftheatre #bayareatheatre #projectionart #pigsandbabies #caroleeschneemann (at SAFEhouse for the Performing Arts) https://www.instagram.com/p/BwnbdJRFVyO/?utm_source=ig_tumblr_share&igshid=1ulyd6axfljfi

[brothermarc7theatre]

“Falsettos” show #786

When William Finn and James Lapine set out to write what we know today as Falsettos, it wasn’t quite a finished product. There’s a mantra of the falsetto voice that serves as a strict metaphor, another character in the show even. What we 2019 audiences have today is a compact look into a “tight-knit family” where the head of the unit, Marvin, is set on having his cake and devouring it, too. Structured as a two-act journey between 1979 and 1981, audiences are encouraged to lean forward and take a gander at what it would be like to be a homosexual man with a wife, child, and male “friend” in this time period. And don’t forget the friendly lesbians next door! This current national tour of the Falsettos revival is timelier than one would expect, full of compelling social commentary and affecting nuance that will have you embraced by emotion and heart.

(Max Von Essen (Marvin) and Nick Adams (Whizzer); Photo credit: Joan Marcus)

A true ensemble piece, Mr. Lapine’s direction pairs with David Rockwell’s versatile, affecting set design extremely well, in a fashion that informs the audience of the camaraderie this troupe of characters shares. As head of the family unit in focus, Max Von Essen is an illustriously charismatic Marvin. This serves to balance the fact that Marvin’s imperfections and self-absorbed nature get greater prominence over his redeeming qualities in the first act. Mr. Von Essen accurately depicts the journey Marvin undertakes in the second act, showing the audience the depth of his character. Complemented by a stellar vocal instrument, Mr. Von Essen is able to sing through Marvin’s bad qualities, whether in a domineering “A Tight Knit Family,” an intimate “What More Can I Say?” or a fatherly soothing “Father to Son.” Nick Adams is a stalwart Whizzer, the heart and soul of the play’s male characters. Mr. Adams’ presence and illuminating smile makes his journey through what struck down a lot of young, homosexual males in the early 80’s all the more the heartbreaking to see unfold. Mr. Adams’ voice is tops among the Lapine and Finn score, highlighted ever so well in a passionate, big-voiced “The Games I Play,” and in a well-motivated, moxie-filled “You Gotta Die Sometime.” Cementing Mr. Von Essen and Mr. Adams’ love connection is not just well-crafted chemistry, but a comedic ability expressed in delivery and reaction by the two veteran performers.

(Eden Espinosa (Trina), Thatcher Jacobs (Jason) and Max Von Essen (Marvin); Photo credit: Joan Marcus)

Eden Espinosa is a show-stopping Trina, wife to Marvin and mother to their son, Jason. Ms. Espinosa has the gift of comedy and belting working well in her favor, both on sterling display in “I’m Breaking Down,” “Trina’s Song,” and its reprise, which are interrupted by more male antics in a quite enjoyable “March of the Falsettos.” Ms. Espinosa’s act two solo, “Holding to the Ground,” truly supports her well-rounded character and gives the audience every last ounce of vulnerability Trina has to offer. Nick Blaemire is a standout as the very Jewish psychiatrist, Mendel. Not just a strong singer and gifted comedian, Mr. Blaemire’s physical chops in the more dance-y numbers are perfect in executing Spencer Liff’s exuberant choreography, namely in “Everyone Hates His Parents,” the opening “Four Jews in a Room Bitching,” and the aforementioned “March of the Falsettos.” Mr. Blaemire’s individual connection to the surrounding characters is honest, logical, and altogether entertaining to see develop, especially in “A Marriage Proposal” opposite Ms. Espinosa’s Trina, with whom Mendel is desperately in love.

(Audrey Cardwell (Cordelia) and Byronha Marie Parham (Dr. Charlotte); Photo credit: Joan Marcus)

John Mussolino was Jason on the Sunday matinee I attended, a role he alternates with Thatcher Jacobs. Mr. Mussolino’s dynamite vocals and knack for youthful innocence and comedic timing is well-suited in this story. Though Jason has plenty to do in act one, dealing with the fall out of his family unit and trying to make sense of it all (including being told that he should go see a psychiatrist), it is his act two track that really takes the cake. Mr. Mussolino shines in his journey of deciding what to do with his bar mitzvah now that Whizzer is sick. From Mr. Mussolino’s vocal contributions in “The Year of the Child” to “Cancelling the Bar Mitzvah” to a beautiful “Another Miracle of Judaism,” he delivers a fully-realized performance in true compelling nature. Audrey Cardwell as Cordelia and understudy Melanie Evans, as Dr. Charlotte, deliver a phenomenal tag-team duo as the next-door lesbians. Both ladies have to wait until act two to make their appearance, but it’s worth it. Ms. Evans shines comically in her track in “The Baseball Game,” as well as “Unlikely Lovers” alongside Ms. Cardwell, Mr. Von Essen, and Mr. Adams. Ms. Cardwell has the bubbly personality down pat, but not without a grounded disposition when there is trouble in paradise. She is a standout in her scene work opposite Ms. Evans, especially when in song in “Something Bad is Happening.”

(Cast of Falsettos; Photo credit: Joan Marcus)

As a whole, Falsettos sings out well in their San Francisco leg of the tour. In addition to Mr. Lapine and Mr. Liff’s excellent staging, Jennifer Caprio’s subtle costume design is period-appropriate and gives key clues to each character on whom the clothes or uniform fall. Jeff Croiter’s lighting design makes true use of the more-barren set, accenting the intimate moments well. Falsettos continues its caroling and intoning through Sunday, the 14th, so jump aboard if you can and catch it before it’s too late!

The Details:

Falsettos plays through April 14th

Golden Gate Theater in San Francisco

www.shnsf.com