Attend the tale

Greasepaint Youtheatre performs Sweeney Todd in Scottsdale through Nov. 4

I’d nearly sworn off Sondheim sung by the 16 and under set as Greasepaint Youtheatre opened its production of “Sweeney Todd School Edition” Friday night, but decided to brave some time with the barber chair for old time’s sake. Our youngest daughter Lizabeth grew up performing with Greasepaint, so I’ve seen plenty of their productions through the years. I can rattle off a long list of favorites, but feel certain this is one of their finest.

“Sweeney Todd School Edition” is directed for Greasepaint Youtheatre by Sara Bernstein, who directed last season’s production of “Les Miserables School Edition,” which earned one of three 2012 AriZoni Awards for best overall youth theater production of a musical. Bernstein earned one of three awards for best direction of a youth theater musical production. Like Tobias faithfully turning a meat grinder handle, she’s still cranking out the hits.

“Sweeney Todd A School Edition” features music and lyrics by Stephen Sondheim, and book by Hugh Wheeler. It’s from an adaptation by Christopher Bond.

Sweeney Todd cast members gathering after the opening night performance

I’ve seen several productions of “Sweeney Todd” so the surprise factor is gone in terms of delicious plot twists. The best I can hope for now is supreme storytelling, staging and song. The Greasepaint Youtheatre production nails each one, and actually left me nearly moved to tears on more than one occasion — due in large measure to the work of musical director Reynaldo Saenz.

It’s easy to butcher Sondheim, but several cast members demonstrated serious vocal chops that were surely enhanced by time spent working with Saenz. The Greasepaint Youtheatre production also features 10 musicians placed behind the set pieces so that several are barely visible against a backdrop often lit by a lovely swath of cerulean blue.

Saenz serves as conductor and plays first keyboard. Other “Sweeney Todd School Edition” musicians are Flora Mogerman (keyboard 2), Christopher Rose (bass), Jenna Baum (reed 1), Mike Wojciechowicz (reed 2), Albert Grijalva (reed 3), Michael Collier (trumpet), Angelica Monclava (horn), Michael Vargas (trombone) and John Aranda (percussion). Their performance is stirring, even haunting at times.

Sweeney Todd cast members enjoying together time at Greasepaint Youtheatre

“Sweeney Todd School Edition” stars Boston Scott as Sweeney Todd and Hannah Zeiser as Mrs. Lovett. One seeks revenge, the other money and love. Despite its tragic turn of events, “Sweeney Todd” is rife with humor when capably performed. Both Scott and Zeiser possess good comedic timing, solid vocals, genuine acting ability and a strong command of movement for the stage.

Other cast members include Luke Powell (Anthony Hope), Jennie Rhiner (Beggar Woman), Maxx Carlisle King (Judge Turpin), Ryan Beamon (The Beadle), Devon Prokopek (Johanna), Matt Merritt (Tobias Ragg) and Aaron Ford (Pirelli). A quintet rocking the Greek chorus vibe includes Bridget Marlowe, Kenzie Johnson, Sophia Drapeau, Andrey Lull and Nicholas Hambruch.

The beggar woman is more prominent in this production than others I’ve seen, which is a good thing given Rhiner’s gift for simultaneously elicited pity and a good giggle. Ford’s Pirelli is beyond-belief funny, and Powell’s performance of “Johanna” is quite stirring. Carlisle King’s vocals are stronger than ever.

The company for “Sweeney Todd School Edition” includes Claire Goux, Ashley Renee, Alyssa Gonzalez, Bailey Smith, Rebecca Caswell, Halle Lewis, Keri Orcutt, Lexi Boden, Rebecca Bauer, Sawyer Bland, Paul Vasquez, Caleb Foreman, Jacob Emnett and Griffin Siroky.

The ensemble cast is uniformly strong, and especially effective during the show’s opening scene — plus scenes that feature characters moving through aisles on either side of the audience. Strong vocals and slammed doors left me feeling real fear after hearing the whole company perform “The Ballad of Sweeney Todd.”

Though I enjoyed Merritt’s performance, he sometimes feels a tad too tall for the role of Toby. And I’m still puzzled by the decision to put a long wig of nearly white hair on a girl lauded throughout the work for her “yellow hair.” That plus a dilapidated tree don’t do justice to the show’s otherwise exceptional set and costume design.

Although Friday night’s performance was marred by assorted glitches with set and sound, executive producer Maureen Dias has orchestrated a captivating work. Greasepaint Youtheatre incorporates the operetta vibe others sometimes miss, and pays homage to the story’s Victorian roots through its costuming, set design and treatment of songs like “Green Finch and Linnet Bird” and “Parlour Songs.”

In addition to Bernstein and Saenz, the show’s artistic team includes Aubrey Watkins (stage manager), Benjamin Bozovich (costume designer), Chase Budden (set designer), Dori Brown (lighting designer), Pete Bish (sound designer) and Tracy Bailey (properties designer). Together they convey the depth of darkness permeating Sweeney’s world.

Greasepaint Youtheatre actors lingering in the lobby after Friday’s performance

The history of the world is who gets eaten and who gets to eat. That’s the gist of “Sweeney Todd.” Best not to take little ones who aren’t ready for bite-size bits of barbershop customers. Teens who attended Friday’s show appeared to take great delight in this tale of revenge gone horribly wrong, as did plenty of adults who hadn’t yet experienced the ways of Sweeney.

“Sweeney Todd” explores the dark side of human nature — the hypocrisy of those who cloak evil with religion, the greed of those who grow strong by making others weak, the lust of those who elevate body over mind or spirit, the cruelty of those who seek complete control. “Isn’t that Sweeney there beside you?,” asks Sondheim. Or even deep inside you…

— Lynn

Note: Greasepaint Youtheatre performs “Sweeney Todd School Edition ” through Nov. 4 (there’s a 7pm performance on Halloween). Click here for show and ticket information. Click here for information on a pair of Sondheim volumes containing lyrics and assorted musings (including several that’ll help all sorts of writers), and here for PBS resources on Stephen Sondheim.

Coming up: An apple a play…

A “Gypsy” tale

I’ll never forget a pair of shows produced many years ago by Phoenix Theatre. One was “Into the Woods,” with a cast that included D. Scott Withers as the Baker — who’s now performing in the Phoenix Theatre production of “Gypsy.” The other was “Will Rogers Follies” — a show that’s long been my own personal “one to beat” in the world of splashy musical theater fare. Sunday’s matinee of “Gypsy” gave me that “Will Rogers Follies” feeling all over again, and I loved it.

I was hoping that Lizabeth, who’s been fortunate enough to study theater with Withers and perform in a production he directed, would be able to join me for “Gypsy” — but she’s spending spring break in NYC rehearsing for a Pace University production of “Our Lady of 121st Street.” So I invited a friend, whose arts and culture creds far outweigh my own, to come along.

She loved the costumes (Cari Sue Smith). I loved the lighting (Mike Eddy). Also music direction (Alan Ruch) and scenic design (Robert Kovach). We both loved the choreography (Mollie Lajoie), and agreed that the best number in the show is “All I Need Is the Girl,” performed by Peter Marinaro (Tulsa) — whose bio should sport one additional line: The cutie pants who can dance. My line, not hers. She waxes more poetic. I just wanna rhyme.

L to R: Kathy Fitzgerald (Rose) and Jenny Hintze (Louise) in "Gypsy" at Phoenix Theatre

Three other performers delivered especially strong performances, including Withers (Herbie) and Jenny Hintze (Louise). Also Kathy Fitzgerald, who performs the role of stage mother Rose. Lizabeth and I saw her last gig — the Broadway production of “Wicked” (Madame Morrible) — where she was the perfect embodiment of misguided mean. She brings the same beautiful bite to Rose, with singing chops a bit too grand for smaller stages. Her  “Some People” and “Everything’s Coming Up Roses” rival renditions by several Broadway greats.

People read Rose differently depending on their own life experiences. It’s hard to justify her selfish, hard-driving ways. Still I felt the emphathy Fitzgerald hoped to convey. Rose’s own childhood was ugly, and left her wounded in ways most of us can scarcely imagine. She wanted so desperately to be together instead of alone. To scratch out her own shot at fame while helping her daughters escape the life that’d carved “victim” across her heart.

Still, Rose modeled some important coping skills for her daughters — humor, hard work and undying optimism.” I can’t help wondering how much better any of us might have fared under similar circumstances. Michael Barnard’s direction is a kaleidescope of sorts — revealing complicated facets of characters where others might settle for simple stereotypes.

L to R: Kate Shein (June) and Kathy Fitzgerald (Rose) in "Gypsy" at Phoenix Theatre

It helps when you’re working with brilliant material. “Gypsy” features book by Arthur Laurents, music by Julie Styne and lyrics by Stephen Sondheim. Consider it a “musical fable” suggested by the memoir of Gypsy Rose Lee, the oldest of two daughters the real-life Rose did her best to shove into show business as the craft of vaudeville was falling away to the craze of burlesque.

“Gypsy” feels especially relevant in a day and age that elevates stage mothers to reality show stardom. But there’s something more — the undercurrent of change within the theater biz itself, no less profound today than it was in Rose’s day. Consider, my friend suggested, the ways of Lady Gaga. What’s talent without terrific packaging? Once there was burlesque. Now we have branding.

Phoenix Theatre has long been the cornerstone of classic musical theater in the Valley, but it’s seamlessly transitioned in recent years to contemporary fare like last season’s “Avenue Q.” They’re presenting “Spring Awakening” with Nearly Naked Theatre in June, and opening the 2012/13 season with “Spamalot.”

This and other 2012/13 offerings were revealed in a short black and white film shown on a small screen in the theater before an orchestral medley of “Gypsy” tunes opened the show. They include “Defending the Caveman,” “S’Wonderful: The New Gershwin Musical” and “a reimagining” of “Our Town.” Also a new musical revue called “Love Makes the World Go Round” (“Gleeks” will dig it) — and a little something they can’t yet name but describe as “a menagerie of  crazies.” Don’t expect Tennessee Williams.

— Lynn

Note: The cast of “Gypsy” includes several talented young actors — another great reason to see the show. Phoenix Theatre performs “Gypsy” through April 1, and their “Cookie Theatre” production of “Charlotte’s Web” opens at Greasepaint Theatre in Scottsdale on April 14.

Coming up: Got scripts?

Seasons of change

Home Free, Cheyne - Sanctuary Art Center

With just a week before next Sunday’s CBS broadcast of the 2011 Tony Awards®, I’ve got a serious case of Tony fever. How kind of the Metropolitan Men’s Chorus to open Friday night’s benefit performance of “At the End of the Day…” with the song “Seasons of Love” from the Tony Award®-winning musical “Rent.” Also “Not While I’m Around” from “Sweeney Todd,” another Tony Award® winner, and two other selections.

I loved the fact that chorus members donned street clothes instead of traditional choir garb. Think red check flannel and Hawaiian print shirts. Khakis and flip-flops. And that they sang surrounded by set pieces resembling old aluminum siding spray painted with brightly-colored graffiti.

Open Heart, 2004, Gary - Sanctuary Art Center

“At the End of the Day…” — presented by QSpeak Theatre (of Phoenix Theatre) in collaboration with Tumbleweed Center for Youth Development in Phoenix — is “a play based on true stories and experiences of LGBTQ and homeless youth living in the Phoenix Valley.”

The play was “written in collaboration with program participants of START and GreenHouse Project programs at Tumbelweed Center for Youth Development, and youth participants at 1n10 and Y.E.P.” The one night benefit performance was directed by A. Beck, who describes it as the outgrowth of work with more than fifty youth during the course of nearly a year.

My daughter Lizabeth participated in several QSpeak projects (including “At the End of the Day…”) while attending high school at Arizona School for the Arts. Tomorrow afternoon, June 5, we’ll be seeing “Like Everyone Else” — developed by Xanthia Walker’s “Theatre for Social Change” class at ASA in partnership with Phoenix Theatre and the Southwest Autism Research & Resource Center.” Both works feature snippets of stories meant to convey youth experiences in their own voices.

The 12-member cast did an exceptional job conveying the hopes and fears of LGBTQ youth struggling with homelessness and all that can entail — poverty, hunger, unwanted sexual encounters and more. Plus the issues that plague all teens and young adults, from self-identity to choice of values.

Choose, 2006, Ashley - Sanctuary Art Center

The work sheds light on complexities of societal supports for people experiencing homelessness. Bed shortages. Inadequate training for professionals. Budget cuts. And the tendency of too many to say they want to help the homeless without taking a single step to actually do so.

One message in particular stood out. These youth and young adults don’t want to be stereotyped or stigmatized. They’re people. Period. Yet portions of the dialogue revealed stereotypes some homeless youth hold against peers with mental health disorders, described in the work as “crazy,” “mental” or “psycho.”

Some aspects of life on the streets, including encounters with law enforcement, were deliberately excluded from the piece. The depiction of a youth who feels forced into prostitution by the need to pay rent was done with real artistry, but the sheer number of encounters “shadowed” through a piece of hanging cloth made this scene feel almost gratuitious to some in the audience.

At times, comments by cast and creative team during the post-show talk back were needed to elucidate points conveyed somewhat vaguely during the show. The fact that churches and temples, even those offering free food and clothing, feel unsafe to youth who grew up feeling judged by religious family and friends. And the aversion to accepting help that comes with strings attached. Think sermon first, meal later.

Coffee Shop, 2004, Scott - Sanctuary Art Center

If you missed the performance of “At the End of the Day…” but want to learn more about helping LGBTQ and/or homeless youth, click here to visit the Tumbleweed Center for Youth Development in Phoenix. And stay tuned for future “theater for social change” fare from Phoenix Theatre and its many community partners.

— Lynn

Note: Additional information on programs and policies related to homelessness is available from the Arizona Coalition to End Homelessness.

Coming up: Valley stages featuring Tony Award®-winning works

All artwork from the Sanctuary Art Center in Seattle at www.sanctuaryartcenter.org

From storybook to stage

Childsplay performs a a musical adaptation of P.B. Eastman’s “Go, Dog. Go!” at the Tempe Center for the Arts Jan 29-March 6

Telling and reading stories is one of the most enchanting parts of childhood. But today’s kids have additional options for enjoying their favorite tales — including movie and stage adaptations of classic and contemporary children’s books.

Consider the case of P.D. Eastman’s “Go, Dog. Go!” The book comes to life this weekend as Childsplay presents a preview at Tempe Center for the Arts.

I’m told the preview and opening night are already sold out, so don’t delay if you’re eager to take in the show.

Childsplay’s “Go, Dog. Go!”– recommended for ages 3 & up — is adapted by Steven Dietz and Allison Gregory, with music by Michael Koerner. 

It runs Jan 29-March 6, with 1pm and 4pm shows both Saturdays and Sundays. An ASL interpreted performance takes place at 1pm on Sun, Feb 27.

Take the kiddos to Changing Hands Bookstore in Tempe Sat, Jan 22, at 10am if you’d like to enjoy some charming “Go, Dog. Go!” moments with Childsplay.

Changing Hands notes that children will be “exploring the world of story using dramatic play to guide kids through an exploration of scenes from P.D. Eastman’s Go, Dog Go!” and promises that “They’ll even create some of their own!”

Another book for children was literally “on the go” last weekend as the cast of Cookie Company’s upcoming “Unstoppable Me!” took a bit of the show on the road — performing selections at Desert Ridge Marketplace.

The cast of Cookie Company's "Unstoppable Me!" performed last weekend at Desert Ridge Marketplace

Cookie Company is affiliated with Phoenix Theatre, which offers more mature fare in “No Way to Treat a Lady” through Jan 30.

“Unstoppable Me!” runs Jan 28-Feb 6 at Greasepaint Theatre in Scottsdale. It’s based on the book by Wayne W. Dyer with Kristina Tracy. It has the shortest run of the shows noted here so you have just a small window of opportunity to see it.

This iPhone "app" is proof that some stories have moved to both stage and super-small screen

Though “Unstoppable Me!” is best for K-grade 4 students, I’m eager to see is myself — having recently seen one of its cast members, Walter Belcher, offer a moving performance in the Black Theatre Troupe production of August Wilson’s “Fences.”

Many adult actors who perform brilliantly here in the Valley in works for children also can be seen in works for older audiences (by older, I mean no longer required to do homework).

I’m especially excited about seeing Childsplay’s Yolanda London appear in an Actors Theatre production titled “This” which opens at the Herberger Theater Center in Phoenix this Friday. And Kristen Drathman, a Valley actor frequently seen in Phoenix Theatre productions, performing in “Go, Dog. Go!”

Youth Works, which is part of Theater Works in Peoria, brings “James and the Giant Peach” to the Peoria Center for the Performing Arts Feb 3-20.

Enjoy "James and the Giant Peach" at the Peoria Center for the Performing Arts next month

It’s based on the book by Roald Dahl — which recounts the adventures of James as he finds a way to escape from two odd aunts who take him in after his parents die in a tragic rhinocerous accident.

The adventures of "James and the Giant Peach" exist in book, stage and movie form

Theater Works presents “The Desperate Hours” on another stage Jan 28-Feb 13.

I’ve always been a fan of reading books before seeing them portrayed on stage or screen (whether big screen or handheld device).

Childen who read these stories before seeing them performed have a chance to imagine the setting and characters free of someone else’s images.

But once your child reads or listens to a book, there’s nothing more fun than seeing it come to life on stage. Unless, of course, you finish off an afternoon at the theater by cracking open another exciting book.

— Lynn

Note: Childsplay and Cookie Company productions feature adult actors performing family-friendly works, while Youth Works features young performers presenting family-friendly fare.

Coming up: Theater cats (no Andrew Lloyd Webber required), Musings on “mature content” theater as ASU Gammage presents a touring production of “Spring Awakening,” Valley veterans participate in a national arts contest, It’s a jungle (and farm) out there!

Photos provided by Childsplay (photo by Heather Hill features cast members from a previous run), Phoenix Theatre and Theater Works.