The impossible dream

From left: Hector Coris (Sancho), Aaron Jacobson (Don Quixote) and Alexus Poulette (Aldonza) star in “Man of La Mancha” with Scottsdale Musical Theater Company

I suspect that getting my father to a musical would be impossible without the prospect of steak and potatoes. Hence, our one and only shared experience with musical theater was hitting a dinner theater production of “Man of La Mancha” many decades ago in Denver.

“Man of La Mancha” features book by Dale Wasserman, who passed away four years ago at his Paradise Valley home. Wasserman wrote for theater, television and film for more than three decades. His plays include “One Flew Over the Cuckoo’s Nest” based on the novel by Ken Kesey.

“Man of La Mancha” is rarely performed around these parts, so I’m delighted to share that Scottsdale Musical Theater Company opens its production on Thursday, Dec. 27 inside the 300-seat Dorrance Auditorium at Phoenix Country Day School. They’re doing just four performances.

The Utah Shakespeare Festival begins its synopsis of “Man of La Mancha” by noting that “Miguel de Cervantes, aging and an utter failure as playwright, poet and tax collector, has been thrown into a dungeon in Seville to await trial by the Inquisition for an offense against the Church.”

That’s plenty fascinating, but there’s more. “There he is dragged before a kangaroo court of his fellow prisoners, who plan to confiscate his few possessions—including the uncompleted manuscript of a novel, Don Quixote. Cervantes, seeking to save the manuscript, proposes his defense in the form of a play.”

It’s fascinating fare, featuring music by Mitch Leigh (whose credits include directing Yul Bryner in “The King and I” on Broadway and writing the “Nobody Doesn’t Like Sara Lee” jingle) and lyrics by Joe Darion. Both earned Tony Awards in 1966 for their work on “Man of La Mancha,” which was named the best musical that year.

A revival of “Man of La Mancha” was nominated in 2003 for a Tony Award for best revival of a musical. The Scottsdale Musical Theater Company production is directed and staged by founder SMTC David Hock, who also serves as choreographer for the show. Christie McKibben, a fifth grade teacher in Goodyear, is accompanist.

Timothy Verville conducts a 16-piece orchestra for “Man of La Mancha.” He’s artistic director and conductor for Arizona Pro Arte, music director of the North Valley Chamber Orchestra and associate conductor for the Boston Chamber Orchestra. “The Impossible Dream” is the show’s most famous song, but other numbers include “Dulcinea,” “Moorish Dance” and “A Little Gossip.”

“Man of La Mancha” features set design by Jennifer Alexander, costume design by Paul Snatic, lighting design by Jonathan Rooney and armor by Costume Armour, Inc. in New York. The 21-member cast includes Aaron Jacobson (Cervantes/Quixote), Hector Coris (Sancho) and Alexus Poulette (Aldonza/Dulcinea).

Jacobson, who holds a B.A. in acting from ASU, teaches language arts at Foothills Academy. Coris is a songwriter, actor and director — and Poulette a junior theatre/psychology major at ASU. The show’s two Guard/Knight/Moor roles are performed by PCDS seniors Chris Puglisi and Derek Chan.

Click here for show and ticket details.

— Lynn

Coming up: Shakespeare sightings, Pets meet paintbrush

Nostalgia, with a twist

I arrived Friday night to find a packed house at Theatre Artists Studio, which is presenting “Twist of the Magi” through Sunday, Dec. 16. I’ve all but sworn off seeing holiday shows outside of those I’m reviewing for Raising Arizona Kids, mostly because I feel the need this time of year to devote more time to family and less time to work.

But I know several folks involved with the show, including playwright Debra Rich Gettleman, and found myself intrigued by its combination of Christmas and Hanukkah themes. “Twist of the Magi” is a play filled with music and a farcical vibe. It’s based on “Gift of the Magi” by an American writer who used the pen name O. Henry.

Even the characters of “Sesame Street” have revisited the timeless tale of love and sacrifice. Turns out seeing “Twist of the Magi,” directed by Michael Candela, was a lovely way to end the day — because it’s a plucky reminder that life’s best gifts come not from pretty packages, but from the heart.

“Twist of the Magi” imagines a 1940s radio station presenting “Gift of the Magi” for its listeners. A singing trio rotates between holiday fare and commercials for sponsors hocking cereal, cars, bananas and such. Actors with big egos and odd habits manage to deliver the right lines most of the time.

A stuttering sound person works magic with everything from salad bowls to chimes, and a keyboard player with a bit of an attitude ties it all together somehow. At the heart of a story are two couples. One celebrates Christmas, the other Hannukah. In the end, they’ve much to celebrate together.

“Twist of the Magi” features 17 cast members, including Gettleman’s son Levi, who already has several local acting credits. “The Twisted Sisters” trio features Lynn Timmons Edwards, Dorothy Gaynor and Jenny Statler — all dressed in variations of post-war fashion. Statler’s voice and movement are particularly well suited to the music of that era.

I especially enjoyed performances by two actors Friday evening — including Heidi Haggerty, whose Lauren does the role of Della during on air “Magi” moments. But also Lee Cooley, who manages to be exceptionally entertaining while simply sitting in a chair awaiting his turn to go on air. If you give an actor a hankerchief….

Set design by DYNAMIC! Productions and props by Candela and Karen Burns enhance the charming feel of Gettleman’s nod to nostalgia. I’m told Sunday’s matinee is sold out, and Saturday tickets may be scarce. So don’t delay if you want to get tickets for this baby.

— Lynn

Note: A family-friendly youth improv troupe called “All Rights Reserved” performs at Theatre Artists Studio Monday, Dec. 17 from 7-8pm. Admission is $5, and folks can call 602-263-7918 for more information.

Coming up: More fun with improv

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…

Movie meets martini

I indulge in a martini once every decade or so, but need my movie fix a lot more often. So I headed out Friday night to explore the Studio Movie Grill in Scottdale, a movie theater that first landed on my radar when they showed a film about writer Ayn Rand.

It’s a swanky theater with a lounge-like feel, where you can mingle around a large, square-shaped bar or enjoy a full meal as you watch your favorite flick. I paid just over $9 for my ticket Friday night after deciding to see “The Woman in Black.”

Once you’re ready to move from lobby to movie theater, you show your ticket to folks who hand you both drink and food menu. Theaters look little like those you’re used to. Instead of row upon row of seats, you’ll find generously-sized seats with nifty swing-out trays for holding all the goodies you can order by pushing your very own red call button.

Friday night I snagged a seat between two couples enjoying various menu fare. To my left, it was a martini and a beer. To my right, it was a chili dog and chicken tenders. I passed on eating, but took time to check out the menu — which has dozens of items, including quite a few in the $10 range.

Studio Movie Grill looks like a great option for Valentine’s Day, or a bit of a splurge day with the kids. There’s a special kids menu, for those age 10 and under, complete with grilled chicken tenders or chicken sandwich, burger, corndog, cheese pizza, apples and peanut butter, fruit cup, beverage and ice cream sundae.

The regular menu includes a good assortment of salads and pizza — plus burgers (including turkey burger), tacos, ribs and more. Folks with a sweet tooth can enjoy milk shakes (they’ll add crushed Oreo cookies if you like), chocolate molten cake, peanut butter shake, hot cookies or a brownie sundae. Even something called “frozen hot chocolate” — plus popcorn for all you traditionalists.

Keep an eye on Studio Movie Grill offerings. In addition to mainstream movies, they sometimes offer more off the beaten path selections — and special events like a recent screening of “When We Were Kings” that raised money for the Barrow Neurological Insitute in Phoenix.

I hit their Facebook page a few minutes ago and found discounted tickets — plus the suggestion that folks come down and enjoy the Super Bowl on their big screen. So while I still expect to see plenty of movies at theaters closer to my home, I’m following Studio Movie Grill offerings. In another couple of years, I’ll be up for my next martini…

— Lynn

Coming up: Downtown meets down on the farm