Tag Archives: Ryan Deal

Dangerous and Delicious London – With a Twist

Review: Oliver! at Theatre Charlotte

By Perry Tannenbaum

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Ron Law will be retiring when his 15th season as executive director at Theatre Charlotte comes to an end next spring, but he sure isn’t retiring – or even receding into the background – right now. The spotlight will shine brightest on Law in December when he stars for the first time ever as Ebenezer Scrooge in the annual revival of A Christmas Carol at the Queens Road barn. Meanwhile he’s had other things besides bookkeeping on his mind for the past month or so, since the 92nd season at Theatre Charlotte is kicking off with a different Dickens, Lionel Bart’s Oliver! and Law is the stage director.

Thanks to some impressively weathered scenic design by Josh Webb and a juicy mix of dignified and low-life costumes by Melody Branch, the current production looks vibrant and fetching before we even reach the title song, though purists will recoil at the sound of the prerecorded orchestra. Your first favorable impressions will be sustained by the fine set of adult principals that Law has gleaned from the rich Queen City talent trove that showed up for auditions. Yet the mean rigidity of Mr. Bumble, the terror of Bill Sikes, the acquisitive cunning of Fagin, and the conflicted kindness of Nancy would be largely wasted if they were directed at an Oliver who didn’t win us over.

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Atticus Ware passes his first key test as Oliver Twist simply by standing up after dinner has been served at the workhouse and having the cheek to say, “More, please!” We’ve actually seen an Oliver at Children’s Theatre long ago who looked the very antithesis of orphaned malnourishment, and it was hard to suppress a laugh. Easily two years younger than any Oliver to appear in a local production – except for Andrew Kenny in 2001 – Ware also passes muster when Bumble reassures the Sowerberrys, morticians he has sold Oliver to, that the lad will surely grow bigger.

There are prudential reasons past directors haven’t opted for an Oliver as young and small – and maybe considered cutting Bumble’s room-to-grow remark. Without a body mic, it’s hard for a middle-schooler to sing Oliver’s angelic “Where Is Love?” or his wonderstruck “Who Will Buy?” and make himself heard across an orchestra and an audience. Nicely miked-up, Ware holds up as beautifully as Andrew Griner did in Theatre Charlotte’s last Oliver! in 2007, and he adds palpable charm when he takes his turns in “I’ll Do Anything.”

Of course, the main reason why Oliver! is being offered in the metro Charlotte area for the sixth time this century is Bart’s amazing score. No fewer than a dozen of the songs have engraved themselves in my mind so that I can agreeably recall their main hooks without assistance. Familiarity can tempt directors and actors to deviate from established Oliver Twist expectations – or, in the practice of casting girls at the workhouse and in Fagin’s band of thieving urchins, widening our expectations.

Law has presented enough iterations of Christmas Carol to value and preserve the Dickensian spirit of Oliver while loosening casting requirements where the envelope has already been pushed. Johnny Hohenstein immediately stands out as a fierce and booming Mr. Bumble, while Geof Knight as Fagin and William Kirkwood as Sikes are among the best we’ve seen. Together they form an adult triumvirate who remind us that greed and corruption aren’t simply confined to the underworld.

Hohenstein is as titanic as a beleaguered husband as he is when he’s a tyrannical beadle, a definite asset. I find ample menace and intimidation in Sikes when Kirkwood delivers his growling “My Name,” and I like the sliminess that Knight brings to “You Got to Pick a Pocket or Two” – and the grim calculation of his “Reviewing the Situation.” You couldn’t get me to dispute that any of these three gave the best auditions for their respective roles.

It’s just that I want to see a craven factor, a fear of Sikes’ violent volatility that would give an extra dimension to Fagin’s craftiness. From there, the chemistry between the two rogues can be further textured by their one-time mentor-apprentice relationship. Knight just doesn’t have the appearance of a cerebral weasel, which would make these layers relatively easy and self-evident. Here it needs work.

When it comes to Sikes’ abusive relationship with Nancy, Bart gives Kristin Graf Sakamoto all that she needs to get to its heart. Even if Nancy isn’t liberated, she’s spirited, best seen in Sakamoto’s interactions with the youngsters and in her lusty, boozy rendition of her “Oom-Pah-Pah” polka. Nancy faces some grim choices with Oliver, yet Sakamoto makes it clear that fidelity to Sikes is infused with fear – propped up by fear, you could say – when she repeats her signature “As Long as He Needs Me.”

So the Sikes-Nancy-Oliver drama and suspense develops beautifully from the first moments that we see Sakamoto. There’s already a glint of welcoming light when the Artful Dodger accosts Oliver after he has escaped Bumble and the Sowerberry mortuary. Bailey Wray ignites a “Consider Yourself” welcome as Dodger, assisted by Lisa Blanton’s choreography, that seems to engulf the whole city of London. Wray himself radiates a city-sized energy all by himself. Dodger’s precocious top hat is a couple of sizes too large, a plausible wardrobe choice, but I suspect that Law has elected to keep it that way in order to keep Wray’s hyperactive hands partially occupied.

Later there’s lively bustle in Fagin’s lair when the master puts his kids through their pickpocketing drill, and a new flowering of Blanton choreography when Oliver awakens at the home of his benefactor, Mr. Brownlow. the greatness of Britain beams at us like a sunshiney day, for Ware isn’t the only vocalist in “Who Will Buy” as it swirls with increasing anthemic force. Consonant with this cornucopia of wholesomeness, Rick Taylor is upright and trusting, a quiet affirmation that goodness and kindheartedness can rise above the miasma that swallows up Bill and Nancy.

Aside from the cloudy Sikes-Fagin chemistry, Law only loses focus at the end when Fagin and Dodger make their final exits – seemingly without any emphasis or attitude. Maybe bringing them downstage would help, but it’s a moment that deserves more fiddling with and agonizing over. Last impressions are as important as our first.

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It’s still quite sensible to hurry over to Queens Road, where the corruption and goodness of humanity are as exquisitely balanced as night and day. At its core, Oliver’s journey is a progression from secluded, deprived oppression to the centers of opportunity and civilization. Performances are almost universally fresh and decisive among over 40 onstage participants, and it’s hard to overpraise the work of musical director Ryan Deal in keeping his singers fresh and precise through a long rehearsal process.

Of course, the excitement of opening night added a jolt of energy to the performance, especially for the 13 actors – plus a dog – who were making their Theatre Charlotte debuts. If you’ve never experienced Oliver! before, you will likely feel a similar jolt of discovery.

 

Like Panoramic Pease, “Music of the Night” Was Fun While It Lasted

Review:  The Music of the Night: An Andrew Lloyd Webber Revue

By Perry Tannenbaum

If you’ve never heard of Andrew Lloyd Webber – or you’re aching to become reacquainted – don’t blame Blumenthal Performing Arts, Charlotte Symphony, or CPCC. Three times in last nine years, Blumenthal’s Broadway Lights series has brought us touring versions of Phantom of the Opera with visits from Evita, Joseph and the Amazing Technicolor Dreamcoat, and School of Rock sprinkled in-between. CP brought us one of the first local productions of Phantom anywhere in 2015 and has kept enthusiasms stoked for Lord Lloyd with productions of Joseph and Jesus Christ Superstar over the past decade and Evita earlier this year.

Denial and deprivation have become harder to sustain in recent months. Broadway Lights brought Love Never Dies, Webber’s sequel to Phantom, to Belk Theater in early September, and both Charlotte Symphony and CP piled on with Andrew Lloyd sequels in late October. Symphony’s “Music of Andrew Lloyd Webber and More” opened last Thursday and encored the following evening, but the melodies of CP’s The Music of the Night: An Andrew Lloyd Webber Revue linger on after opening on the same night.

The current revue marks a farewell to panoramic Pease Auditorium, which is slated to be demolished along with the school’s library in early 2019. As you might expect, the fondness of the farewell comes from numerous actors and artists who have kept the theatre tradition thriving at Pease, regathering at ground zero where the CP program started in 1972.

At the helm, directing and choreographing, is Ron Chisholm, whose local pedigree goes back to 1990. Susan Roberts Knowlson, Patrick Ratchford, Lisa Smith Bradley, and Kevin Harris qualify as distinguished veterans handpicked for this 13-member cast, while Ryan Deal and Lucia Stetson have the creds to be labelled the new establishment. Watch out for a few of the others, though. There were stars on the ascendant in my telescope.

With a running time of less than 73 minutes, nobody onstage gets a truly full workout except the musicians led by the versatile Lucia Stetson, who has acted, directed, and conducted both musicals and operas over the years at CP. Why such a miserly songlist with so many singers onstage and so many songs to choose from? With a decent bouquet of your fave CP singers on hand to deliver, it would have nice to claim that you’d be hearing all your fave Andrew Lloyd Webber songs.

There are 20 songs, or there would have been if one hadn’t been skipped last Saturday. Most generously represented are Evita and Phantom of the Opera – not surprising when you consider that Lucia Stetson and Ryan Deal, who starred in the title roles at CP, are on hand to handle their reprises. This they do with panache, for Chisholm knows where to place his chips when he ponders his staging. Stetson is festively dressed by costume designer Ramsey Lyric for the brash “Buenos Aires” and backed with enough vocalists to evoke a carnivale – and she really is dressed to the nines when she does Evita’s anthemic “Don’t Cry for Me, Argentina.”

As the ghoulish, predatory Phantom, Deal can only fully come into his own when paired with his prey – the more beautiful, the better. Deal breathes heavily enough to be truly sinister in singing “Music of the Night,” but he’s most commanding when he torments Knowlson in the title song. Squat as Pease is, scenic designer James Duke does provide twin staircases flanking his final Pease set. The one at stage left is definitely an asset when Deal makes his dominant melodramatic exit. “Sing!” he bellows as Knowlson sustains high notes we haven’t heard from her in years. I’m guessing that’s the rest of the ensemble forming an offstage chorus for this duet, intensifying its power.

Taking up the Raoul role, Ratchford struck up the more consoling duet with Knowlson, “All I Ask of You.” All that chemistry was still there, no doubt kindling widespread nostalgia among those in the audience who remember the multiple times Knowlson and Ratchford shared top billing at CP in the past. With the entire ensemble singing “Masquerade” and Knowlson soloing on “Wishing You Were Here,” you will gather that Chisholm & Company’s Music of the Night is wringing maximum mileage from Phantom.

Even before the selections already cited, Brittany Currie Harrington and Traven Harrington were a more age-appropriate Christine and Raoul in “Think of Me.” Traven’s voice is the mellower at his low end, but Brittany was sensational at her uppermost in an unforeseen cadenza at the end of their duet. Each of the Harringtons logged an additional solo before the revue was done, Brittany reprising the title song from Love Never Dies and Traven taking us way back to the title song of Starlight Express.

Do you remember There’s A Light at the End of the Tunnel from that same rollerskating musical? Me neither, but Kevin Harris – perhaps signaling that he’ll be back for Showboat next summer? – reminds us how righteously rousing it is in bringing us to intermission, with backup support that matches the liveliness of “Buenos Aires.” Of the remaining cast members, I most fancied Ron T. Diaz and Emily Witte, both of whom I wished were better showcased.

Witte was saddled with the lackluster “Another Suitcase” from Evita before being obliged to timeshare “I Don’t Know How to Love Him” from Jesus Christ Superstar with Sarah Henkel and Karen Christensen. Diaz continues the Superstar momentum into the final bows, getting a better split on that title song, with J. Michael Beech sharing the spotlight and everybody in celebratory form backing up.

Lisa Smith Bradley bore the burden of beginning the evening with “Memory” from Cats, a song that I loathe from a show I despise. As we moved onward – and inevitably upward – I could be thankful that this irritation had been immediately disposed of. But I remain peeved at the evening’s brevity and the songs from other shows that remained AWOL. If we could dip into Joseph for Ratchford’s Elvis-like “Song of the King” and Harris’s “Close Every Door to Me,” surely there could be space for more than the peeps we had into Song & Dance and Whistle Down the Wind.

Maybe it’s okay to skip past The Woman in White, Aspects of Love, and Tell Me on a Sunday, but surely we must sample the Tony Award-winning Sunset Boulevard and Sir Andrew’s triumphant comeback, School of Rock, which wowed this town back in January. A couple of songs from each of those hits would expand the running time past the 90-minute threshold – and sound more like a respectable survey of this composer’s work.

Family and Romance Tug at an Iowa Housewife in “Madison County”

Review:  The Bridges of Madison County

By Perry Tannenbaum

When the touring production of The Bridges of Madison County came to Knight Theater in the spring of 2016, I can easily imagine CPCC Theatre set designer James Duke watching the rusticated wooden bridge as it descended from the fly loft. “We can do that!” he would be thinking to himself. And nearly 17 months later at Halton Theater, he has done it, in a spare, taciturn design style that works well with the Midwest – in this case, Iowa – ably complemented by Jeff Childs’ lighting design.

One additional inverted V goes a long way to simulating the lonely Johnson homestead where roaming National Geographic photographer Robert Kincaid falls in love with Francesca, a stoically transplanted Italian housewife marooned on the prairie after raising a wholesome 4H family. Scenery pieces at ground level aren’t quite as mistakable for the touring version, largely because crew and cast shuffle them in and out of the wings with conspicuously less professional polish.

Once everything is set in place, the sound of the current CPCC Theatre production consistently overachieves. I can also imagine Rebecca Cook-Carter, CPCC Opera Theatre’s artistic director, looking at the touring version of Madison County and saying, “We can do that!!” Look down in the orchestra pit at the Halton and you won’t find brass, woodwinds, and batteries of electric guitars and keyboards. Musicians are overwhelmingly classical string players, and their conductor, Craig Estep, has made valuable contributions to both theatrical and operatic productions at CP in the past.

In adapting the wildly popular bestseller by Robert James Waller, James Robert Brown’s score does occasionally soar toward opera in its ambitions when we listen to his melodies and orchestrations, both of which won Tony Awards. But there’s a very relaxed vibe to the roving photographer that contrasts with Francesca’s operatic frustrations, swooping toward chamber and country music. When the storyline detours toward the nosy neighbors and the raucous State Fair, velvety classical violins are likely to mutate into bluegrass fiddles.

If she hadn’t been on my radar in 2011, playing a supporting role in the CPCC Summer Theatre production of Hello, Dolly! I would have thought that Sarah Henkel was a genuine Italian neophyte as Francesca. Hand movements were shy, awkward, and clichéd at first when we looked at the opening wartime scene that tied Francesca’s fate to the uniformed Bud, who pales to humdrum farmer by the time we see him again in Iowa.

With Robert’s arrival, the shy awkwardness begins to work for Henkel, and as the couple’s intimacy increases, the fumbling and tentativeness dissolve, so there’s no longer a disconnect between Henkel’s actions and her soaring mezzo-soprano voice. I still missed a lot of the lyrics she was singing, but as passion took the place of preliminary exposition, that difficulty mattered much less. Compared with the virtually indecipherable Elizabeth Stanley on the national tour, Henkel was clarity itself.

Since I raved about Andrew Samonsky as the lanky dreamboat who captivated Francesca on tour, its no small compliment to say that Ryan Deal is nearly as fine as Robert. Deal may even be better at getting into the vagabond country lean of the music. As passionately as many local theatergoers might feel that he will never surpass his previous autumn exploits in Phantom of the Opera and Les Miz at the Halton, Deal delivers here, seemingly more comfortable in this music.

While Deal is not likely to be mistaken for a lean, rugged Marlboro man, the gap between him and Samonsky might have been bridged at least partially if Deal, along with director Cary Kugler and costume designer Rachel Engstrom, had seriously considered what a hippie looked like in 1965. To get instantly labeled as a hippie by a provincial Iowan, more hair and looser, more casual clothes are required. An untucked sport shirt just won’t do.

Politeness and consideration, mixed with a heavy sprinkling of artistic intensity, are also part of Robert’s appeal, and Deal conspires very nicely with Henkel on the chemistry of the mutual seduction. Looking at how Kugler directs and how Engstrom dresses the townsfolk, you will likely think that Marsha Norman borrowed heavily from Meredith Willson’s Music Man in crafting the Iowans in her script.

Next door neighbors, Taffy Allen as Marge and Jeff Powell as Charlie, are exactly as you would expect. She’s unsatisfied unless she’s ferretted out every spec of scandalous gossip while, even when she’s most annoying, he can be mollified with a fresh slice of pie. Closer to the vortex of the central romance, Francesca’s family is humdrum rather than silly. Steven Martin as Bud, the husband, is a solid and confident blockhead, but we get the hint from Martin that some of his cocksureness comes from Francesca’s support.

Yet Bud is the primary reason that the kids need Mom. Gabe Saienni as Michael needs Mom to help him convince Dad that there is an alternative future for him that doesn’t include taking over the farm. Sharing the role with Olivia Aldridge from night to night, Leigh Ann Hrischenko convinces us that Carolyn’s needs are even more acute and poignant. Mom stands as buffer between Carolyn and her father’s brusqueness, and despite the fact that she may have raised a prize-winning steer, it’s Mom who must bolster the younger sib’s determination and self-confidence.

As the romance heats up, Francesca must choose between her inner drive to break free and globetrot with Robert or the tug of her loyalty, calling upon her to remain in Iowa with a family that needs her. After two hours and 18 minutes, plus a 20-minute intermission, you wouldn’t want the choice to be easy, would you?

 

Selling Elegance, Spirit, and History for Just a Song

Theatre Reviews: I Love a Piano: The Music of Irving Berlin and The (curious case of the) Watson Intelligence

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After its most lavish and extravagant production ever, last November’s The Phantom of the Opera, what was CPCC Theatre going to do to follow up? Well, since the laws of mathematics and the logic of budgets still apply on Elizabeth Avenue, the answer was simple: economize! Rolling into the parking garage, where the second story was unusually unoccupied, I was worried the audience for I Love a Piano: The Music of Irving Berlin would be as drastically reduced as CP’s expenditures.

Not to worry, I didn’t find that many more empty seats at Halton Theater last Saturday night than I saw at last February’s How to Succeed. More importantly, considering the relative merits of Berlin and Andrew Lloyd Webber, the show attracted a competitive enough turnout at auditions to yield a cast that is worthy of the music — including holdover Ryan Deal, who you may recall in the title role of The Phantom.

Like the audience, the orchestra isn’t reduced quite as much as the funding, a quintet led by music director Ellen Robison from the keyboard. They’re a busy bunch, accompanying the cast — all six of them triple threats to various degrees — through a songbook that includes 53 different titles. A few of these songs are reprised, and at one point, when Andy Faulkenberry’s “The Girl That I Marry” is juxtaposed with Corinne Littlefield’s “Old Fashioned Wedding” — while J. Michael Beech and Megan Postle are teaming up on the counterpoint of “You’re Just in Love” — there are four different vocalists onstage singing four different melodies simultaneously.

Conceived by Ray Roderick and arranger Michael Berkeley, Love a Piano never says Berlin’s name out loud. But the 11 scenes, beginning with Tin Pan Alley in 1910 and ending in a summer stock revival of Annie Get Your Gun in the late 1950’s, take us chronologically through the composer’s career. Or roughly so: “Old Fashioned Wedding” was written for the 1966 revival of Annie Get Your Gun, and you can bet the anachronisms don’t stop there.

With a generous portion of poetic license, the show sketches a musical portrait of a composer who was consistently able to mirror his times. The title tune, “A Pretty Girl Is Like a Melody,” and “Alexander’s Ragtime Band” take us back to a sepia-tinted era when rags roamed alongside sentimentality. As we cut from band shell to speakeasy, “Pack Up Your Sings and Go to the Devil” and “Everybody’s Doing It” evoke the wicked carefree spirit of the Roaring ’20s during Prohibition.

Two scenes are devoted to the ’30s, “Blue Skies” and “I’ve Got My Love to Keep Me Warm” offering consolation during the onset of the Great Depression. Then a suite of dance tunes, including “Top Hat, White Tie and Tails” and “Cheek to Cheek,” evokes the elegance of Fred Astaire and Ginger Rogers. Thanks to Mel Brooks, the audience failed to take “Puttin’ on the Ritz” altogether seriously.

For some reason, Roderick — or perhaps CP’s director and choreographer, Ron Chisholm — bounced the heyday of dance marathons from the 1930s to the 1940s, sketching that lugubrious phenomenon with “Say It Isn’t So” and “How Deep Is the Ocean.” When we authentically reached the World War II era, it was quite obvious that Berlin more than reflected the hopes, the pride, and the humor of the times. He simply was these things, with a flowering of songs that included “Oh, How I Hate to Get Up in the Morning,” “This Is the Army,” “Any Bonds Today,” and “Count Your Blessings Instead of Sheep.”

Even those left plenty of room to bring down the first-act curtain with two of Berlin’s most enduring songs, “White Christmas” and “God Bless America.” A more judicious dividing line would have been the beginning of WW2 toward the end of the ’30s. As it stands, Roderick drops a bunch of CARE packages on the 1950s, including “Easter Parade” from 1933 and everything attached to Berlin’s sharpshooting homage to Annie Oakley, which premiered in 1946.

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Photos by Chris Record

James Duke’s scenic and lighting design, relying heavily on period slides and Berlin show posters projected onto three screens, move us gracefully from era to era. But it’s Debbie Scheu who most colorfully clinches the deal with her cavalcade of costume designs. Chisholm’s choreographic demands certainly tax his cast, with Littlefield and Faulkenberry negotiating their steps with the most apparent ease. On the other hand, while Postle and Beech looked like they might not be up to their challenges, both of them surprised me with their hoofing.

Deal and Kayla Ferguson were the remaining couple, most memorable in their “Blue Skies” duet. All six of the singers proved to be quite capable, not at all fazed by the spotlight, but Deal and Littlefield were my favorite soloists. The ensembles were often very lively and charming, but a special pinch of conflict was added in the summer stock tableau when Ferguson, Littlefield, and Postle all auditioned to be Annie opposite Faulkenberry’s Frank Butler.

“Anything You Can Do,” usually a comical face-off between Frank and Annie, is set up as an audition piece. So the comedy is reborn — as a rollicking showdown between three aspiring Annies.

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Time and reality bend in curious ways in The (curious case of the) Watson Intelligence, now at UpStage in NoDa through February 21. But so does playwright Madeleine George’s title, so what else would you expect?

Three rather curious Watsons that we’ve already heard of are trotted out and shuffled in Three Bone Theatre’s production, directed by Robin Tynes. The first of these is a relative, shall we say, of the Watson computer that defeated its human opponents on Jeopardy in 2011. Eliza, who collaborated with IBM on the victorious Watson, is now in her living room, working independently on a new android that sports a far more human body.

We travel back to the 19th century for the other two Watsons that we know. The first of these is the Watson summoned to Alexander Graham Bell’s side when Pa Bell invented the telephone, his assistant Thomas A. Watson. But we don’t really see him, either, on that historic day in 1876. Instead, it’s Alex repeatedly calling for him in brief blackout vignettes between other scenes. No, we must wait until 1931, when Watson goes on record at Bell Labs, insisting that what his boss really said was, “Mr. Watson — come here — I want you.”

The third or fourth Watson, depending on how you tally the computer chips, is more in control of his narrative, for this is the Dr. John H. Watson who ostensibly chronicles nearly all of the Conan Doyle adventures of Sherlock Holmes. You’ll find that Watson Intelligence is all about connections Ð personal and electrical — and vague connections between the android and Sherlock’s sidekick are established by a fifth Watson, a tech dweeb hired by Eliza’s ex-husband to spy on her.

Compounding the absurdities, Tynes has chosen a black actor, Devin Clark, to play the whitest sidekick in the history of literature. What’s more, Clark is perfection as all the Watsons, human and robotic, plus a special set of scenes where he dons Sherlock’s deerstalker cap. Chesson Kusterer-Seagroves crystallizes Watson’s role as the archetypal listener, pouring out her heart to the robot and the tech dweeb in modern times and bringing an intriguing mystery to Watson at Baker Street in Sherlock’s absence.

Ken Mitten rounds out the cast as Bell and the two Merricks who cause their Elizas so much distress. He’s a powerful stage presence, but I’m sure he’ll be even better when he’s more secure with his lines and cues.