#rayoflighttheatre

[roltheatre]

Thank you to everyone who tuned into the LIZZIE Virtual Watch Party last night from all over the world. Here is our 2015 cast and band performing a 2021 rendition of "Burn The Old Thing Up." 

[darwinplanet]

American Psycho the Musical #musical #musicaltheatre #rayoflighttheatre #theater #livetheater (at The Victoria Theatre) https://www.instagram.com/p/Bx6OVbIhz9R/?igshid=1yel0yzaevr5

[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entertainingly jarring choreography, has lifted the Duncan Sheik/Roberto Aguirre-Sacasa musical up from it’s out-of-date, reference-ridden attempt at commenting on the American human condition.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

Hump Day has arrived and I am here to highlight a newly-announced season! This company has always been a San Francisco theatre hub for those who come to a theater to risk, learn, and be challenged. Their focus on musicals, especially of the rock genre, make the rounds of word-of-mouth and news, especially with their all-female Jesus Christ Superstar last season, full of praise and serious respect . This upcoming season promises to tickle your fancy if you’re ready to rock. Here we go with Ray of Light Theatre’s 2019 season!

Shows/Dates: American Psycho (May 17th - June 8th); Caroline, or Change (September 13th - October 5th); The Rocky Horror Show (October 23rd - November 2nd)

Venue/Address: Victoria Theater @  2961 16th Street, San Francisco 94102

Website: www.rayoflightre.com

Facebook: “Like” them at- Ray of Light Theatre

Twitter: “Follow” them at- @roltheatre

Description: There aren’t many seasons I dare to call daring, but Ray of Light Theatre’s 2019 offerings are absolutely daring. They are doing two titles who die hard musical theatre fans will flock to and, hopefully, less-experienced audiences will see and realize, “Oh! Wow! That was a really good, rarely-done musical. And this company knows how to do that kind of show really, really well. We’ll be back!” You better believe Ray of Light will bring it in 2019, just like they have been for quite a few years now. See you at the theater!

[susiefoo]

Ray of Light Theater’s performance of Hedwig and the Angry Inch was AH-MAZING!! So, SO happy we went, and on it’s closing night too! Happy birthday to me, indeed! 👏🏼👏🏼👏🏼 #hedwigandtheangryinchthemusical #hedwigandtheangryinch #rayoflighttheatre #victoriatheater #iheartsf #hbdtome (at The Victoria Theatre) https://www.instagram.com/p/BopMViWA_Jl/?utm_source=ig_tumblr_share&igshid=1ha07hktb66np

[brothermarc7theatre]

"Hedwig and the Angry Inch" show #752

There is an explosively fun and riotous concert at The Victoria Theatre. Ray of Light’s Hedwig and the Angry Inch has taken the cult favorite adaptation and created a rocking party of it. Led by an incredibly gifted Coleton Schmitto in the title role, there’s nothing to be angry about with this Hedwig and the Angry Inch!

(Coleton Schmitto (Hedwig); Photo credit: Alexander Belmont)

Mr. Schmitto is a one-man show within the show, delivering a balanced performance filled with both commanding presence and feminine allure in his portrayal of Hedwig. Created and originated by book writer John Cameron Mitchell, the role is a gender fluid, charismatic, bitchy performer whose life didn’t start out as well as many other children’s did. Partnered with Stephen Trask’s score, Mr. Mitchell’s book is loaded with tongue-in-cheek one-liners, a plethora of opportunities for audience banter, and a marathon acting and singing demand put on the wig and heels of the actor playing Hedwig. Mr. Schmitto is more than up to the task, crooning in true rock fashion, he maintains a consistent energy and has the flamboyancy and musical talents to carry the show. His “The Origin of Love,” “Sugar Daddy,” and volatile title song serve as vocal highlights of the iconic score. More than just a fabulous singer-dancer, Mr. Schmitto finds the quiet, more emotional-jarring moments among Hedwig’s many monologues. His delivery of the comedy is just as poignant as the dramatic, making his Hedwig a completely true-to-script character.

 (Maya Michal Sherer (Yitzhak); Photo credit: Alexander Belmont)

Servicing Hedwig as needed with equipment being moved, mics being adjusted, and other things the audience isn’t privy to seeing, is Yitzhak, Hedwig’s husband, played by an infallible Maya Michal Sherer. Ms. Sherer’s backup vocals are a sturdy addition to the majority of the numbers, but it is in “Exquisite Corpse” and the ending of “Midnight Radio” where she gets to really let loose, and let loose she does. Her vocal power combined with Maggie Whitaker’s eclectically flashy costume is a finale turn that Ms. Sherer and Mr. Schmitto absolutely slay. A four-member band comprises the Angry Inch, and is in stellar sound, delivering the exact rock sound and energy Mr. Trask’s score deserves. Steven Bolinger, Lysol Tony-Romeo, Diogo Zavadzki, and David Walker are a fearsome foursome to be reckoned with, though the camaraderie and occasional banter between them and Mr. Schmitto adds a palpable dose of humor and approachable warmth one wants in Hedwig…

(Maya Michal Sherer (Yitzhak) and Coleton Schmitto (Hedwig); Photo credit: Alexander Belmont)

Joe D’Emilio’s lighting design is the perfect blend of rock concert and musical theatre, a design effort that is spot-on from the opening “America the Beautiful” through the final bow. Amy Bobeda and Becky Motorlodge deserve their own round of applause for their gorgeous wig design, accenting Hedwig’s head with the utmost in 80’s and early 90’s fashion. Peet Cocke’s set design is superb within the Victoria Theatre, allowing room for Mr. Schmitto to roam about and execute Alex Rodriguez and Angel Adedokun’s sultry and stellar choreography while still maintaining the rundown theatre vibe. Sailor Galaviz and Jason Hoover have helmed this production with a keen eye and ear for what the essence of Hedwig really is. It’s a perfect production for San Franciscans to enjoy, and will cause even the most dedicated Hedwig heads to sing, clap, and drink along. Book your tickets now to join Hedwig, Yitzhak, and the Angry Inch in their wicked little town; you do not want to miss it!

Details:

Hedwig and the Angry Inch runs through October 6th

The Victoria Theater in San Francisco

www.rayoflighttheatre.com

[brothermarc7theatre]

"Jesus Christ Superstar" show #728

There is a loud-and-clear movement in 2018 led by women who are not just part of the change, but are the change. Ray of Light Theatre has joined in this movement by choosing to make the bold, empowering, and progressive decision to cast Andrew Lloyd Webber and Tim Rice’s religious rock opera, Jesus Christ Superstar, with an all-female cast. As you can imagine, this was met with mounds of support and plenty of backlash, especially in this day and age when social media “warriors” depend on the anonymity of their laptops, allowing them to hide behind their keyboards in order to express their ill-informed, ignorant opinions, but I digress. Point is, these women have the incredibly important message to share that, like in Jesus’ day, a radical movement is needed to wake up the citizens and make them realize that change is needed and will happen. Ray of Light has not gone out of their way to make a statement because they don’t need to; the work happening at the Victoria Theatre speaks for itself, and it is artistically radiant.

(Janelle LaSalle (Jesus); Photo source: Ray of Light Theatre)

Janelle LaSalle and Jocelyn Pickett lead this cast as titular hero, Jesus, and iconic antihero, Judas, respectively. Ms. LaSalle spends the entirety of the first act fulfilling one aspect of Jesus’ mission while on Earth: to be the vessel for which He is doing God’s work. Ms. LaSalle’s presence and vocal prowess is dynamic enough to let a little go a long way. Her “The Temple” is incredibly passionate and accurately disheartening, as Jesus is horrified at the idolatry, adultery, and sin going on in the Holy temple. In fact, Ray of Light’s “The Temple” is the most provocative, scintillating staging I have ever seen, and rightly so; in order for 2018 audiences to even come close to being shocked, you need a cast who is willing to push the boundaries. In Act Two, Ms. LaSalle transcends the responsive and caring Jesus and calls forth every ounce of her emotion, vibrato, and belt for a stirring, show-stopping “Gethsemane,” taking the audience on a journey to which the ending is already known. Directors Eliza Leoni and Shane Ray make an awesome, gut-wrenching choice by having only Jesus on stage for “Crucifixion.” The result is an audience sitting with mouths agape, having to soak every note in as Ms. LaSalle delivers an emotionally-draining death.

(Jocelyn Pickett (Judas), flanked by members of the Apostles; Photo source: Ray of Light Theatre)

Ms. Pickett is a fantastic Judas, delivering dynamite vocals which are complement to her deep-seated well of emotion as the disciple who betrayed Jesus. One thing that is a forever-debate in the theological realm is Pre-destination VS. Free Will; do humans have 100% free reign to choose or has God already pre-determined every decision they’ve made? Lloyd Webber and Rice invoke this concept many a time throughout Judas’ journey, and Ms. Pickett is solid in showing the physical and verbal anguish she encounters while trying to wrap her mind around what Judas is choosing, or being forced to do.  Another bold staging choice that pays off extremely well is having Christen Sottolanos’ Annas drop a wad of cash on the floor, representing the money Judas was paid in order to betray Jesus. Ms. Pickett slowly-but-surely makes her way to the cash, tucks it away in her jacket, and the Act Two drama is set. It’s a stage moment that is haunting, showing how greed and choice can really steer one’s decision-making. Ms. Pickett’s voice is not just perfectly-suited in the rock score, but flourishes in “Heaven on Their Minds” and especially in the all-out show-stopping “Superstar,” complete with some of Maggie Whitaker’s best costume design on display.

(Maita Ponce (Mary) and Janelle LaSalle (Jesus); Photo source: Ray of Light Theatre)

Maita Ponce delivers a beautiful performance as Mary Magdalene. Her stirring emotional pull towards Ms. LaSalle’s Jesus is apparent in “Everything’s Alright” and truly comes to fruition in a gorgeously sung and acted “I Don’t Know How to Love Him.” Her leadership of “Could We Start Again Please?” alongside Angel Adedokun’s passionate Peter is altogether emotionally-pensive and heartbreaking. Supporting standout performances are in droves as there is not a weak link in this cast. Melinda Campero leads a fantastically energetic “Simon Zealotes” as the ensemble of apostles execute Alex Rodriguez’s outstanding choreography with flare and precision. Heather Orth delivers a strong performance as Caiaphas, handling the incredible range of the score with stellar vocals and a side-eye stare down that could make any man or woman tremble. Hayley Lovgren, as Herod, is a one-and-done show-stopper in one of the most creatively staged versions of “King Herod’s Song” I have ever seen. I shall not give away the concept behind it, but let’s just say it makes every use of Erik Scablon’s very smart video design and bravo to whoever was in charge of wigs.

(L to R: Heather Orth (Caiaphas), Jocelyn Pickett (Judas), Christen Sottolanos (Annas); Photo source: Ray of Light Theatre)

Technically, as has come to be the norm with a Ray of Light production, the balance of lighting, set, orchestra, and sound are well in-sync. Ben Prince, as music director, has outdone himself in making sure this score is sung with truth in the ranges of the female cast. In fact, he and the cast do the score justice so well, that it’s as if the score was written for women all along. Kuo-Hao Luo’s scenic design encompasses a sanctuary feeling while still giving the impression needed to marry how modernized the show is set. The aforementioned video designs make effective use of Twitter feeds, news reports, and slogans/memes, which are so visually recognizable, that Ms. Leoni and Mr. Ray are set-up well for letting the audience know that the story of Jesus, Judas, and Rome, in biblical times, are quite similar to our current 2018 headlines.

(Company of Jesus Christ Superstar; Photo source: Ray of Light Theatre)

As I mentioned earlier, this is an important production to see. If not to see a bad ass, all-female cast rock out one of musical theatre’s most iconic rock scores, then at least to just see a damn good production of a show that is not easy to do, no matter who is in the cast. Ray of Light Theatre has taken full advantage of today’s thirst for progressive casting, social change, and political outcry. Do not miss this show.

Details:

Jesus Christ Superstar runs through June 9th

Ray of Light Theatre at the Victoria Theater in San Francisco

www.rayoflighttheatre.com

[brothermarc7theatre]

"Reefer Madness" show #671

A musical about pot, how could that be? Well, after the unintentionally hilarious dramatic 1936 film, “Reefer Madness” got a musical tongue-in-cheek adaptation to the stage by Kevin Murphy and Dan Studney. The eclectic score pairs well with the charmingly comical plot: a story of two innocent lovers who fall under the spell of marijuana. Ray of Light is currently running a whimsical production of this musical madness with aplomb for comedy and a cast full of talent, a show you’ll enjoy whether high on Mary Jane or just high on life!

(Brigitte Losey (Mary Lane) and Jimmy Wong (Jimmy Harper); Photo credit: Zach Wollons)

When Jimmy Harper and Mary Lane bond over Romeo and Juliet tutoring, the magic of love infuses itself between these high school do-gooders. However, Jimmy, in his earnestness to be a great dancer at the nearby Five and Dime, is lured to a hothouse (of sorts) where he is catapulted into the world of the reefer. Mary Lane urges Jimmy to be the good boy she fell for, but eventually she too succumbs to the weed. Deaths happen, weed is smoked, and Jesus makes an appearance; what more could you want?

 (Front: Leah Shesky (Lecturer) flanked by Cast of Reefer Madness; Photo credit: Zach Wollons)

Phil Wong is an exemplary Jimmy, fulfilling the Jekyll/Hyde demands of a “Gee Golly, Mister” good guy and a horny, sadistic victim of the reefer; his comedic timing and takes to the audience are very well-placed. His vocals are a sterling highlight among a cast of strong singers, especially in his Act One torch number, “Mary Jane/Mary Lane.” When Mr. Wong teams up with Brigitte Losey’s Mary Lane for “Romeo and Juliet” the audience is lovingly introduced to the vocal power and comedic chemistry these two share. Miss Losey is all tender and sweet in a gorgeous turn of “Lonely Pew,” juxtaposing nicely with her Act Two raunchy romp, “Little Mary Sunshine.” Leah Shesky is a perfect casting choice as the Lecturer, a strict narrator of sorts who has chameleon-like abilities to play various townspeople and merchants throughout the production. Miss Shesky’s vocal prowess is showcased well as she kicks off the musical with a mighty “Reefer Madness.”

(Ashley Garlick (Mae); Photo credit: Zach Wollons)

Matt Hammons delivers a great performance as Jack, owner of the marijuana home base where his cronies Mae, Sally, and Ralph reside. Mr. Hammons makes his mark as Jack, but doubles in a two-time scene-stealing turn as Jesus in Act One’s rockin’, soulful “Listen to Jesus, Jimmy” and the Act Two reprise. Christen Sottolano and Adam Nieman are stellar as Sally and Ralph, respectively. Both have bits of time to shine: Miss Sottolano with her sultry demeanor and physicality, and Mr. Nieman in a wonderfully laugh out loud turn with Miss Losey in “Little Mary Sunshine.” Ashley Garlick is a dynamite Mae, exuding a stage presence with which not to be reckoned and a gorgeous voice to boot. Miss Garlick’s belt and range soar in a fantastic “The Stuff,” and every time she slinks on stage the scene is enhanced with her strong acting chops.

(Ensemble of Reefer Madness; Photo credit: Zach Wollons)

Not just a show relying on the principals, the ensemble is a hard-working group of sweet sounding vocalists and excitingly smooth dancers. Alex Rodriguez’s choreography of the opening “Reefer Madness,” the bouncy “Down at the Ol’ Five and Dime,” and the absolutely wacky “Jimmy Takes a Hit/The Orgy” are staged with a knack for comedic moments while showcasing great formations and period-appropriate moves. Highlighted from the dance numbers in the ensemble is the very active Mary Kalita, who doubles as the Placard Girl, adding even more applause and laughs to the concise and consistent bits and staging director Jenn Bevard has sprinkled throughout the script’s chaotic pacing. Miss Bevard has helmed this …Madness with an astute eye for which moment is most important to give attention to and when to set up even funnier moments while making extremely good use of Devon LaBelle’s enormously pleasing set. The varying locales are precise and detailed, and Keenan Molner’s smart lighting design ensures the mood is set whether it be dramatic or energetic. What more can I say rather than there is a whole slew of reefer-based musical madness waiting for you at the Victoria Theater. Go see this show!

Details:

Runs through October 7th

Victoria Theater, San Francisco

www.rayoflighttheatre.com