#sierrarep

[paulaspeacefulplate]

Dinner and a show! Fun! #grease #sierrarep #columbia (at Fallon House Theater) https://www.instagram.com/p/B480lXygtBTZ6pyGjFwSHqqK45FOKM0LC8-yRU0/?igshid=153b6a3ddunwj

[brothermarc7theatre]

"Beehive" show #571

Beehive is one of those musical revues that gives me so much joy; a group of solid female vocalists covering the iconic hits of the 1960’s is something that resonates with audiences, whether they grew up in the era or not. Sierra Repertory Theatre has recently opened their newest production of Beehive, and I am pleased to report that with their powerhouse cast and fabulous direction and choreography by Russell Garrett, this is one Beehive you do not want to miss.

(Cast of Beehive; Photo Credit: Rich Miller Photography)

The music and monologues in Beehive take audiences through the 1960’s in chronological order, from big hair, big-voiced ballads through the Civil Rights and Hippie movements, with poignant stories and hall-of-fame songs pushing the timeline along. Each girl has multiple moments to shine, whether as a soloist, in a duet, trio, or in the many company numbers.  In addition to the solid voices and dance turns the cast of six deliver, Bethany Deal’s spot-on costume and wig designs perfectly portray the various periods and styles of the 60’s, helping the girls, and audience, fall into the exact year being represented in song or scene. Deal’s job is as vital to the success of this production as any, and she nails it with every costume/wig choice she makes.

(Cast of Beehive; Photo Credit: Rich Miller Photography)

In summary, all six Beehive women are phenomenal triple-threats. They make the audience laugh or tear up, they show off all sorts of 60’s dance moves, and sing their ballads, upbeats, and duets with pitch-perfect vocals and intoxicating energy. Ariel Daly shines in her Act Two turn as Janis Joplin when she covers “Piece of My Heart” with rockin’ vocals, then switches gears with ease in a lovely, tender rendition of “Me and Bobby McGee.” Roslyn Seale kicks off Act Two with a fantastic performance as the super energetic, charismatic Tina Turner in her performances of “River Deep, Mountain High,” and “Proud Mary.” Not only is Garrett’s demanding choreography executed gorgeously by Seale and her Ikettes, but the energy needed to pull off these back-to-back numbers is never lacking in any of the girls’ performances. Natalie Anne MacDonald delivers a sweet, endearing performance in her leadership of the famous Lulu tune, “To Sir, With Love,” and nails the alluring, finger-snapping “Remember (Walking in the Sand).”

(L to R: Gabby Jackson, Roslyn Seale, Fay James; Photo Credit: Rich Miller Photography)

Fay James’ diverse vocal abilities are showcased extremely well in Act One, starting with her bouncy, fun Annette Funicello-caricatured performance of “I Dream about Frankie.” James then utilizes her vocal range and timbre extremely well, making full use of her powerful stage presence to deliver a stirring “The Beat Goes On,” briefly shifting the mood of the revue to thought-provoking reflection on the darker times of the decade. Samantha Gershman and Gabby Jackson round out the cast, each delivering excellent performances that are sure to linger in your memory for many years to come. Gershman’s  “One Fine Day” is wonderful in all aspects, and it is followed by a beautiful job leading “Downtown” and “Don’t Sleep on the Subway.” Jackson kicks the show off with the exact level of energy needed to wrap the audience in for an evening of exciting singing and dancing with her musical narration of “The Name Game.” Later, Jackson performs a scene-stealing “R-E-S-P-E-C-T” by engaging every ounce of Aretha Franklin vocal nuance and power to drive the solo. However, the show hits its triumphant peak when Gershman and Jackson team up for an absolutely stellar, tear-jerking Act Two mash-up of “Natural Woman” and “Do Right Woman.” Literally, it is a show-stopping number that the audience won’t be ready to let end. Mid-show standing ovations don’t come around very often; the evening I attended, they deservedly received one.

(Samantha Gershman and Gabby Jackson; Photo Credit: Rich Miller Photography)

Lighting these fabulous ladies and costumes and wigs is Peter FA Leibold’s appropriately psychedelic, classically bright lighting design. Each number has a mood, a shade, and an excitement to it that is in direct result of Leibold’s fantastic work. Framing the lights, projections, and action is a visually outstanding set design by Michael Kramer. Not only is the set open and functional to accommodate all the dancing, but with platforms creating various levels for the ladies to party on, it looks very much like a big, 1960’s studio dance party. The upstage curtain is made complete with jukebox-esque song title cards, adding the perfect touch of visual nostalgia to this impeccable production.

(L to R: Ariel Daly, Natalie Anne MacDonald, Samantha Gershman; Photo Credit: Rich Miller Photography)

Beehive will continue rockin’ and rollin’ on the East Sonora Theatre stage through August 28th, so book your tickets now to see and hear all those ‘60’s hits! You can purchase tickets at Sierra Rep’s website at www.sierrarep.com, by calling the box office at [phone], or at the theater itself during Box Office hours/before the show. Believe me when I say, if I lived in Sonora, I would be attending this show every week. Go see this show!

[showtimechamaco]

The Drowsy Chaperone is so criminally underrated and is the perfect love letter to Broadway and musical theater nerds. Saw a great production tonight where Man in Chair got choked up at the end and got me a bit teary-eyed with his last monologue. "It does what a musical is supposed to do; it takes you to another world. And it gives you a little tune to carry with you in your head. Something to take you away from the dreary horrors of the real world. A little something for when you're feeling blue. You know?" Made me miss performing and I hope I get to do it again sooner rather than later.

[shakespeareplayer]

Final Week...

…with the Scotsman. It’s been pretty incredible. My body and voice are exhausted, though the feeling is a good one. Emotionally, I’m drained. At night, I dream of the damn thing… it’s fair to say it has invaded all aspects. And while I will miss him, the rest you can never truly get until it’s done will be nice… and I’m very hopeful to get another (few) crack(s) at the bastard before my hour upon the stage is up, as it were.

This past weekend was a great joy of guests, as my wonderful mom lead the charge on a large group that made it up over the Labor Day weekend. A few more visitors before we close it out… when done here, I’ll be heading back to LA for a quick night, before flying to Canada to visit Scott and Marion and to see what Stratford Shakespeare has on offer this year… of course, I’m most excited for the Pericles (directed by Scott with Marion playing) among so much else.

As for the coming winter and following year… well, there’s some good stuff on the horizon. This career can be so fuckin’ scary sometimes. I drove up to Sonora with nothing booked past it, and was really nervous about it. Think about that: I’m driving to my next job, and am already worried about what will come after. But that’s what we’ve signed up for, us traveling players… there’s honor in that fear. Every time you face it you wonder if it’s worth it. And the answer is always yes -- until it’s not. And that’s when you stop. I’ve never come close to that answer. Not yet. I hope I never will. Longway ‘round to saying, I don’t have to face that fear at present. Which is fucking excellent.

[shakespeareplayer]

Some more Macbeth photos… all by Rich Miller.

[shakespeareplayer]

A pair of shots from our production photos… pretty cool. Photos by Rich Miller.

[shakespeareplayer]

A nice little behind the scenes trailer for our Macbeth. Unfortunately, I did not get my (very busy) act together to be a part of it. Enjoy!

[shakespeareplayer]

Macbeth 10-of-12...

…done. And I’m exhausted. Teched through almost the entire play. A lot of it looks pretty incredible. The set and lights are stunning, and the soundtrack is phenomenal. Otherwise, little to add at the moment. It’s exciting. This week is the final charge to opening come Friday. Here we go.