PRiMA Theatre to Present 'Rockin' Rodgers & Hammerstein'

ROCKIN’ RODGERS & HAMMERSTEIN is a tip of the hat to America's song writing duo, with exciting new and contemporary arrangements of their classic songs. This theatrical concert-style cabaret experience will take place on Sunday, October 5 at 3pm and 7pm at the Trust Performing Arts Center (formerly the Lancaster Quilt Museum). The cast features performers from area theatres and is lead by Director Daniel Stargel and Music Director Andy Roberts.

“This is a great opportunity for those who grew up with the music of Rodgers & Hammerstein to hear the songs they love in fresh musical arrangements with a live band,” says PRiMA’s Executive Producer, Mitch Nugent.

Tickets are $22.00 for standard general admission tickets and $38.00 for premium tickets in prime, up-front seating. For groups of seven or more, premium tickets are available for 40% off at $23.00. Groups can make reservations by contacting the box-office at (717) 327-5124 or boxoffice@primatheatre.com.

The Trust building is located at 37 North Market Street in Lancaster City. An elevator, handicap accessible seating and restrooms are available at the venue. A drop-off location is available for buses and other vehicles directly outside the venue on Market Street. For paid groups of seven or more, complimentary tickets for bus drivers, event coordinators, PCAs or CNAs are available.

For a behind the scenes look at rehearsal for this production, check out this video:

For more information or to purchase tickets, please visit PRiMA Theatre's website.

Review: Joseph and the Amazing Technicolor Dreamcoat (National Tour) at Hershey Theatre

Hershey Theatre opened their 2014-2015 Broadway season with the North American tour of Joseph and the Amazing Technicolor Dreamcoat. This new version of the fun, family-friendly Andrew Lloyd Webber musical is one that will entertain people who have never seen it before while at the same time throwing in some surprises for those already familiar with it.

If you think you know this musical, think again. This production of Joseph has been given a modern makeover, using pop-sounding voices, video projection, hip clothing, and subtle twists on the familiar songs to give the show a very current look and sound. The creators gave this show just enough of an update to keep it fresh without taking away from the original production.

The cast is led by former American Idol contestants (and real-life husband and wife) Ace Young as Joseph and Diana DeGarmo as the Narrator. Their voices have more of a pop music sound to them, so fans of the original production and voices may take a while to warm up to this more modern sound. While they both delivered satisfactory performances, the highlight of their performing for me was their take on the prologue that they performed as a duet at the end of the show. The piece sounded like it could be a current hit on the radio right now, and my only complaint is that I can't find it anywhere to buy!

Brian Golub (Reuben) delivers a vocally impressive performance as he leads the cast in the comic song "One More Angel in Heaven." Ryan Williams also provides an entertaining performance in his role as Pharaoh. The remaining supporting cast members give adequate performances that aren't outstanding but are still good enough to pull off a solid production, and the ensemble blends well to provide a strong foundation.

DeGarmo and Young's rendition of the prologue isn't the only musical change. While all of the songs stay true to Lloyd Webber's orchestrations, several of them add very slight changes that make even a die-hard musical fan like myself wonder Was that part of the original song?. And some of the songs sound even more pop-rock than the originals, which fits in with the overall feel of the show.

In addition to Broadway-style songs like "Close Every Door," the music provides a variety of other styles, from the country hoedown-style "One More Angel in Heaven," to Calypso ("Benjamin Calypso"), and even a little Elvis ("Song of the King").

There is no dialog in the show, as the songs tell the story from beginning to end. The choreography is just as colorful as Joseph's coat, giving the actors a 90-minute dancing workout that flows from one song to the next.

While it lacks depth and overly impressive acting, the production as a whole is entertaining, colorful, and full of energy, with just the right amount of humor. If you're looking for a fun show that the whole family will enjoy, Joseph is a good bet.

Overall, I give this production 7 out of 10 standing ovations.

Joseph is playing at the Hershey Theatre now through September 28. For more information and to buy tickets, please visit the Hershey Theatre website. For more information on the production, plot, cast, and future tour locations, please visit the Joseph U.S. tour website.

Theatre Reviews: Row L Seat 1 Style

Have you ever left a theatre after seeing a show and thought, Wow, that was amazing! Or Holy cow that girl could sing! Or Ummm...what did I just waste my money on? Well, I think these kinds of thoughts every time a show ends. In fact, whoever I happen to be seeing the show with is (un?)lucky enough to hear all my thoughts after the show. But why stop at sharing my thoughts with only one or two people? My head is already about to explode with thoughts on every show I've ever seen, so why not put those thoughts out there for the world to see? Enter my theatre reviews.

As is the case with many blogs, reviews are a regular topic for Row L Seat 1. Whether you're interested in having me review a production or are just browsing for some info on a show you might want to see, here are four things to know about my theatre reviews.

1. They're honest. I love theatre and will see any show at least once; however, I realize that not everyone feels the same way about theatre. Not every person will enjoy every show. Even I don't enjoy every show that I see. My main goal when I review a show is to provide readers with information to decide whether or not they would enjoy the show. And if someone who wasn't planning to see a show reads my review of that show and thinks, "You know, that sounds like something I might like...I think I'll go see it," then my secondary goal is accomplished too! But if I'm not honest, I have no credibility. While there are definitely shows that I have nothing but great things to say about, one of the quickest ways to lose my readers' trust is for me to claim that everything in every show is wonderful. While I would love if this were true, it simply isn't. But please don't mistake honesty for negativity. I'm never mean in my reviews, and I always point out the great moments of the show. My reviews include honest information about what I liked, didn't like, and think other people would or wouldn't like about the show.

2. Every review is different. I don't have a set formula for writing a theatre review. I don't follow any rules or guidelines. After all, I'm a blogger, not a theatre reviewer for The New York Times (maybe someday?). Because every show is different, the way I approach a review is different for each show. Some of my reviews are longer, while others are shorter. Some have tons of pictures, while others have only one, or maybe even none. Some focus on the lead actor, while others focus on the supporting actor who should have been the lead actor. Sometimes I focus on the plot a lot, and other times I barely even mention it. Sometimes I tie my personal life into a review. I even had my 4-year-old son help me once with my review of Aladdin on Broadway. So really the sky is the limit. I'll make 100% sure readers know what I thought about a show...but switching up how I let readers know is part of what I enjoy about theatre blogging!

3. My reviews are my opinions. While I'm always honest with what I think about a show, I am expressing my opinions. And I realize that not everyone will agree with my opinions. Maybe the actor that I raved about in a review happens to be getting over a cold on the night that someone else sees the show, so maybe that actor doesn't perform quite as well that night. Or maybe some costumes that I thought were amazing, someone else thought were hideous. I always encourage readers to interact with me and share their own opinions, even if they disagree.

4. I want to help! I want to help people find shows that they will love. I want to help theatres connect with new and returning audience members. I want to help people discover how powerful and emotional theatre can be. I want to help outstanding actors receive more recognition for their talent and hard work. So how can I do this? In addition to writing the review itself, I share it on all of Row L Seat 1's social media sites as well. This includes the Row L Seat 1 Facebook page and the Row L Seat 1 Twitter page, and occasionally even my personal social media pages if it's a production I feel very strongly about. 

I keep an updated list of all my past reviews on my Theatre Review page, so feel free to check them out to see if there's a show you might enjoy or to get a better sense of my reviewing style. And if you're gearing up for a big production and looking for a little extra help getting the word out about it, consider a Row L Seat 1 theatre review! To request a review, just shoot me an email at kim@rowLseat1.com.

REVIEW: Hairspray at Dutch Apple Dinner Theatre

Hairspray at Dutch Apple Dinner Theatre is a fun-filled performance complete with upbeat music, energetic dancing, vibrant sets, and top-notch talent that leaves you humming and singing the whole way home. This group of talented performers had audience members of all ages smiling and moving to the music from the first “Oh, oh, oh…” to the last “…beat.”

The cast of Hairspray had the whole audience moving to the music at Dutch Apple Dinner Theatre. (Photo courtesy of Dutch Apple Dinner Theatre)

Based on the 1988 movie by John Waters, Hairspray follows plump teenager Tracy Turnblad as she lands her dream role on the Corny Collins Show, a TV dance show based in her hometown of Baltimore. Through her journey on the dance show, Tracy connects with various characters, including teen heartthrob Link Larkin; lovable dancer Seaweed J. Stubbs and his soulful mother, Motormouth Maybelle, who is the host of Negro Day on the Corny Collins Show; and scheming, fame-obsessed mother/daughter team Amber and Velma Von Tussle. While Hairspray is a comedy, it also successfully manages to present the more serious issue of the Civil Rights Movement and racism in the 1960s.

Megan Power, who plays the lead role of Tracy Turnblad, was born to play this role. She had an impressive two callbacks after auditioning for the role on Broadway, and while she ultimately didn’t land the Broadway role, central PA is lucky to have this opportunity to see her perform, as she delivers a performance that's as close to Broadway as you can get without actually going to Broadway.

Megan Power was born to play the role of Tracy Turnblad. (Photo courtesy of Dutch Apple Dinner Theatre)

Chuck Caruso provides another memorable performance in the comic role of Edna Turnblad (Tracy’s mother). In this female role, which is always played by a male, Caruso delivers a top-notch performance that showcases his acting skills as well as his ability to perform in a nightgown, a dress, and rock a pair of red heels.

Adam Clough and Sheira Feuerstein give other noteworthy performances in the roles of TV host Corny Collins (Clough) and Tracy’s nerdy friend Penny (Feuerstein). Both actors showcase acting and vocal skills that perfectly fit their roles.

The remaining cast members and ensemble contribute their talent to deliver a solid, polished performance that includes great dancing, singing, humor, emotion, and yes, even hairspray.

Chuck Caruso perfects the role of Tracy's mother, Edna Turnblad - high heels and all! (Photo courtesy of Dutch Apple Dinner Theatre)

The sets and costumes provide plenty of color, which only enhances the energy of the performance. The orchestra doesn't disappoint either, filling the theatre with impressive, well-blended sound.

With a book by Mark O’Donnell and Thomas Meehan, Hairspray features a quality selection of musical numbers written by Marc Shaiman, including the catchy and popular songs “Good Morning, Baltimore” and “You Can’t Stop the Beat.”

When it comes to Dutch Apple's production of Hairspray, you really can't stop the beat. Overall I give this production 7 out of 10 standing ovations.

Hairspray is playing at Dutch Apple Dinner Theatre now through September 20. Visit the Dutch Apple website for more information and to buy tickets.

Extreme Makeover: Broadway Edition

So there's this trend going on right now. A trend that's been going on for a while now, and it's getting kind of old. Do you know what I'm talking about?

I bet you guessed the ice bucket challenge, didn't you? Well, although I agree, I happen to be talking about a different trend. (Don't get me wrong... I had an aunt pass away from the slow-progressing form of ALS. I saw first-hand how the disease took its toll on her and slowly took over her body, muscle by muscle. And I'm glad something has been done to increase awareness and funding of this horrible disease. But enough is enough. Just make your donation or don't. And then use the ice to chill a bottle of wine.)

But the trend I'm talking about is one in the theatre world. And like the dumping of the ice buckets, it's been going on just a little too long. The trend I'm talking about is the trend of closing shows.

Let's get back to using ice buckets for their original purpose. Champagne anyone?

I understand that the closing of shows is a necessary evil that can't be avoided. I mean, as much as I'd like to build a theatre for every single musical ever written, it just doesn't work that way. But it just seems like more musicals than ever are closing not long after they open, and even good shows just don't seem to be sticking around like they used to.

Sure there are a few current musicals that have managed to stay on Broadway for the long haul (The Lion King, The Book of Mormon, Wicked, etc.), but for the most part Broadway shows seem to be following what I'll call the door trend. Open and close. Open and close. It seems like every time I browse through my Twitter news, I'm reading about another show closing. And I'm not talking just small shows. I'm talking big, expensive-to-produce shows with Tony-winning casts and music.

The shows that make it to Broadway are amazing. They include the best of the best from directors, to cast, to composers and everything in between that makes up a musical. So why are these amazing shows closing after so few runs?

Well, my guess is that there is a wealth of statistics, numbers, and research that attempt to answer this exact question. But I'm not much of a statistics girl. Or a numbers girl. Or a researcher. What I am is a rare species. I'm in my 30s and love the theatre. I love going to Broadway; I love going to my local theatres; and I'll see any show anywhere at least once. But many of the shows that I see, both locally and on Broadway, don't have too many of my species in the audience. And that's a shame. I'd really hate to see my species go extinct.

So the obvious next question is: how do we prevent the extinction of this rare species of "young" theatre-goers? (And by young I mean anyone who knows what twerking is or who owns an iPad.) Well, again, I'm sure there's plenty of research that tries to answer this question. But again I'm not a researcher. So for me to answer this question, I'm going with my gut instinct. And my gut tells me that Broadway hasn't been keeping up with the times.

Broadway needs to step it up a notch when it comes to filling their seats. What they've done for years is great, but it's only enough to fill those seats for a few months at best. It's only enough to get the same people back to Broadway who have been going for years. For the most part, the people filling Broadway theatres are the same ones who were filling the seats 20, 30, and 40 years ago. And yes, that includes myself. But remember, I'm a rare species.

Broadway, and theatre in general, needs to think about marketing to a new audience. An audience who knows about twerking and tweeting. That's right. It's time for Broadway to undergo an extreme makeover. Sure people want to see great talent, but in order to keep up with the times, that's just not enough anymore.

So what is enough? What would bring more people to Broadway shows? What would keep these amazing shows from closing?

In this series, which I'm calling Extreme Makeover: Broadway Edition, I'm going to cover a few ideas I have that I think would help the success of new shows.

In my next post in this series, I cover a topic that I think could play a huge role in generating sales, filling seats, and attracting new (and returning) audiences to Broadway.

My Broadway Bucket List

Many people have some kind of a bucket list, a list of things they want to accomplish in their lifetime. Some people might have ambitious lists that include sailing across the Atlantic Ocean or climbing Mount Everest. Others may have more reasonable lists that include goals like losing a few pounds, reconnecting with old friends, or running a marathon.

While my bucket list contains a mix of ambitious and reasonable goals, there's one theme that consistently appears over and over again on my list: Broadway. Though my list of Broadway dreams and goals goes on and on, today I've picked my top four Broadway goals to share.

1. The opportunity to work on Broadway. I'll start with the obvious. I think this one is probably on just about every Broadway enthusiast's list, but I have to throw it out there. I'm not a singer or an actress, so I don't have the dream to perform on stage. But I do have the dream to have a hand in making the performances happen. I think my dream role would be something along the lines of assisting a director. I'd love to be around to help with all the rehearsals, the ups and downs, the changes. Some people might think this is crazy, but I would love just about every minute of this kind of work.

2. A Broadway-themed bar in my basement. My husband and I have been talking about this one for years. I can picture the whole bar in my mind... Playbills under the glass-top bar, show posters decorating the walls, and maybe even a tiny stage. I have all the details ready to go, right down to the little menus featuring drinks with Broadway-themed names.

Just a little sample of what my Broadway-themed drink menu might look like

3. To start some kind of organization that would give more people the opportunity to enjoy Broadway. I don't have this one quite as planned out as the bar, but it's a thought growing in my mind. As we all know, seeing a Broadway show can be an expensive experience. While there are definitely ways to make it somewhat affordable, I think a lot of people don't even entertain the idea of going to New York City to see a show on Broadway because of the cost. I would love to somehow change this. 

4. The chance to bring a show to Broadway. I guess this is the Mount Everest of my list. I know it's extremely ambitious, but I have so many ideas floating around in my head, some that I've even felt are worthy of putting down on paper. There are a few movies that I know would do amazing on Broadway. There's a show that I would love to see revived. And I even have an idea for an original musical. I also have some creative, out-of-the-box marketing ideas that would almost guarantee the success of these shows. I just need to find the right people or partners to help get them there.

Well, there you have it. I told you some of these were ambitious. In fact, I probably stand a better chance of sailing across the Atlantic Ocean than I do of actually taking a show to Broadway. But I can still dream and hope and try. And who knows... Maybe one day I'll be sitting in my basement Broadway bar, working with that director that I've been assisting to bring our own musical to Broadway. In the meantime, I think I'll go enjoy a Magical Frog Martini.

REVIEW: Aladdin (Broadway)

My husband and I recently took our two sons (ages 4 and 6) to see Aladdin on Broadway. While I could go on and on about the impressive sets, infectiously energetic and talented Genie, and truly magical carpet ride in the Broadway production of Disney's Aladdin, I thought I'd leave this review up to the real critic: my 4-year-old son, Chase!

Alec and Chase getting ready to experience "a whole new world" at Aladdin on Broadway

In his first (un)official review, here's what Chase had to say about Aladdin:

Me: What did you think of the show?
C: It was awesome!

Me: What was awesome about it?
C: That the genie was so funny. He was different than the one in the movie.

Me: What did he do that you thought was funny?
C: I liked when he was singing the no no no no no song.

Me: Who was your favorite person?
C: Aladdin! Was your favorite Aladdin too, Mommy?
(Me: I liked Aladdin and Genie the best).

Me: What was your favorite part?
C: I liked the part when the bad guy said "Prince A Boo Boo."

Me: What did you think of Jasmine?
C: I liked her because I wanted to play with her hair.
(Side-note since this response probably sounds pretty weird to most people: Chase loves to twirl my hair and suck his thumb when he gets sleepy. Pretty much any girl with long hair who is within a foot of Chase is at risk for having their hair twirled!)

Me: Was she pretty?
C: Yes. I even loved her!

Me: What did you think of the carpet ride?
C: I liked when they were singing "A Whole New World." And I liked when the carpet saved Aladdin when he was just about going to fall and Princess Jasmine said "How did you do that?".

Me: Was there anything that scared you?
C: No.

Since apparently nine questions is about the attention span of a 4-year-old, I'll fill in a few details with my own thoughts.

First, I'll share what I was impressed with:  

• I loved the carpet ride scene. Watching Aladdin and Jasmine float through the air right in front of our eyes was an amazing experience.

• The choreography, dancing and sets were all very impressive.

• The Genie definitely stole the show. While my heart sank when I saw that Tony-winner James Monroe Iglehart was not going to be the Genie at this performance, I was very pleasantly surprised and impressed with the equally talented stand-in Michael James Scott. He owned the stage and didn't miss a beat in this role. I still would have loved to have seen Iglehart in this role (and maybe even met him at the stage door); however, I have nothing but good things to say about Scott's performance.

• Speaking of the stage door, my boys and I loved meeting Adam Jacobs, who played Aladdin, after the show (ok, so I probably enjoyed this part more than they did, but it will be a good photo for them to look back on when they're older!). Jacobs did a great job in the show. He looked the part, and had the voice to match.

Aladdin (Adam Jacobs) was more than happy to pose for a photo after the show.

While I'd like to say that I found the whole show to be "awesome" like Chase did, I have to admit that there were a few aspects that I found to be a little less than awesome. For anyone expecting to see the movie version brought to life on stage, I'd recommend changing your expectations. I certainly didn't expect the stage version to be exactly like the movie; however, I think Disney missed the mark with this one. They really took a lot of the kid-friendly aspects out, which resulted in a performance that was not quite fun enough for kids but not quite impressive enough for adults.

At 4 and 6 years old, my kids did great during the show. But I've been taking my kids to the theatre since they were 2. If I'm being totally honest, for someone who's considering taking young children for their first Broadway experience, I wouldn't recommend Aladdin as their first show. It just didn't live up to the "magic" that Disney is known for.

Here are just a few examples of things that I feel would have made for a much better show.

• The animals: There were no animals in the show at all, and I think this was a huge mistake. The role of Aladdin's monkey, Abu, was instead turned into three sidekick friends of Aladdin. While they added some humor to the show, they just weren't the same as Abu. The same went for Jafar's parrot, Iago, who was turned into a parrot-like human sidekick. Jasmine's tiger, Raja, was completely omitted. And really Disney, couldn't you have at least borrowed the elephant from The Lion King for when Prince Ali makes his big appearance?

• The magic carpet: Yes, I did love the carpet scene. But I would have loved it even more if the carpet had been more of a character like in the movie. Again, I don't expect the stage version to be exactly the same as the movie, but I really think Disney messed up by leaving out the animals and the magic carpet as characters.

• The humor: There were definitely some funny parts to the show. Some were carried over from the movie while others were original to the stage. But most of the humor went right over my kids' heads. Sure my kids are only 4 and 6, but I think even older kids would have trouble following the humor in most of the show.

So while we all found the show to be entertaining (and even "awesome" according to Chase), I have to admit I was a bit disappointed in the overall production. The show definitely had some high points, but I also found it lacking in several areas. It felt like Disney was trying to please everyone, which we all know isn't possible. So instead of a fascinating and magical show for kids or a spectacular show for adults, the end result was a mediocre show for anyone.

Overall I give this production 4 out of 10 standing ovations.