Review: Jesus Christ Superstar at Carlisle Theatre

When a theatre makes the decision to perform a well-known classic in a modern way, it's taking a chance. It either works or it doesn't; there's no in between. In the case of Carlisle Theatre Company's production of Jesus Christ Superstar...it works. And it works well.

While the show still boasts the same dramatic intensity, raw emotion, and familiar Andrew Lloyd Webber music as the original 1970 rock opera, it also brings elements such as social media, corporate America, and modern technology into the production. Throughout the show, images of Twitter, YouTube, BuzzFeed, and even the Carlisle Sentinel flash on a large screen on the stage, providing "news" of Jesus and the disciples. Characters are given a modern makeover, often doing scenes in settings like a board room or even on a golf course. Outdated props like reporters' bulky cameras and tape recorders have been replaced with smartphones.

In addition to these elements, live video cameras capture various moments of the show and project them onto the large screen, enabling the audience to really connect with the emotion of the performers as they present the story of Jesus's last days.

The cast features some very talented actors, including Michael Miller (Jesus), Emily Falvey (Mary Magdalene), and Jeremy Patterson (Judas). Miller delivers an impressive performance, most significantly in his ability to transition from a smooth and controlled vocal to a rock star scream in an instant. Falvey's voice is a refreshing contrast to the electrifying rock music, specifically in her performance of "I Don't Know How to Love Him." And while Patterson performed well throughout the show, he was at his best when leading the Soul Sisters and Angels in "Superstar."

Ryan Boyles plays the role of Pontius Pilate, and at first seems to blend in with the cast. But the more time he spends on stage, the more he shines, and he ultimately delivers a really commanding performance in the "Trial Before Pilate (Including the 39 Lashes)." Ric LeBlanc (King Herod) provides an entertaining performance in "King Herod's Song," which has been turned into a televised show, "God or Fraud," where King Herod hosts an episode with Jesus, and fictional audience members can text their verdict of "God" or "Fraud." And Sushma Saha is a burst of energy as she takes on the role of Simon (typically played by a male), and boasts confidence and vitality in "Simon Zealotes/Poor Jerusalem."

With the exception of the large screen on stage, props were very basic and minimal. Costumes were also basic and minimal, with actors mostly wearing street clothing that could easily be found today on a college campus or in any number of popular mall stores. But this show doesn't need big, fancy props or costumes, and honestly I feel that the minimalistic approach fits perfectly with the modern theme of the show and makes it feel more real.

My only real criticism of the show is that I was underimpressed with the death scenes. I don't mean to sound morbid here, but there was very little attention drawn to Judas's suicide or Jesus's actual death. They were both brief and anticlimactic, which came as a surprise to me, considering the intensity of the rest of the show. I should say here that I've seen more than a few productions of this show, and there have been times where Jesus's death seems to go on and on forever (and ever and ever). But I think there's a middle ground, and in this production I would have liked the death scenes to be a little more dramatic.

The way the show ends catches the audience a little off guard. In my opinion, it ends the way I've always felt this show should end, and I was glad to finally see a production of this show that ends this way. I'm not going to give away anything else here, as I don't want to ruin the effect for anyone who's planning to see it. I'll just say that it makes a statement, and I think it's one of many great decisions that went into creating this spectacular production.

If you're looking for a superstar production filled with powerful music, intense emotion, and amazing local talent, then this is one show you don't want to miss. Overall I give this production 8 out of 10 standing ovations.

Jesus Christ Superstar is playing at the Carlisle Theatre through October 19. For more information and to buy tickets, please visit the Carlisle Theatre Company's website at www.carlisletheatrecompany.com. And for a little taste of the show, check out the preview video below:

Review: Crazy for You at Dutch Apple Dinner Theatre

Dutch Apple Dinner Theatre's production of Crazy for You is the perfect combination of dynamic dancing, slapstick comedy, and pure talent, all brought together with toe-tapping Gershwin music. Stand-out leads and a company full of never-ending energy are sure to impress as they sing and dance their way into the hearts of the audience.

The cast of Crazy for You at Dutch Apple Dinner Theatre lights up the stage with their vibrant dancing. (Photo courtesy of Dutch Apple Dinner Theatre)

When New York banker Bobby Child (played by Jake Delaney) heads to Deadrock, Nevada to foreclose on a run-down theatre, he finds himself instead trying to save the theatre and win the heart of the theatre owner's daughter, Polly Baker (played by Emily Grace Tucker). Delaney is quick to impress with his tap dancing skills, and Tucker charms the audience with her beautifully sweet voice. But what's even more noteworthy is that Delaney and Tucker both showcase an impressive trifecta of dancing, acting, and singing talent throughout the entire show.

Bobby's plan is to put on a show to raise money to pay off the theatre mortgage. But after Polly finds out that Bobby has been sent to foreclose on the theatre, she wants nothing to do with him. Desperate to prove his love to Polly and his true intentions to save the theatre, Bobby hatches a plan to disguise himself as well-known theatre owner Bela Zangler (played by Craig Smith). Smith plays a convincing Zangler and provides some of the show's best humor in his scene where he drunkenly stumbles into an also drunk Bobby, who is dressed as Zangler.

Speaking of humor, the show has plenty of it. With a book by Ken Ludwig, the show is full of jokes and witty one-liners. While some puns had me rolling my eyes, other moments had me laughing out loud. (And for a little musical theatre humor, fans of Les Miserables will enjoy a brief recreation of a certain well-known scene.)

Jake Delaney (left) and Craig Smith (right) are a comical duo as they mirror each other in a state of intoxication. (Photo courtesy of Dutch Apple Dinner Theatre)

Other characters in the show include Bobby's domineering fiance Irene (played by Millicent Hunnicutt), saloon owner Lank (played by Galloway Stevens), Bobby's rich and controlling mother Mrs. Lottie Child (played by Sherry Konjura), Polly's father Everett (played by Jim Johnson), the lead dancer of Zangler's Follies Tess (played by Ashley Rubin), the English guidebook-writing duo of Patricia and Eugene Fodor (played by Molly Tower and Connor McAndrews), and a handful of fun-loving cowboys and perky Follies girls.

With a talented company, the group numbers were a significant highlight of this show. The energetic and perfectly executed choreography (thanks to choreographer Samantha Hewes) made for show-stopping numbers like "Slap that Bass" and "I Got Rhythm." And the creative use of props during these songs made them even more entertaining. 

Company numbers, like "Slap That Bass" pictured here, showcased top-notch talent, entertainment, and choreography. (Photo courtesy of Dutch Apple Dinner Theatre)

If you're looking for an evening of Wild West showdowns, lively tap dancing, romantic twists, and feel good musical comedy, then you'll love this satisfying production of Crazy for You. Overall, I give this production 8 out of 10 standing ovations.

Crazy for You is playing at Dutch Apple Dinner Theatre now through November 8. For more details and ticket information, please visit the Dutch Apple website.

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.