Anyone who’s seen the production knows that Teddy Maldonado, who plays the height-challenged Lord Farquaad, isn’t going to forget this role for a long time. He spends his time on stage in a special contraption that, well, cuts him down to size. I thought it would be interesting to conduct an exit interview with his beleaguered knees. They didn’t kneed much encouragement to spill all.
Question: Well, hello there, Teddy’s knees. I understand you’ve had a rough job these past couple of months. What has it been like helping play Lord Farquaad? Have you gotten any hazard pay?
Answer: It’s been wonderful, certainly the most action we have gotten since Teddy played catcher in little league. We have a contractual agreement with our owner, Teddy, that we receive half of the reimbursement check. We plan to use the money on matching “I survived Duloc” tattoos.
Was any chiropractic intervention required during the run? Pain killers? Bottles of tequila?
No pain killers, no cortisone shots, not even a thank you from “Lord Teddy”. So far, no extra measures have been taken regarding our comfort. We have a pending lawsuit.
Somehow, some way, with a budget a fraction of a national tour, a stage smaller than a Broadway star’s dressing room, a prerecorded musical track instead of a live orchestra and a cast that works day jobs, Good Company Players manages once again to produce a show that has more dazzle and heart — not to mention more laughs — than the professional tour that came through town just months before.
With “Shrek the Musical,” GCP capitalizes on the intimate setting at Roger Rocka’s Dinner Theater. It gives us a show that connects with the audience in a way that just didn’t work for me when I saw the non-Equity national tour of the same show in April at the Saroyan Theatre.
I don’t count this 2008 musical, with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, among my favorites in terms of score. Aside from a few jolly ensemble tunes and a couple of nice ballads, the music in the show doesn’t have much impact for me. (I have no interest in buying the cast recording — and this from someone who has hundreds.) The easy-going and meandering charm of the original movie seems to be replaced by a mad-dash comic sensibility that often tries too hard.
But snappy and creative direction by Denise Graziani, an inspired production design and an excellent cast all elevate the material to another level.
Two local shows open tonight, making it a big weekend for theater fans:
BEING GREEN: The Fresno premiere of “Shrek the Musical,” complete with its own 16-foot dragon, opens tonight at Roger Rocka’s Dinner Theater. The Good Company Players production features Tyler Branco in the title role, Emily Pessano as Fiona, Christian David and Tony Sanders sharing the role of Donkey and Teddy Maldonado as Lord Farquaad. I wrote about the dragon in my Sunday Spotlight column.
GLAD TO BE PLAID: CenterStage Clovis Community Theatre opens the musical “Forever Plaid” at the Clovis Veterans Memorial Auditorium. The quartet is played by Peter Allwine, Darren Tharp, Eric Estep and Kyle Dodson. I have an interview with Dodson in today’s Life section. Note: This is a one-weekend run with only four performances, so it’ll be gone in a flash.
“Shrek” fans, take note: The big green guy is tromping into Fresno Thursday in a Good Company Players production. For my Sunday column, I put the spotlight on the cast moving the 16-foot Dragon — designed by Chris Mangels – from GCP’s rehearsal hall to the theater. The result: a little parade for the Tower District. Bonus: I caught it on video.
In yesterday’s Sunday Spotlight column, I got excited about last week’s Junior Company Foundation fund-raising gala. I chose to highlight Elena Aguirre, a current member of the company, who served as artistic director of the show. I’m impressed that the entire show was conceived, directed and choreographed by current company members, the oldest of whom are 16. (Aguirre did tell me that one of the hardest things she and the members of her creative team had to do was cut numbers out of the show that just weren’t working as well as they should. that’s always one of the most difficult things an artistic director has to do.)
The photo above, taken by Max Debbas, is the group shot taken after the performance. Those in the JCF T-shirts are current company members and alumni who performed in the show, while those in street clothes are alumni members from the audience.
Here’s the link to donate to the Junior Company Foundation, a registered non-profit.
We first see him stomping along in the dark, making his entrance past the tables at Roger Rocka’s Dinner Theater as if he’s an audience member who imbibed too much iced tea and can’t wait for intermission to use the bathroom. He’s a big guy: dressed in a blocky brown pinstriped suit, his hair cropped short and slicked back, his footsteps clunky. He talks big, too: a Boston accent as thick as chowder, loud and nasally, a voice that could startle a cat. Though he’s a police detective, he doesn’t seem to have a nimble bone in his body; he’s like a bulldozer with a gun.
And then Tyler Branco, playing Lt. Frank Cioffi in the sparkling Good Company Players production of “Curtains” at Roger Rocka’s Dinner Theater (continuing through Sept. 8), reveals his character’s love of musical theater. He turns to strike a dance pose in the song “Show People.” And suddenly he’s as light on his feet as a wispy ballerina. (Well, almost.) It’s one of those wide-smiled, goofy moments so endearing it sets the tone for the entire show.
One of the advantages of being a long-time theater critic and watching community actors grow and mature is getting to be present at the moment they offer a truly breakthrough performance. That’s the case with Branco in “Curtains,” who puts a big, comic stamp in the role of the detective tasked to solve the murder of a Broadway-bound musical’s much-loathed leading lady. Branco has offered fine supporting moments in previous GCP shows, from the blustery ex-husband in “The Wedding Singer” and the sweet-voiced crooner in “Paint Your Wagon” to the hilarious French taunter in “Spamalot.” Now, in a delightful turn in “Curtains,” he demonstrates he can carry a show.
I had a chance to catch up with Fresno’s Christopher Gorham to talk about the new season of “Covert Affairs” that begins July 16. It was time to chat again as the third season ended with a big event for Gorham’s character.
If you haven’t been watching the show, you have been missing an Emmy-worthy performance by Gorham. He plays CIA agent Auggie Anderson, who’s always been there when fellow agent, Annie Walker (Piper Perabo) needs help. Auggie just happens to be blind.
Gorham doesn’t play the character as if the blindness is a handicap. It’s just one of the things Auggie deals with in doing his job. An actor of lesser skill would have played the character more as a stereotype but Gorham never falls into any of those bad acting mistakes.
“Fiddler on the Roof” is working on some heavy themes.
You forget that some, because “Fiddler” is such a staple of musical theater and because it’s about love and marriage, and those things come with a certain amount of revelry. Add on the singing and dancing and a few well-placed one liners, and the play could easily be reduced to a kind of second-rate romantic comedy.
Good Company Players’ presentation of “Fiddler,” (which runs through July 14 at Roger Rocka’s Dinner Theater), doesn’t run that risk. It doesn’t dwell on the heaviness, by any means, but it doesn’t shy away from it either.
Francine and Murray Farber ask why I skipped reviewing the latest Good Company Players musical. They write:
Ever since opening night of “Fiddler on the Roof” we have been scouring the Bee and blog for your review. We are always interested in your viewpoints. We are mystified — we did see the “beard story” but we don’t count that! Is there a reason this great Roger Rocka show is being overlooked?
I did skip reviewing “Fiddler,” but it’s for a good reason: I’m in the process of putting together a big story about Good Company’s upcoming 40th anniversary. As part of that story, I’ve followed “Fiddler” from a backstage perspective — which meant I was there for load-in of the set, first tech rehearsal, opening night, etc. I felt I was too close to the production to be able to step back far enough for a critical distance.
But … the good news is that “Fiddler” will get a review, just a little later than usual. My colleague Joshua Tehee got the chance to see the show Sunday afternoon, and he will be posting a review soon.
In the meantime, I forgot to post my own contribution to this “Fiddler” production on opening weekend — The Bee’s first ever Russian Jew Beard Poll. The margin of error is three-eights of a can of shaving cream. The photo above is of Henry Montelongo, left, who plays Lazar Wolf, and Chris Hoffman, who plays Mendel, the rabbi’s son. After the jump you’ll find a photo of the Anatevka gang getting zany.
The famous Broadway classic “They Call the Wind Maria” — which is pronounced “Mar-eye-ah,” for all you “Paint Your Wagon” neophytes out there — is a beautiful song. Tyler Branco, who starts off the song in the nicely staged Good Company Players revival at Roger Rocka’s Dinner Theater, offers a sweet and moving interpretation.
But I surprised myself by falling for a different tune entirely, one that hasn’t quite stood the test of time as well as a song about the wind. It’s a throwaway comic ditty titled “In Between.” The song is performed by the amiable Greg Ruud, portraying the show’s central character, Ben, a hardscrabble gold prospector always hoping for the next big strike. He’s wooing a woman named Elizabeth (a sharply played Paige Parker), an unlikely candidate for betrothal considering she’s already married to someone else. But that isn’t as big a complication as you’d think. Elizabeth is, you see, the second wife of a Mormon gentleman who moves to a Gold Rush town in which men outnumber women 400 to one. So it makes perfect sense for her practical-minded husband to auction her off — yes, sell her, as in some other lucky chap buying a wife — to the highest bidder.
And thus we’re treated to “In Between,” an ode to mediocrity sung with a twinkle by Ben, who assures Elizabeth that he might not be the bravest or richest guy in the world, but neither is he the poorest or biggest coward. The song is one of the highlights of the show, an easygoing and sparkling nod to our hard-working, frontier-savvy forebears who flocked to California for gold. “Paint Your Wagon” isn’t about big, mythic heroes. Instead it’s about the colorful “average folks” who settled these parts in a time when sleeping inside was a luxury.
It’s Maria, of course. (Pronounced Mar-eye-ah.) The Good Company Players production of the Gold Rush-era musical “Paint Your Wagon,” with music and lyrics by the beloved Lerner and Loewe, opens tonight at Roger Rocka’s Dinner Theater. The show’s best known tune is the beautiful “They Call the Wind Maria.” (Which kicks off with a solo by my favorite French taunter, Tyler Branco.)
We made the show our 7 cover story, so you can look for that tomorrow. Bee photographer Craig Kohlruss took some wonderful photos at the dress rehearsal. I particularly like the one above of Greg Ruud (who plays the gold prospector Ben) and Alyssa Gaynor (his daughter, Jennifer). I’ll be there tonight for a trip back to the Gold Rush.
UPDATE: Welcome to readers finding my “video column” through Sunday’s Spotlight section.
ORIGINAL POST: For my upcoming Sunday column, I figured it was time to get to the bottom — heh heh, I said “bottom” — of this whole French Taunter business. If you start giggling hysterically when someone says, “Your mother is a hamster,” you’ll be right at home with my very first Beehive video interview. If not, well, you’ll likely be bewildered. But at least you get to see me look very silly as I go mano a mano with the Taunter himself, played by Tyler Branco in the Good Company Players production.
Hey. You there, audience member. I want you to listen very closely to what I’m going to say.
Your mother was a hamster.
Now let’s gauge your reaction. Did you:
1) Immediately turn to the person nearest you — whether good friend or total stranger — and without hesitation, as if by Pavlovian response, blurt out “and your father smelt of elderberries”?
2) Offer a quizzical but hearty laugh, a little lost as to the context of the line but willing to extend your comic goodwill to such an offbeat non sequitur?
3) Listen with stone-faced bewilderment, trying to grasp at anything — anything! — remotely funny about someone declaring that the woman who bore you was a Eurasian rodent with large cheek pouches and a short tail — but finding yourself unable to cough up anything but a desultory chuckle?
If you’re in the first camp, you’ll likely react to the zany and well-done new Good Company Players production of “Monty Python’s Spamalot” like a starving dieter granted permission to tear into a lemon meringue pie. If you fall into the second category, I’m guessing you’ll be happy to hop aboard and raft the comic whitewaters of this very silly and engaging musical.
And if you just don’t get the whole Monty Python phenomenon — and you don’t want to get it — you might, like the famed Black Knight, rather have your limbs chopped off one by one than subject yourself to an evening featuring some of the most famous bits of the Python legacy.
1. WATCH OUT FOR FLYING COWS
On Thursday on the Beehive I told you about opening night of “Spamalot.” Well, I attended the show last night — and while my review will come early next week, let’s just say I laughed so hard during the French Taunter scene that I almost choked on my Good Company water. (And there was even a gag directed at me, which I’m not going to share so as to ruin the moment, but let’s just say I’ve never been quite so personally surprised during a performance.) Check out my cover story in Friday’s 7. Also, Bee photographer Gary Kazanjian took a bunch of great photos, which he posted in an online gallery. “Spamalot” continues at Roger Rocka’s Dinner Theater through March 17. [Details]
It’s amazing what one line of dialogue can do to a Monty Python fan.
Try it by asking: “Are you suggesting coconuts migrate?”
If the person you ask this odd question of degenerates into hysterical giggles, and then starts to tell you all about King Arthur and his much-put-upon personal assistant, Patsy, then you know you’ve got an M.P. fan on your hands.
As Good Company Players prepares to open the local premiere Thursday of the musical “Spamalot,” we’re looking for some of those fans to share their favorite Monty Python scenarios from the movies. Is it the Killer Rabbit? The “Bring out your dead” scene? Or how about the Black Knight who shrugs away his chopped off appendages one by one?
“Spamalot” is mostly based on the classic movie “Monty Python and the Holy Grail,” but the musical also includes bits and pieces from the entire Python oeuvre, so we’re happy to hear about any of your favorite moments. While you’re at it, tell us (if you’d like) your age, how big a fan you are and why you think the comic magic still works today. Have a funny “Monty Python” memory? Share it with us.
We’ll pick one of the submissions at random as a winner and give that person two tickets (dinner and show) to any performance of “Spamalot,” which runs through March 17 at Roger Rocka’s Dinner Theater. I’ll be contacting the winner by email, and I’ll also pick some comments to run in my story in next Friday’s issue of 7 about the opening of the show.
Only one entry per person, please. Deadline is 2 p.m. Tuesday. For rules, see the jump.
You might have to dig a little harder for cultural events this pre-Christmas weekend — but you can still find some great possibilities.
1. ENJOY A ‘MIRACLE’
The Good Company Players production of “Dad’s Christmas Miracle” at the 2nd Space Theatre has just four performances left: 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. This nostalgic comedy is about a boy who has to convince his family and teacher he’s worthy of a visit from Santa. Another theater option for the weekend is the first-rate “Beehive,” which continues at Roger Rocka’s Dinner Theater. [Details]
Besides doing “The Time Warp” with the outstanding local production of “Rocky Horror” at the Severance Theatre …
1. LISTEN TO A GREAT PIANIST
Israeli-born pianist Alon Goldstein has performed with many of the great orchestras of the world — San Francisco Symphony, London Symphony, you name it — but he’s just as well known for his solo work. He’ll perform tonight at Fresno State as part of the Philip Lorenz Memorial Keyboard Concerts series. I had a terrific and fascinating phone conversation with Goldstein that I wrote up for Friday’s 7 section. If you’re interested in the mind of a classical pianist, check out his intriguing blog, which I reference in the story. [Details]
Want a sneak peek of tomorrow’s 7 cover? I feature Good Company’s “Singing’ in the Rain,” which opens tonight at Roger Rocka’s Dinner Theater. My interview with Daniel Hernandez and Dominic Grijalva is the cover story. Here’s the extended version for people who want even more Daniel and Dominic.
Question: Most people know the story of “Singin’ in the Rain,” but for those who don’t, give us a brief synopsis.
DANIEL: Don Lockwood and Lina Lamont are the darlings of the silent silver screen. The “talkie” era hits Hollywood and the movie studio, Monumental Pictures, struggles to keep up with the times. Don has had many years of singing and dancing experience with his best friend Cosmo Brown so his transformation into the talkies is rather smooth. Lina, on the other hand, has trouble with the sharp tone of her voice, so Cosmo and Don decide to dub her, using the voice of an aspiring actress, Kathy Seldon, to save their movie. When the jealous Lina finds the strategy of the studio, she does not want to share the credits with Kathy and tries to force the studio to use Kathy in the shadow to dub her in other productions.
It doesn’t matter what stage it is. Louise Mandrell owns it.
With her decades of country-music experience behind her, the singer has a knack for making a moment in the spotlight seem the most important thing in the world to her. It’s all about charisma. She’s up there on stage rooting for the audience to have a good time — and you, in turn, root for her to put on a great show.
It’s long been a dream for Mandrell to try her hand at musical theater, and she gets her chance with a rollicking, boisterous and warm-hearted career debut in the Good Company Players production of “Calamity Jane” at Roger Rocka’s Dinner Theater. Mandrell is no theater veteran, and there were several reminders of that fact (some mumbled lyrics, a few moments of hesitation, a missed cue) during the opening night performance. But even her missteps were endearing. Supported by a strong cast and drawing upon Laurie Pessano’s strong direction, Mandrell’s enthusiasm is infectious.
But in some ways it’s even more impressive when you can take an old classic such as “The Sound of Music” and make it fresh, exciting and, well, downright beautiful. That’s what director Dan Pessano and his stellar cast, production team and crew have done with the current production at Roger Rocka’s Dinner Theater.
I’ve seen “The Sound of Music” many, many times — both professionally and at the community-theater level — and this is my all-time favorite version.
As superlative shows usually do, this one had me from the opening moments, when the wonderful Hanna Nielsen, as Maria, sings the title song sitting alone in a mountain meadow. This isn’t a time for big vocals or grand performance — it’s a tender, solitary, intensely personal communion between conflicted young novitiate and the land she knows so well. I knew in my musical-theater gut the moment I heard Nielsen’s understated and sensitive approach to the number that there were great things to come.
I saw the show midway through the run — and there are just three weeks left of performances. It closes July 15.
—————- Pictured: John Clay Cowger, Colin Bracewell, Taryn Morgan, Kindle Cowger, Karlie Stemler, Maya Gengozian, Claira Broach and Gordon Moore in “The Sound of Music.”
One of the great things about a classic musical such as “The Sound of Music” is that no matter how many times it’s produced, there’s always a new generation of performers for whom it’s a brand new experience. The new Good Company Players production, directed by Dan Pessano, opens tonight at Roger Rocka’s Dinner Theater featuring double-casts of Von Trapp siblings performing on alternating days:
Performing on Thursday evenings, Saturday evenings, and some Sunday evening performances are Kara Linkowski, Nathan Fennacy, Emily Estep, Samuel Linkowski, Chelsea Newton, Kyla Martin, and Avery Addington.
Performing on Friday evenings, Sunday matinees, and some Sunday evening performances are Claira Broach, John Clay Cowger, Kindle Cowger, Colin Clark-Bracewell, Maya Gengozian, Taryn Moran, & Karlie Stemler. (Pictured above with Gordon Moore as Uncle Max.)
Hanna Nielsen plays Maria and Eric Estep plays the Captain in the production, which continues through July 15.
1. GET ‘DIRTY’ ONE LAST TIME
The Good Company Players happy production of “Dirty Rotten Scoundrels” is in its final weekend. Peter Allwine (pictured below), Gordon Moore and Danielle Jorn give high-caliber comedic performances in this adaptation of the 1988 film. [Details]
Good Company Players is gearing up in a big way for the highlight of its season: the starring appearance of country-music star Louise Mandrell in the musical “Calamity Jane,” which opens July 19. I devoted my Sunday Spotlight column to Mandrell’s recent trip to Fresno. She came to sit in on auditions for the remaining roles in the show.
Mandrell told me that “Calamity Jane” will be the last time she performs, at least into the near future. She isn’t using the word retirement, but her husband, John Haywood, has been ill, and in recent years she’s cut back her career to spend more time with him.
“Because of my husband’s health, this is the last thing on the books,” she says of her appearance in the Good Company show. “If his health improves, that may change, but as of now, this is the last thing that is for sure.”
And who will play the role of Wild Bill Hickok, the love interest of Calamity Jane, in the show? The lucky guy is veteran Good Company actor Brian Pucheu. Mandrell told me after the casting announcement that she’s delighted to work with Pucheu, although she admits that the extreme beard that he sported during auditions — which he grew out for his first-rate portrayal of Charles Guiteau in the just-finished run of “Assassins” at Fresno State — did throw her at first. After she looked at pictures of a less-hirsute Pucheu in earlier roles for Good Company, she declared him “quite handsome.”
Photo: Mandrell, left, works with William Johnson, Brian Pucheu and Teddy Moldonado during auditions for “Calamity Jane.” On the jump: More pics and the “Calamity Jane” cast list.
You could say that today marks the first official day of Louise Mandrell’s long-term relationship with Fresno — and it’s clear she’s eager to win the city’s heart. Mandrell made headlines in December when she announced that she’ll play the title role in the Good Company Players production of “Calamity Jane,” which runs July 19-Sept. 16. This will be the first time in the company’s history that a “big name” will be brought in for a show.
The first round of auditions for the rest of the cast of “Calamity Jane” is Saturday, and as you can imagine, there’s a huge amount of interest among the local theater community. Mandrell flew in from Nashville in honor of the occasion, and this morning she embarked on a round of TV/radio appearances to drum up interest for the show. She was scheduled to meet with GCP’s designers, get a costume fitting and tour the space. This weekend, she’ll also get a tour of Fresno and see the two current GCP productions, “Grace & Glorie” at the 2nd Space Theatre and “Dirty Rotten Scoundrels” at Roger Rocka’s, where “Calamity Jane” will be performed.
While she’s here, she’s also taking part Saturday morning in the Clovis Rodeo parade.
On Monday, Mandrell will attend the call-backs for the “Calamity Jane” auditions, where she’ll get the first chance to check out her onstage leading man, the character of Wild Bill Hickok. She’ll return to Nashville after that, but she’ll return soon for rehearsals and the nine-week run of the show.
I’ll be posting photos of Mandrell taken by GCP staff — and I plan to drop in at the callbacks to meet Mandrell in person. As the production approaches, I’ll be updating this special blog series.